bluuebunny/crossref_metadata_2025_split huggingface dataset:
Taking the High Road in Life
Authors: Geher Glenn , Wedberg Nicole 
Published: September 2019

Abstract
This chapter addresses “strategic pluralism,” or the fact that multiple behavioral strategies exist in most life domains. Dark strategies, which focus on selfish approaches to advancing one’s own goals, are described from an evolutionary perspective. Costs and benefits of such strategies are presented. Other-oriented strategies to life are also presented, so that a side-by-side comparison can be made by the reader. Bad-mouthing others in one’s social sphere is used as an example of a dark strategy. Alternative strategies for dealing with others, focusing on mutual respect and “taking the high road,” are also discussed in detail. This chapter is about taking the high road in life; taking the high road is seen as consistent with the goals of positive psychology.
Healthy Living Reconsidered
Authors: Geher Glenn , Wedberg Nicole 
Published: September 2019

Abstract
In recent years, the evolutionary approach to health and medicine has led to major advances in our understanding of physical and mental health. A core concept in this area pertains to evolutionary mismatch, which helps explain why people gravitate toward unhealthy diets and sedentary lifestyles. Further, several common mismatches can help us understand issues with mental health. For instance, the large-scale prevalence of highly addictive cell phones and related technologies ultimately has adverse psychological consequences for people for various reasons. If we want to understand issues of human health, we must utilize an evolutionary perspective. Practices like selflessness, virtuosity, temperance, altruism, and even diet and exercise are nothing new. By studying facets of positive psychology through an evolutionary lens, it can be seen more clearly how these positive emotions and practices of healthy living have been adaptive for humans all along.
Prologue
Authors: Chapman Con 
Published: September 2019

Abstract
The rationale for a biography of Johnny Hodges is given; namely, confusion and contradictory accounts as to basic facts about him ranging from his birth date to his given name to the spelling of his surname to the instrument that he played on a regular basis in person and on recordings. Hodges’s reticence is cited as an explanation; he was not a talkative man, rarely gave interviews, and revealed little when he did. Despite the fact that he was a very private man, he could be recognized around the world by the sound of a single note he produced on the alto saxophone, a claim made about many musicians in both jazz and other genres, but only rarely true.
Young Man With a Sax
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter describes hodges’s musical household, along with his limited instruction on the piano and saxophone. He received instruction on the saxophone formally, from (among others) a student at the New England Conservatory of Music in Boston, and informally, from other young men in his neighborhood, which came to be known as “Saxophonist Ghetto” because of the large number of musicians who played the instrument living there. Hodges’s youthful introduction to Sidney Bechet at a Boston burlesque show, at which he played a soprano sax, is described. The chapter recounts the saxophone’s history and its development in the jazz genre, as well as Hodges’s early public performances in the Boston area at a very young age. Hodges begins to develop a reputation both in Boston and throughout New England, and he eventually comes to the attention of Duke Ellington in a Boston nightclub.
His Tone
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter discusses the most characteristic aspect of Johnny Hodges’ music: the tone he achieved on his instrument. In this respect, he was a throwback to the earliest days of jazz in New Orleans, when a musician was judged not primarily on the basis of speed or melodic invention but on the quality of the sound he produced. Citations to the views of New Orleans precursors--particularly Hodges’s model, Sidney Bechet—are provided in support of this view, which has fallen into disuse as jazz has developed from a music for communal dance and social occasions (parades, funerals, and picnics) to a music experienced primarily with the intellect, sitting down. Techniques that came to characterize Hodges’s style, primarily glissando and portamento are described; before Hodges, glissando had been thought to be not just impossible but also improper, in bad taste.
Scuffling in New York
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter details how Hodges began to travel between his home in Boston and New York, whose jazz scene was much larger. He worked in “dancing schools”—establishments that had many female dancers but few teachers, as they functioned as dating services cum whorehouses. He began to play in jam sessions, typically all-night affairs at which young players tested their skills against each other and more established musicians. Hodges’s first steady job playing at a club paid him $25 per week and $25 to $30 per night in tips, but he did not move permanently to New York right away, instead commuting back and forth until sometime in 1925. The chapter describes how Hodges played with several bands before joining first Sidney Bechet’s band, then Chick Webb’s. Webb was unable to keep his group together, and Hodges joined Duke Ellington in 1928.
The Competition
Authors: Chapman Con 
Published: September 2019

Abstract
This chapter describes Hodges’s lifelong rivalry—sometimes friendly, sometimes less so—with the other leading alto saxophonist of his era, Benny Carter, along with two other notable altos, Jimmy Dorsey and Willie Smith. Carter was Hodges’s opposite in many respects; he had a thorough knowledge of harmony and music theory, though he was largely self-taught. Hodges, by contrast, was an “inspired primitive” in the words of one jazz critic; he did not pick up written music quickly and would often get frustrated when faced with a complicated score until his bandmates had walked him through his part. History’s judgment on the two men comes down slightly in Hodges’s favor. With his unique tone and his long-standing tenure in Ellington’s band, Hodges produced more memorable works than did Carter, who spent many years overseas and in Hollywood, out of the jazz mainstream.
The Small Groups
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter describes the small groups formed from Ellington’s orchestra. Hodges did not have a hit under his own name until Ellington was persuaded by Helen Oakley, a young jazz promoter and publicist, that he could release records by subgroups of his orchestra without tarnishing his own reputation. Hodges hit it big with “Jeep’s Blues,” which rang out from jukeboxes all over Harlem. Some of Hodges’s small-group numbers, including “The Jeep Is Jumping” and “Good Queen Bess,” named after his mother, are among his most memorable. The small-group sessions followed a pattern: a slow blues tune, two pop ballads, and a mid-tempo dance tune. They also kept Hodges connected to his roots in the blues and the black community from which he sprang, at a time when Ellington’s music was increasingly viewed as entertainment for whites and upper-class blacks.
Blanton, Webster, and the Forties
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter describes developments in the Ellington band during the 1940s. In 1939 the band hired bassist Jimmie Blanton, and in 1940 tenor Ben Webster left Teddy Wilson’s band to join Duke. This was the beginning of what many feel was the Ellington band’s best years, and Hodges was part of its rising reputation, as he won the DownBeat fan poll for top alto for the first time, then continued to win it for the rest of the decade. Hodges served as model and inspiration for Webster, who would develop a more tender approach on the tenor that was based in large part on Hodges’s style. The Blanton-Webster period in the band’s history was short-lived, as Blanton died in 1942 and Webster was fired in 1943. Afterward, Hodges became the Ellington orchestra’s principal soloist on ballads, taking several solos for every one that any other musician played.
The Rabbit Strays
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter describes Johnny Hodges’s break with the Ellington orchestra in the early 1950s. He had occasionally threatened to leave the band, and in early 1951 he did so with the encouragement of record producer Norman Granz, who signed him to a recording contract and financed his break. Hodges took two Ellingtonians with him, and among other noteworthy musicians who joined was a young John Coltrane, whom Hodges had to fire because of his drug habit. Hodges said he and his co-conspirators made the break because they wanted to return to simpler music than the ambitious works that Ellington would sometimes write. The economic reasons for the break are also discussed. The big bands were suffering, and Ellington had announced a pay cut. Ultimately Hodges found that he was not suited to be a bandleader; he disbanded the group and returned to Ellington in 1955.
The Rabbit Returns
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter discusses the return of Johnny Hodges to the Duke Ellington orchestra. He found himself out of place; new members with new ideas had been added to the orchestra, and his style was out of fashion. His return had to be viewed as an admission of defeat, but Charlie Parker had died earlier in the year, creating the opportunity for Hodges to make a comeback. Norman Granz soon recorded and released a number of small-group albums with Hodges as leader, but the general state of the Ellington organization was one of dejection, as it was reduced to playing an outdoor water show and then was given decidedly second billing at the Newport Jazz Festival. At the festival Paul Gonsalves played a marathon solo on Diminuendo and Crescendo in Blue, and Ellington’s fortunes were revived. Hodges’s return to prominence is detailed.
The Blues
Authors: Chapman Con 
Published: September 2019

Abstract
The chapter discusses the nature of the blues and Johnny Hodges’s place within the genre. Recognized as a master of the blues in his time, he would not be thought of as a blues musician by most listeners today because what is meant by that term has been narrowed over time. Guitar-based blues music has crowded the horn-based variety out of the marketplace since rock ‘n’ roll displaced jazz as the most popular music among America’s youth. A brief history of the evolution of the term blues in American music is provided, along with an explication of the role played by W. C. Handy in popularizing the genre before electric amplifiers gave rise to the current ascendancy of guitars over horns. Hodges’s blues-based collaborations with organist Wild Bill Davis are then described as largely responsible for creating a new subgenre of jazz, the organ-sax combo, which endures to this day.
Carnival Music in Trinidad and into the Diaspora
Authors: Allen Ray 
Published: September 2019

Abstract
The first chapter offers a brief history of Carnival music in Trinidad and the emergence of diasporic Carnival celebrations in New York, London, and Toronto. The tangled transnational origins of calypso, steelband, and soca along with their development as expressions of cultural identity and resistance for Afro-Trinidadians together set the stage for the music’s migration to North America and Europe. Calypso and steelband are recognized today as Trinidad’s most distinctive contributions to the world’s musics. The traditions associated with the twentieth-century Carnival are best understood as products of musical hybridity. That is, both calypso and steelband evolved through a similar process of hybridization. This chapter provides the necessary background for understanding this music’s migration and life outside the Caribbean in Harlem and Brooklyn.
From Rhythm to Accent, from Sound to Rhyme
Authors: Ohriner Mitchell 
Published: September 2019

Abstract
The model of flow presented in Flow: The Rhythmic Voice in Rap Music attends carefully to accent and rhyme, yet neither term is easily defined. In the case of accent, the term refers to very different concepts in scholarship on the rhythm of speech and the rhythm of music. This chapter exposits theories from those domains before reconciling them in an accent discovery method calibrated for the rhythm of rap flows. Similarly, the chapter addresses cognitive challenges in representing rhyme, such as temporal boundaries and phonetic similarity.
Flow, Metric Complexity, and Text in Eminem
Authors: Ohriner Mitchell 
Published: September 2019

Abstract
Eminem (aka Marshall Mathers) has attracted much scholarly and media attention for his abilities as a rhymer as well as the controversial content of his lyrics and his possible cultural appropriation. This chapter fills a gap in Eminem scholarship by examining his use of the vocal groove classes described in Chapter 4. Specifically, it shows how Eminem sequences vocal grooves in a way that creates rhythmic narratives of accruing metric complexity (i.e., the proportion of accented syllables not aligned with the beat or a beat’s midpoint). These rhythmic narratives often support and even foreshadow narrative events in lyrics. By documenting correlations between Eminem’s lyrics and his rhythmic choices, the chapter shows a new way in which flow connects music to text. The chapter closes by reflexively considering the historically problematic relationship between the analysis of music complexity and Afro-diasporic music.
Flow, Groove, and Beat in Black Thought
Authors: Ohriner Mitchell 
Published: September 2019

Abstract
Previous analyses of and discourse on the relationship between flow and beat (i.e., the instrumental streams of a rap track) have mapped musical meaning flowing directionally from the beat to the flow. This chapter documents a wider range of relationships between flow and beat in the rapping of Black Thought, including flows that diverge from rather than converge with beats, and flows that converge with beats but with a conceptual or temporal distance. Since Black Thought performs with a live band (The Roots), the chapter also considers how changes to the beat in live performance affect the groove of his flow. As rap music presents an ontology far different from European classical music, one in which creative agencies multiply and authority frequently shifts, this chapter sketches an analytical method for a host of musics that do not exhibit the work concept of the classical score.
On Goodness
Authors: Wolfsdorf David Conan 
Published: September 2019

Abstract
On Goodness attempts to answer the question “What is goodness?” It is natural to associate this question with ethics; but goodness is not confined to ethics. Water and wine, a strategy for streamlining maintenance operations, and an oil painting may all be good and in non-ethical ways. Goodness figures prominently in ethics; so the study serves ethics. But it serves other domains as well. On Goodness is a contribution to the foundations of value theory. It is also a metaphysical inquiry, for two reasons. As the examples indicate, the entity under investigation is extremely general. Goodness occurs in potables, plans, and paintings, among countless other kinds of things. Second, it is particularly obscure what sort of being the entity is. Besides the description “good,” is there a single thing that good drinks, strategies, and artworks share? Is their goodness related in a more complex way? And regardless of these relations, in any instance, just what is that goodness? The question “What is goodness?” has been central to philosophy since Socrates and Plato made it their polestar. The distinctive contribution of On Goodness lies in its methodology. The method of pursuing the metaphysical question is linguistic. The basic proposal is that achieving the answer depends on clarifying the meaning and use of the words “good” and “goodness.” Consequently, the study is pervasively informed by and critically engaged with contemporary linguistic theories and ideas.
Introduction
Authors: Wolfsdorf David Conan 
Published: September 2019

Abstract
Chapter 1 introduces the governing question of the book “What is goodness?” Since ethical or moral goodness is one among many kinds of goodness, the question “What is goodness?” is not specifically an ethical or moral one. Rather, it is a question at the foundations of value theory. The question is also a metaphysical one, because of both the high generality and obscurity of goodness. The chapter proposes to pursue the metaphysical question at the foundations of value theory by linguistic means, precisely by addressing the question “What does the word ‘goodness’ mean?” Pursuit of this semantic question draws on recent theories and ideas in contemporary semantics as well as pragmatics and syntax. Chapter 1 concludes by presenting an overview of the structure of the book and its central results.
Bare Noun Phrases
Authors: Wolfsdorf David Conan 
Published: September 2019

Abstract
Mass nouns and plural count nouns are syntactically acceptable in argument positions without determiners; for example: “Goodness is rare”; “Dogs are common.” Contrast the syntactic unacceptability of “Dog is common.” Such so-called bare noun phrases are associated with various readings: universally, generically, and existentially quantified as well as so-called kind-denoting. Principally, two types of theory have been proposed to explained these facts: Carlsonian kind-denoting theories and ambiguity theories. Chapter 7 introduces bare noun phrases and the problem of their ambiguity and discusses the Carlsonian and ambiguity theories that have been proposed to explain them.
Pāṣaṇḍa
Authors: Brereton Joel P. 
Published: September 2019

Abstract
This chapter studies the term pāṣaṇḍa and its Middle Indic equivalents in literature from the last centuries BCE through the first centuries of the Common Era. In later Brahminical and non-Brahminical traditions, it is a term that characterizes “heretical” teachings and communities. This chapter shows that in earlier texts, however, pāṣaṇḍa is normally a neutral term for a religious community characterized by a dharma. It then attempts to define the nature of such religious communities in the Aśokan inscriptions. In particular, it addresses the question of whether Aśoka includes “householders” as members of such religious communities or not.
Gāhāvaï and Gihattha
Authors: Maes Claire 
Published: September 2019

Abstract
This chapter brings the evidence presented in the early Jain sources in conversation with Stephanie Jamison’s discovery that the Sanskrit term gṛhastha is a neologism in the Dharmaśāstra texts. It shows how gihattha, the Ardhamāgadhī equivalent of gṛhastha, is not a common term in the early Jain texts. It argues that determining the exact connotation of the term gihattha can help to date relatively the different layers of the Jain texts. When the term is carrying the Brahmanical ideology of the twice-born householder, then the passage in question must be either contemporaneous with or later than the Dharmasūtras. The chapter further offers a detailed examination of gāhāvaï (Sanskrit gṛhapati), the most popular term in the early Jain sources to refer to householders.
The Late Appearance of the Gṛhastha in the Vedic Domestic Ritual Codes as a Married Religious Professional
Authors: Lubin Timothy 
Published: September 2019

Abstract
The Gṛhyasūtras (rulebooks of household ritual) might be expected to use the word gṛhastha, since it becomes the standard label for a married householder responsible for performing such rites. But in fact, when that role is mentioned, they employ older terms, suggesting that gṛhastha came into use only after the core works of the genre were composed, or that the ritualist authors were slow to accept it. The few occurrences we do find are in restricted contexts in supplementary chapters: in an appended list of penances (a penance for a gṛhastha vidyārthin, “a wisdom-seeker-who-stays-at-home,” Baudhāyana Gṛhyasūtra 4.12.1), and in two appendices that mention a gṛhastha alongside other individuals (including ascetics) worthy to be fed at rituals. This suggests that domestic ritual authorities in the era when the term was coming into use saw it as most applicable for depicting the married ritualist as a home-based religious professional comparable to an ascetic.
The Gṛhastha in the Mahābhārata
Authors: Bowles Adam 
Published: September 2019

Abstract
This chapter presents a survey of terms and concepts related to the householder in the Mahābhārata. It gives a statistical overview of the key terms and provides an account of their relational contexts, especially in their juxtaposition to the wandering mendicant, and their positioning in various versions of āśrama systems. It also highlights the prominence given to the king as the maximal householder, particularly with respect to Yudhiṣṭhira. Finally, it offers some considerations to account for the diversity of the Mahābhārata’s presentation of the householder.
Gṛhasthas Don’t Belong in the Rāmā̄yaṇa
Authors: Sherraden Aaron 
Published: September 2019

Abstract
This chapter explores the position of the gṛhastha in the Rāmāyaṇa primarily through its striking absence—the concept is not found in the text with the exception of one verse. It properly contextualizes this single reference and explore a number of other references to other “life-modes” to show where the Rāmāyaṇa sits ideologically in relation to the development of the āśrama system. Ultimately, it becomes clear that the Rāmāyaṇa has no narrative concern for a codified system of āśramas and the fluidity of the life-modes as depicted in the epic allowed the author of the Rāmāyaṇa to effectively ignore the gṛhastha, an institution we have come to accept as quintessential to the classical Hindu worldview.
Varieties of Understanding
Authors: Grimm Stephen R. 
Published: September 2019

Abstract
This chapter has two roles: (a) to introduce some of the key themes and questions in the volume, and (b) to indicate where several of the essays stand on these questions. One of the main questions asked is whether understanding human actions differs in important ways from understanding events in the natural world, and a contrast is drawn between how the “humanistic tradition” answers this question, as opposed to the “naturalistic tradition.” A further central question is why we desire firsthand understanding in areas such as philosophy, morality, and aesthetics, and whether this firsthand understanding is compatible with deferring to the testimony of others on these matters.
Toward a Theory of Understanding
Authors: Zagzebski Linda 
Published: September 2019

Abstract
This chapter proposes that understanding is the grasp of structure. The structure of an object gives it unity and lets us see it as a single object. When we grasp an object’s structure, we understand the object. Understanding must simplify what it grasps, and the larger and more complex the object of understanding, the more we must simplify and leave out of the phenomenon components that may be important at different times or for different purposes. The object of understanding can be anything that has structure: a living organism, an event, a narrative, a piece of music, a philosophical argument, a causal relation, a human intentional act, etc.