bluuebunny/crossref_metadata_2025_split huggingface dataset:
Underground Is Life
Authors: Hagen Trever 
Published: July 2019

Abstract
The survival of the Underground after 1989 rests on the collective memory it has shaped in relation to establishments. This relational pair is the convention that holds the Underground together: the pathway of underground-establishment is continuous, the communist era being articulated into the multi-temporal meaning and use of establishment. This chapter addresses the nature of transformation in the Underground after 1989—although the ecology embraces change and technology, the musical material remains the same. The Plastic People of the Universe have now become the oft-quoted rock group of the Czech Underground, symbolizing Eastern bloc communist oppression, Cold War logics of liberty and freedom, and music’s borderless humanity. The Plastics maintain this legacy in local and foreign discourse while performing repertoire from their forty-five years of ensemble history. Yet the chapter also points to how new musical practices and meanings have grown in the Merry Ghetto, suggesting an Underground Renaissance. The contemporary Underground festival U Skaláka functions as an environment to reaffirm these articulations between musicking and forms of freedom, politics and historical identity. Continuing to play and to listen to Underground music nowadays provides conditions for Undergrounders to continue living within their cultural ecology and thus helps us to understand self-reflexive notions of the political during communism as not ending with 1989 but rather adapting to different forms of creative and political suppression in contemporary times.
Introduction: Bioethics and Theology
Authors: Carlin Nathan 
Published: July 2019

Abstract
This chapter reviews the role of religion in bioethics and proposes a new way forward, which, in terms of methodology, will be outlined in chapter 1. What this books adds—how it is different from most accounts of theological bioethics—is that this is a work of what the author calls pastoral aesthetics. Specifically, the distinguishing feature of this book is its employment of pastoral theology (via a distinct interdisciplinary method of correlation) in bioethics. The chapter begins with a review of how bioethics has been defined and then makes an argument for the reintroduction of religion to the field. The author uses Gilbert Meilaender’s Bioethics: A Primer for Christians as an example of religion’s role in bioethics and juxtaposes Meilaender’s view with those of feminist theological ethicists Beverly Harrison and Shirley Cloyes. Finally, the author outlines the structure of the book, which aligns with the four principles in Tom Beauchamp and James Childress’s Principles of Biomedical Ethics.
Justice and the Living Human Web
Authors: Carlin Nathan 
Published: July 2019

Abstract
This chapter focuses on justice. Part one begins with a discussion of how justice is articulated in Principles of Biomedical Ethics. This is followed by two classic cases concerning justice: the Seattle Dialysis Committee and the Tuskegee Syphilis Study. The former deals primarily with clinical ethics, and the latter with research ethics. Together they illustrate how justice is often understood in bioethics. Part two focuses on Bonnie Miller-McLemore’s pastoral image of the living human web. The essential features of this image include the following claims: (i) human suffering needs to be understood in context; (ii) psychology, while valuable and necessary, cannot by itself make sense of the whole of individual human experience; and (iii) other perspectives and disciplines, therefore, are needed, such as sociology, anthropology, philosophy, economics, and more. Part three correlates justice and the living human web.
Introduction
Authors: Bendrups Dan 
Published: July 2019

Abstract
This introduction offers a social history of Rapa Nui that puts into relief the various forces that have effected change in Rapanui society, extending from precontact times to the 1960s—the point at which the Rapanui people were finally endowed with recognition of their basic human rights and the point at which tourism commenced in earnest. This history includes a short detour through the discourses of collapse and “ecocide” that permeate Rapanui scholarship. This is followed by a discussion of music and sustainability that provides a theoretical and disciplinary grounding for the study. Finally, the introduction provides an explanation of the structure of the book and the chapters that follow.
Broad Landscape of School Jazz Education
Authors: West Chad 
Published: July 2019

Abstract
Previous research has shown what school jazz educators spend their time teaching, but not how they teach those things or why. Certain instructional strategies are correlated with high student achievement in jazz, but it is not known whether school jazz teachers are utilizing them or what those strategies look like when they do. Teaching School Jazz: Perspectives, Principles, and Strategies introduces the reader to two expert, yet very different, school jazz educators, whose case studies are inserted in chapters throughout the book. Bruce considers himself an experienced music teacher who happens to also teach jazz, rather than a professional jazz musician. Emily, on the other hand, considers herself both an experienced music teacher and a professional jazz musician. This chapter describes differing thoughts about and approaches to teaching school jazz to help paint a picture of what school jazz looks like.
Internal Language of Jazz
Authors: Titlebaum Mike 
Published: July 2019

Abstract
Perhaps the most important aspect of jazz is that it absolutely requires inner hearing—audiation—to perform it effectively. The performer must hear the music inside her head at the moment of producing it; to only hear the music after it comes out of the horn is a recipe for certain disaster. This chapter presents exercises for developing beginning through advanced students’ rhythmic and tonal audiation skills in jazz. It provides a progression of rhythmic groove exercises that jazz teachers can use to improve the rhythmic feel of ensembles of any age. Methods for teaching head charts (arrangements taught by ear and memorized for performance) are presented as a valuable way for getting students’ heads out from behind the music stands and setting them on the way to becoming more active listeners as well as more tonally and rhythmically independent performers.
Beginning Rhythm Section
Authors: West Chad , Palmer C. Michael , Grace Michael , Fabricius Daniel 
Published: July 2019

Abstract
How does one take a concert band snare drummer, classically trained pianist, orchestral bass player, and self-taught guitar player and turn them into a jazz rhythm section? The drummer has never had so many drums and cymbals to worry about, the pianist may be playing with a group for the very first time, the bass player has to learn to “walk” a bass line, and the guitar player has to play in foreign keys. This chapter addresses the teaching of the rhythm section with regard to (a) rhythm section notation, (b) bass, (c) piano, (d) guitar, (e) drum set, (f) auxiliary instruments, and (g) rhythm section rehearsal strategies. It presents a sequential approach to teaching the beginning rhythm section: (a) walking bass lines, (b) voicing chords, (c) comping patterns, (d) playing setups and fills, and (e) interpreting and realizing instrument-specific rhythm section notation markings.
High School Rhythm Section
Authors: Fabricius Daniel 
Published: July 2019

Abstract
Today, music educators and students have many resources available to study the specifics of playing any instrument. However, as educators it should be our job to guide students to use their ears along with all of the other resources. This chapter focuses on ways that the jazz ensemble conductor can coach high-school-level rhythm section players to make rehearsals more beneficial to all and to attain more authentic performances. The chapter includes details on various jazz styles, instrument-specific tips, and remedies for common issues within the rhythm section. It is divided into six main sections: (a) player profiles, (b) teaching jazz ensemble concepts, (c) awareness of other players, (d) improvisation, (e) chart reading, and (f) self-directed learning. Readers should find the information in this chapter helpful in developing their own rehearsal techniques that will fit their specific teaching situations.
Jazz Bass
Authors: Walker Nicholas 
Published: July 2019

Abstract
The role of the double bass in any jazz band is fundamental to the success of the whole ensemble. The bass line carries both the rhythm and harmony from beat to beat in a way that establishes both a solid pulse and a clear formal structure that allows all of the other elements of jazz to be meaningfully felt. This chapter is designed to introduce a double bassist to jazz playing. It begins with fundamental information about instrument setup, posture, and technical approaches that allow for full expression unhindered by physical pain and injury. Next, the chapter introduces approaches to learning music and bass lines by ear and presents a progressive sequence of skills that allow a bassist to embellish simple traditional bass lines creatively and personally by understanding root movement and connecting chords with walking iconic bass lines.
Choosing Jazz Literature
Authors: Fabricius Daniel 
Published: July 2019

Abstract
Most music educators can probably remember several moments as young musicians when they realized they had just played or heard an amazing composition. Educators must recall how playing amazing music affected them as young musicians and then seek to provide the same experiences for their students. This chapter discusses the selection of appropriate literature for jazz ensemble study and performance. Finding a great combination of program selections is a fun challenge, and readers will find ways to research the many choices available. The chapter includes helpful information regarding many facets of literature selection, including narrowing the search, using resources to research possible selections, realistically evaluating the teaching situation, selecting music to match the band, selecting repertoire to represent a variety of styles, instrumentation and doubling considerations, and budget considerations.
Teaching Jazz Standards
Authors: Weiser Nick 
Published: July 2019

Abstract
The issue of teaching jazz standards is fraught with questions. What are “standards?” What makes a composition a standard? Why do jazz musicians use them as vehicles for improvisation? How are greater standards distinguished from lesser standards? How does one select particular standards to suit the needs of students? This chapter provides strategies for learning and internalizing the core jazz repertoire. It provides historical context to the development and evolution of the jazz standard canon, looking to the songbook folios of the great American tunesmiths and to original and seminal recordings as sources for the study of this music. Emphasis is given to the practical issues of selecting age- and skill-level-appropriate tunes; memorizing melodies, chord progressions, and lyrics (as applicable) in multiple keys; and devising improvisational exercises specific to individual compositions.
What Things Are Good?
Authors: Phillips David 
Published: July 2019

Abstract
This chapter focuses on Ross’s moderate pluralism about the good. Though it is less original than his moderate pluralism about the right, it is argued that there is much to be said for his version: his list of basic intrinsic goods—happiness, virtue, knowledge—is a plausible starting list. And much of what he says about virtue and about the value of knowledge is also plausible. There is, however, another aspect of Ross’s treatment which it is argued is wholly mistaken: a persistent impulse to downgrade happiness relative to virtue. This radical antihedonism takes different forms in The Right and the Good and the Foundations; but both forms are misconceived.
Postbop
Authors: Waters Keith 
Published: July 2019

Abstract
Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, in the areas of harmony, form, melody, and cadence. Postbop composers abandoned or muted many techniques of tonal jazz, the jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms, often with tonal cadences at the ends of constituent 8-bar sections), and tonal harmonic progressions. Attributes of postbop compositions rely on a series of family resemblances that include axis progressions (harmonic, melodic, or bass sequences by a single interval, such as major third or minor third); absence or suppression of functional harmonic progressions; common structure progressions; bass pedal points beneath shifting harmonies; and harmonic rhythm with chord changes every half-measure, measure, or every two measures. The last feature distinguishes postbop jazz from that of so-called modal jazz, which relies on a slower harmonic rhythm. One of the significant precedents for postbop jazz is to be found in John Coltrane’s 1959 composition “Giant Steps,” which provided potent alternatives to more conventional tonal designs.
Wayne Shorter
Authors: Waters Keith 
Published: July 2019

Abstract
Wayne Shorter remains one of the most significant jazz composers of the 1960s, with challenging compositions noted for their harmonic and formal ambiguity. “El Toro” (Art Blakey, Freedom Rider) uses a major third axis progression in a 16-bar form, but the melodic structure cuts against an 8 + 8-bar regularity; “Virgo” (Night Dreamer) relies on a 29-bar ABAC form with irregular phrase lengths. A comparison of “Penelope” (Etc) and “El Gaucho” (Adam’s Apple) shows that they begin with a nearly identical melody, but Shorter subjects each to radically different harmonic environments. “Pinocchio” (Miles Davis, Nefertiti) is an 18-bar composition. Its major third axis uses postbop substitution strategies that echo more-conventional progressions. “Face of the Deep” (The All-Seeing Eye) is one of Shorter’s more exploratory compositions: it links to the jazz avant-garde, and its scoring for three horns reveals an expanded vocabulary of upper structure harmonies.
Herbie Hancock
Authors: Waters Keith 
Published: July 2019

Abstract
Hancock’s postbop composition provided some of the signature sounds of the 1960s. “King Cobra” (My Point of View) relies on both major third and minor third axis progressions, often using a slash-chord vocabulary; several devices at the end of the form enhance its tonal and formal ambiguity. “Dolphin Dance” (Maiden Voyage) maintains an even heightened sense of tonal and formal ambiguity. It begins with major third axis progressions embellished through harmonic substitutions and elaborations; despite local harmonic cadences and goals, the composition suppresses a single-key orientation. “Jessica” (Fat Albert Rotunda) relies on a perfect fifth axis progression in its skeletal melody, and its horn scoring reveals significant details of Hancock’s harmonic vocabulary and harmonic substitution techniques.
Evolutionary Perspectives
Authors: Waters Keith 
Published: July 2019

Abstract
The chapter supplies three areas for further inquiry into postbop composition: tonal vestiges that connect to earlier tonal jazz practices (through bass motion by descending fifth and descending half step); double axis progressions; and contrapuntal organization. It then describes the evolution of postbop jazz through the notion of schema—a prototype, exemplar, or conventional grammatical pattern. For example, the major third axis schema originally appeared within the constraints of tonal jazz conventions (“Smoke Gets in Your Eyes,” “Have You Met Miss Jones”), but once it penetrated to deeper levels of structure (John Coltrane, “Giant Steps”) it became an agent of syntactic change, giving postbop composers a potent point of departure to bypass tonal jazz frameworks.
Subordination
Authors: Mikkola Mari 
Published: July 2019

Abstract
The chapter examines a well-known antipornography claim, the subordination claim, which holds that pornography causes and is women’s subordination. The chapter first spells out this claim in detail distinguishing the causal and constitutive understandings of the subordination claim. The chapter then considers how plausible the claim is. The general argumentative gist of the chapter is as follows. Contra critics of the causal subordination claim, it argues that the claim is not so implausible after all. Or, at the very least, prevalent critiques do not conclusively refute the subordination claim, as some critics claim. Nonetheless, the chapter also shows that the constitutive formulation of the subordination claim is much harder to sustain.
Does Pornography Silence Women?
Authors: Mikkola Mari 
Published: July 2019

Abstract
One of MacKinnon’s central claims is that pornography is not only words. Rather, pornographic speech subordinates and silences women. Using Austin’s speech act theory, Langton and Hornsby argue that pornographic speech has the power to silence women, thus depriving women of free speech rights. This silencing claim has attracted much philosophical interest over the past couple of decades. The chapter considers how we should understand the silencing claim by carefully dissecting the relevant literature. It further assesses the philosophical and practical tenability of the claim. The main philosophical lessons to arise from this chapter are as follows. First, even though some aspects of the silencing claim have pretheoretical plausibility, it remains to be established that pornographic speech is responsible for women’s silencing. Second, the silencing claim is often discussed by appealing to intuitive gut-feelings about specific cases. But (the chapter argues) this is not methodologically conducive to settling the matter.
Free, Regulated, or Prohibited Speech?
Authors: Mikkola Mari 
Published: July 2019

Abstract
This chapter considers whether legal restrictions on pornography that are compatible with liberalism can be defended and if so, in what form. The chapter aims to show the following. First, in disentangling what different feminist and liberal views are committed to, we can see that the supposedly firm opposition between feminist proregulation and liberal antiregulation positions is not so firm after all. Instead, there is much common ground between allegedly opposing sides. Second, some pornography regulations are permissible, even within a liberal framework and on paternalistic grounds. Third, although we have grounds to regulate pornography, criminalizing pornography production, distribution and consumption is the wrong response to pornography’s problems.
The Aesthetics of Pornography
Authors: Mikkola Mari 
Published: July 2019

Abstract
The chapter aims to bring debates in feminist philosophy and philosophy of art closer together, and to discuss central topics of contention in the aesthetics of pornography. It considers three themes: the fictionality of pornography, whether pornography and art are mutually exclusive, and what (if anything) is morally objectionable about digitally generated imagery. In so doing, the chapter offers support for two broad views. First, that fantasies and pornographic fictions are not beyond moral reproach in virtue of being fantastical and fictitious. Second, to hold that pornography is centrally or necessarily about sexual arousal (as philosophers of art typically do) yields misguided analyses of the phenomenon. This chapter, then, tells us something important not only about issues relevant for philosophy of art debates pertaining to pornography; it also instructs us about the nature and morality of pornography.
Pornography as Liberation
Authors: Mikkola Mari 
Published: July 2019

Abstract
Pornography debates have tended to polarize the feminist movement and led to the “sex wars” of the 1970s and 1980s. The main opposition can be denoted with PorNo (antipornography positions) and PorYes (pro-pornography and “sex positive” outlooks), but is fraught with difficulties. For example, it is unclear what exactly is under dispute: Is the disagreement about how to define the concept of pornography or merely about which materials fall under it? Subsequently, the chapter considers two questions: Is feminist pornography possible? Might pornography be emancipatory? The chapter answers both questions with “yes” and considers what would make pornography feminist and/or liberatory when thinking about racialization, ability, and “fattism” in pornography. It argues that neither an unqualified PorNo nor an unqualified PorYes position is tenable. Furthermore, these positions share many basic commitments; but both sides tend to paint the opposition in an uncharitable light and in a manner that distorts the debate.
Fire in the Office
Authors: Murnieks Charles Y. , Cardon Melissa S. 
Published: July 2019

Abstract
This chapter delves into the identity–passion interface and examines how nuances in this relationship manifest in different outcomes. The construct of identity and how it relates to an individual’s self-concept is discussed to more fully understand how identity plays a central role in passion. We argue that identities serve as a foundation of an individual’s passion, and that as such, the relative space that certain identities occupy within one’s self-concept has implications for how different types of passion manifest. The chapter reviews the primary theories of passion developed by scholars, and examines the research that has investigated the relationship between identities and passion. This chapter also offers a summary of the progress made in this area and the work that remains to be done.
Determinants of Passion for Work
Authors: Hardgrove Mark E. 
Published: July 2019

Abstract
In this chapter a wide summary of the determinants of passion is presented and considered. This summary systematically explores the implications of insights from various multidisciplinary inputs, including psychology, sociology, leadership, and management. An historical overview of the concept of passion within the discipline of leadership theory is presented. The dualistic model of passion and importance of passion for work in the organization is reviewed. Personal and social factors are identified, and the manner by which these factors can be considered and encouraged by organizations is discussed. Finally, the results from a qualitative study, which aimed at identifying how an organization can sustain or improve employee passion for work, are presented.
The Role of Autonomy Support in the Development of Passion
Authors: Carpentier Joëlle , Mageau Geneviève A. 
Published: July 2019

Abstract
This chapter focuses on the crucial role that autonomy-supportive social environments play in the development of passion toward work. It provides an overview of self-determination theory and how basic psychological needs can be fulfilled or thwarted by one’s working environment. The importance of autonomy-supportive environments, and what they entail, in the initial and ongoing development of passion are highlighted, with research, both in the work and nonwork domains, in support. Finally, practical applications of this relationship between autonomy-supportive work environments and the development of a more intense and healthier form of passion toward work are also discussed, mainly in terms of leaders’ training.