bluuebunny/crossref_metadata_2025_split huggingface dataset:
Arthur Benjamin and the French Public
Authors: Changeur Jean-Paul 
Published: February 2010

“How will the public react to it?” is a question that arises when an opera is about to have its first performance in a foreign countryArthur Benjamin's opera Primadonna does not seem a difficult one to “export,” mainly because of its subject-matter. One might expect the action of a British opera to take place in some remote part of Old England (as in Peter Grimes, the most famous of English operas with us French) whose ways are so unfamiliar as to risk leaving the general public quite untouched. Here, however, there is no such risk: we are in Venice, the courtly Venice of the 18th century, and the characters, the déecor, the whole atmosphere belong to the cultural heritage of all Europe.
New Opera Houses
Authors: Koegler Horst , Raeburn Christopher 
Published: February 2010

Within six weeks of each other two rebuilt German opera-houses opened their doors: on September 4th the East-Berlin Deutsche Staatsoper, Unter den Linden; on October 15th the Hamburgische Staatsoper. Two more contrasting examples of differing architectural approaches are hardly imaginable. These are the facts:The Berlin Staatsoper, erected in 1743 by Frederick the Great through his architect Knobelsdorff and several times unsatisfyingly renovated until it was heavily bombed for the second time in February, 1945, has been rebuilt according to the original plans, except for some alteration of the interior. This means: early classical facades (definitely Prussian in character) with rooms inspired by sober Prussian rococo-elements originating in the Potsdam palaces. The house has plenty of room for halls, staircases, foyers, passages, cloakrooms; the auditorium seats about 1,500 persons, distributed over stalls and three galleries. The impression is one of festive intimacy. Every technical facility for pit and stage has been installed. The stage measures 85 by 75 feet (plus backstage space 38 by 73 feet). Comfortable backstage dressing-rooms have been gained through the removal of all accommodation not directly connected with the actual performance to a separate nearby building. The costs of the rebuilding of the opera-house alone amount to £3 million.
How Western Music Came to Japan
Authors: Yoshida Takatoshi 
Published: February 2010

To begin this article, I ought to give a picture of the condition of Japanese Society a century ago, when European culture was first introduced into Japan.Until a century ago Japan had been ruled by Shogun Tokugawa, an administrator of the feudal age, under whose policy of isolation we had no possibility of assimilating either European or Oriental civilisation. In the year 1867 a civil war against the Shogun brought to an end the feudal system in Japan. The revolutionary army, which was supporting the Emperor, established a new government and opened up the country to foreign commerce. To make up for the backwardness caused by three centuries of isolation, they took an extreme course and europeanised the country in a very short time. Not only did they send a great number of young scholars to Europe to be trained there, but they also invited European advisors into government and many other important posts. Eagerly the upper classes set about changing the ancient customs of their country: they took a special pride in wearing European dress and discarding all signs of traditional Japanese life. In fact, very soon Japanese aristocrats vied with each other to appear at the soirées of the European Diplomatic Corps in the most fashionable European dress, dancing to European music minuets and waltzes instead of traditional Japanese dances and Japanese music, and speaking French. Soon the progressive middle classes tried to imitate this zest for europeanisation. They wore kimonos with European shoes and bowler hats, smoked big cigars, and sang ‘Home Sweet Home’ in English in the street.
At the Ballet: Americans at Covent Garden
Authors: Brahms Caryl 
Published: February 2010

The American Ballet Theatre has held its first London season at that Mecca of every ballet-company outside Soviet Russia, the Royal Opera House, Covent Garden.Ballet Theatre is, for the most part, a young, long-limbed and eminently adaptable company, presenting the classics with a rather touching wariness and their own creations with zest.
Concerning “Sprechgesang”
Authors: Wood Ralph W. 
Published: February 2010

In part III of Schönberg's Gurrelieder there is a section, Des Somtnenvindes wilde Jagd, that is described as a “melodrama” and that constitutes the only appearance in the work of the character listed among the soloists as “The Speaker.” The words of this number are written under what would appear to be a normal vocal line (though perhaps of rather unusually simple nature), except that crosses are used instead of note-heads:There are no directions in the score as to how the part is to be rendered.
Arnold van Wyk's ‘Five Elegies’
Authors: Ferguson Howard 
Published: February 2010

Arnold van Wyk's Five Elegies for String Quartet, of which miniature score and parts have recently been published, were written during 1940–41 and were first performed in 1942 at the National Gallery Concerts in London.The title alone might suggest a set of five separate pieces cast in a uniformly grey mood. Such an impression would be false, however, for the work is essentially a single whole, and it covers an unexpectedly wide emotional range. This is perhaps less surprising when one considers how different are one's reactions at different times to the thought of impermanence and decay. (It may be worth remembering, in this connection, that the work was written in wartime London, at the height of the Blitz.) Indeed, the Elegies contain all the variety, in themselves and between one another, that one would expect in a work lasting eighteen or nineteen minutes. But this diversity is always unified by an underlying elegiac mood.
Stravinsky in Interview
Authors: White Eric Walter 
Published: February 2010

When Stravinsky left Russia and came to Western Europe, he was often interviewed, not only by specialist critics writing for musical periodicals, but also by newspaper journalists. The results were sometimes disastrous. In the mid-thirties he decided to put the record straight by writing a Chronicle of his Life. In his introduction to the first volume he recalled:In the numerous interviews I have given, my thoughts, my words, and evenjacts, have often been disfigured to the extent of becoming absolutely un-recognisable.
Bartók as Man of Letters
Authors: Suchoff Benjamin 
Published: February 2010

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.
An Instrumental Problem in ‘Pulcinella’
Authors: Keller Hans 
Published: February 2010

Stravinsky knew little about violin technique. It happens in the best circles. Schumann, on the evidence of his highly substantial string quartets, knew as much about string playing as I know about the cimbalom. Brahms and Tchaikovsky wrote great violin concertos against the violin. And Mahler's auditioning of violinists was a joke: ‘He attached the greatest significance to the steadiest possible bowing in sustained notes’, Carl Flesch recounts,and therefore considered the beginning of the third act of Siegfried [Flesch means the beginning of Act III, Scene 3] a touchstone for the bowing technique of an orchestral violinist … He first asked me to play a Mozart Adagio, and then set the Siegfried passage in front of me. As my bow glided over the strings with the phlegmatic calm of a world-weary philosopher, he seemed greatly pleased, wanted to nail me down to the post of leader at once, and accompanied me himself to the administration building …
Bruce Cole and ‘Fenestrae Sanctae’
Authors: Potter Keith 
Published: February 2010

Bruce Cole is a 26 year-old English composer who, though a fairly late starter, has a number of substantial pieces to his credit. He studied with Harrison Birtwistle at the Royal Academy of Music from 1968 to 1972, having previously been engaged in such varied activities as playing piano in a rock group and free-lancing as a motor mechanic.With Birtwistle, Cole started from the beginning: he entered the Academy still undecided as to what he should do and actually took composition as a second study for his first term (with piano as first study). He had no previous training in composition, but Birtwistle's teaching methods—described by Cole as ‘building in a straight line’—served as an excellent catalyst.
Modeling a paranoid mind
Authors: Colby Kenneth Mark 
Published: February 2010

AbstractAlgorithmic model building in artificial intelligence provides a contemporary method for explaining certain kinds of human behavior. The paranoid mode of thought and action represents a kind of pathological behavior that has been well recognized for over twenty centuries. This article describes a computer simulation model embodying a theory that attempts to explain the paranoid mode of behavior in terms of strategies for minimizing and forestalling shame-induced distress. The model consists of two parts, a parsing module and an interpretation-action module. To bring the model into contact with the conditions of a psychiatric diagnostic interview, the parsing module attempts to understand the interview input of clinicians communicating in unrestricted natural language. The meaning of the input is passed to an interpretation-action module made up of data structures and production rules that size up the current state of the interview and decide which (linguistic) actions to perform in order to fulfill the model's intentions. This module consists of an object system which deals with interview situations and a metasystem which evaluates how well the object system is performing to attain its ends. The fidelity of the simulation has been tested using Turing-like indistinguishability tests in which clinical judges attempt to distinguish the paranoid model-patient from an actual paranoid patient. Since clinicians are unable to make the relevant distinctions, the simulation is considered successful at the input-output level of functional equivalence. Issues of underlying structural equivalence and the nature of generative pattern explanations are discussed in the light of the model's potential value in guiding clinicial decisions and intervention strategies in paranoid disorders.
The impending demise of the icon: A critique of the concept of iconic storage in visual information processing
Authors: Haber Ralph Norman 
Published: February 2010

AbstractWithout disputing the experimental evidence that subjects have available most of the content of brief displays for a fraction of a second, or that visual stimuli Persist after their physical termination for a similar time, I argue that this evidence is irrelevant to perception. Specifically, the notion of an icon as a brief storage of information persisting after stimulus termination cannot possibly be useful in any typical visual information-processing task except reading in a lightning storm. Since the visual world that provides the stimuli for perception is continuous and not chopped up by tachistoscopes, and since our eyes and heads are rarely motionless, no realistic circumstances exist in which having a frozen iconic storage of information could be helpful. Rather, the presence of such an icon interferes with perception. This paper examines instances of normal perception, and then reviews experimental evidence on temporal integration, saccadic suppression, masking, and the photoreceptor basis of visual persistence, to further demonstrate that a storage of excitation cannot be a useful device for storing information. Finally, I note that little would have to be changed in our theories of visual perception or information processing if we simply forgot all about the icon and iconic memory as an early stage of processing.
On the function of muscle and reflex partitioning
Authors: Windhorst Uwe , Hamm Thomas M. , Stuart Douglas G. 
Published: February 2010

AbstractStudies have shown that in the mammalian neuromuscular system stretch reflexes are localized within individual muscles. Neuromuscular compartmentalization, the partitioning of sensory output from muscles, and the partitioning of segmental pathways to motor nuclei have also been demonstrated. This evidence indicates that individual motor nuclei and the muscles they innervate are not homogeneous functional units. An analysis of the functional significance of reflex localization and partitioning suggests that segmental control mechanisms are based on subdivisions of motor nuclei–muscle complexes. A partitioned organization of segmental control mechanisms could utilize (1) the potential functional diversity of muscle fiber types, (2) the variety of mechanical actions of individual muscles arising from their distributed origins and insertions, and (3) diverse architectural features such as intramuscular variations in pinnation and complex in-series and in-parallel arrangements of muscle fibers. The differentiated activity observed in some muscles during natural movements also calls for localized segmental control mechanisms. Partitioning may also play a role in mechanical interactions between contracting motor units and in increasing the stability of neuromuscular systems. The functional advantages of reflex localization and partitioning suggest they are probably common features of segmental systems, whose organization reflects the structure and function of their associated neuromuscular systems.
Multiple Book Review ofSpeech perception by ear and eye: A paradigm for psychological inquiry
Authors: Massaro Dominic W. 
Published: February 2010

AbstractThis book is about the processing of information in face-to-face communication when a speaker makes both audible and visible information available to a perceiver. Both auditory and visual sources of information are evaluated and integrated to achieve speech perception. The evaluation of the information source provides information about the strength of alternative interpretations, rather than just all-or-none categorical information, as claimed by “categorical perception” theory. Information sources are evaluated independently; the integration process insures that the least ambiguous sources have the most influences on the judgment. Similar processes occur in a variety of other behaviors, ranging from personality judgments and categorization to sentence interpretation and decision making. The experimental results are consistent with a fuzzy logical model of perception, positing three operations in perceptual (primary) recognition: feature evaluation, feature integration, and pattern classification. Continuously valued features are first evaluated, then integrated and matched against prototype descriptions in memory; finally, an identification decision is made on the basis of the relative goodness-of-match of the stimulus information with the relevant prototype descriptions.
The Maltese cross: A new simplistic model for memory
Authors: Broadbent Donald E. 
Published: February 2010

AbstractThis paper puts forward a general framework for thought about human information processing. It is intended to avoid some of the problems of pipeline or stage models of function. At the same time it avoids the snare of supposing a welter of indefinitely many separate processes. The approach is not particularly original, but rather represents the common elements or presuppositions in a number of modern theories. These presuppositions are not usually explicit, however, and making them so reduces the danger of slipping back into earlier modes of thought.The key point is to distinguish between persisting representations and the processes that translate one representation into another. Various classes or groups of persisting representations can be distinguished by the experimental treatments that interfere with them. In particular, there now seem to be several kinds of short-term or temporary storage, different from each other as well as from longterm memory; the translating processes also have several different modes or kinds. A particularly important aspect of the current position is that a model of this general type no longer requires some external agent to direct and control long sequences of behaviour.
Game theory and the evolution of behaviour
Authors: Smith J. Maynard 
Published: February 2010

AbstractEvolutionary game theory is a method of analysing the evolution of phenotypes (including types of behaviour) when the fitness of a particular phenotype depends onits frequency in the population. It was first applied to pairwise contests between animals. Such contests usually have some associated asymmetry, in size, prior residence, or age or sex status; the theory predicts that the asymmetry will be used as a cue to settlethe contest, and this is found to be the case. The theory can also be applied when individuals are competing against the population as a whole, or some part of it. In such cases, the evolution of variable behaviour - so-called mixed strategies - is predicted; actual examples of this are given. Game theory can be applied to the evolution of cooperative as well as of antagonistic behaviour. An analysis of the evolution of learning leads to testable predictions about learning behaviour.
Moving forward on cultural learning
Authors: Lillard Angelina S. 
Published: February 2010

Tomasello, Kruger & Ratner make the very interesting and valid point that the transmission of culture must depend on understanding others' minds. Culture is shared among a people and is passed on to progeny. The sharing of culture implies that the purpose of (and therefore the meaning behind) any given cultural element (behavioral tradition, word, or artifact) is understood. Because meaning or purpose emanates from minds, something about others' minds must be understood in order to truly learn some element of a culture. It thus makes sense that cultural learning should depend on social-cognitive skills. But what exactly is cultural learning?There are two rival interpretations of the term cultural learning. In the first, one would define a given type of cultural learning by the type of social-cognitive skill it entails. For example, imitative learning would be defined as any learning of a cultural element in which another's goals or intentions are taken into account. This definition of cultural learning, however, would force Tomasello et al.'s argument into a circle: Imitative learning relies on this social-cognitive skill because imitative learning is defined as learning that relies on this social-cognitive skill. Such a circular definition does not do their argument justice.
Précis ofOrigins of the modern mind: Three stages in the evolution of culture and cognition
Authors: Donald Merlin 
Published: February 2010

AbstractThis book proposes a theory of human cognitive evolution, drawing from paleontology, linguistics, anthropology, cognitive science, and especially neuropsychology. The properties of humankind's brain, culture, and cognition have coevolved in a tight iterative loop; the main event in human evolution has occurred at the cognitive level, however, mediating change at the anatomical and cultural levels. During the past two million years humans have passed through three major cognitive transitions, each of which has left the human mind with a new way of representing reality and a new form of culture. Modern humans consequently have three systems of memory representation that were not available to our closest primate relatives: mimetic skill, language, and external symbols. These three systems are supported by new types of “hard” storage devices, two of which (mimetic and linguistic) are biological, one technological. Full symbolic literacy consists of a complex of skills for interacting with the external memory system. The independence of these three uniquely human ways of representing knowledge is suggested in the way the mind breaks down after brain injury and confirmed by various other lines of evidence. Each of the three systems is based on aninventivecapacity, and the products of those capacities – such as languages, symbols, gestures, social rituals, and images – continue to be invented and vetted in the social arena. Cognitive evolution is not yet complete: the externalization of memory has altered the actual memory architecture within which humans think. This is changing the role of biological memory and the way in which the human brain deploys its resources; it is also changing the form of modern culture.
Repairing the brain: Trophic factor or transplant?
Authors: Bond Nigel W. 
Published: February 2010

AbstractThree experiments on neural grafting with adult rat hosts are described. Working memory impairments were produced by lesioning the hippocampus or severing its connections with the septum by ablating the fimbria-fornix. The results suggest that the survival and growth of a neural graft, whether an autograft or a xenograft, is not a necessary condition for functional recovery on a task tapping working memory.
The structure, operation, and functionality of intracerebral grafts
Authors: Cassel Jean-Christophe , Will Bruno 
Published: February 2010

AbstractThe concept of structure, operation, and functionality, as they may be understood by clinicians or researchers using neural transplantation techniques, are briefly defined. Following Stein & Glasier, we emphasize that the question of whether an intracerebral graft is really functional should be addressed not only in terms of what such a graft does in a given brain structure, but also in terms of what it does at the level of the organism.
CNS transplant utility may surive even their hasty clinical application
Authors: Nieto-Sampedro Manuel 
Published: February 2010

AbstractNeural cell transplants have been introduced in clinical practice during the last decade with mixed results, encouraged by success with simple animal models. This commentary is a reminder that although the ideas and techniques of transplantation appear simple, the variables involved in host-transplant integration still require further study. The field may benefit from a concerted, multidisciplinary approach.
Studying restoration of brain function with fetal tissue grafts: Optimal models
Authors: Silver Rae , LeSauter Joseph 
Published: February 2010

AbstractWe concur that basic research on the use of CNS grafts is needed. Two important model systems for functional studies of grafts are ignored by Stein & Glasier. In the first, reproductive function is restored in hypogonadal mice by transplantation of GnRH-synthesizing neurons. In the second, circadian rhythmicity is restored by transplantation of the suprachiasmatic nucleus.