bluuebunny/crossref_metadata_2025_split huggingface dataset:
Neuropathology of the intermediolateral nucleus of the spinal cord in sudden unexplained perinatal and infant death
Authors: Lavezzi Anna M. , Corna Melissa F. , Mehboob Riffat , Matturri Luigi 
Published: January 2010

AbstractExperimental studies have demonstrated that breathing activity in rats is generated early in embryonic stages in rostral spinal cord, precisely in the intermediolateral nucleus, then establishing a spinal cord–brainstem network.In this study we aimed to individuate and to define the developmental steps of the intermediolateral nucleus, still inadequately known in humans, in the thoracic spinal cord of a large series of perinatal and infant death victims, aged from 17 gestational weeks to 10 months of life. Besides we investigated a possible link between alterations of this nucleus and sudden unexplained perinatal and infant death.The normal developmental pattern of the human intermediolateral nucleus consists of a progressive maturation of its neurons, that change from a round to a polygonal shape with long axons and significantly decrease in number.Various degrees of intermediolateral nucleus hypodevelopment (neuronal immaturity in a normal structure/hypoplasia/agenesis) were found almost exclusively in unexplained fetal and infant death victims. Besides, a significant correlation was found between maternal smoking in pregnancy and the neuropathological results.In conclusion this work underlines the negative effects of prenatal nicotine exposure on the development of autonomic nervous centers checking the vital functions, already in early gestational stages, when the integrity of the intermediolateral nucleus is indispensable for the first breathing bursts.
The fallacy of the willing victim
Authors: Naiden F.S. 
Published: January 2010

Abstract:Following the lead of Walter Burkert, scholars have believed that the ancient Greeks required that sacrificial animals assent to being killed, or at least appear to assent. The literary evidence for this view, however, is weak, being confined mostly to dramatic scholia and Pythagorean sources, and ample visual evidence suggests an alternate view: the Greeks required that sacrificial animals make some display of vitality that would show that they were fit to present to a god. The Greek practice of inspecting sacrificial animals supports this alternate view.
Agamemnon437:ChrysamoibosAres, Athens and Empire
Authors: Bakewell Geoffrey 
Published: January 2010

Abstract:The chorus' depiction of Ares as a ‘gold-changer of bodies’ and trader in precious metals underscores the increased intersection of finances and war in fifth-century Athens. The metaphor's details point to three contemporary developments (in addition to thepatrios nomosallusion noted by Fraenkel): the increased conscription of citizens, the institution of pay for military service, and the payment of financial support for war orphans. And as leader of the Delian League, Athens itself resembled the war-god, establishing equivalents between men and money, and profiting from its acceptance of tribute payments in a variety of currencies. Taken together, the metaphor's contemporary dimensions probably had an unsettling effect on the Athenian audience.
What was the colour of Athena's Aegis?
Authors: Deacy Susan , Villing Alexandra 
Published: January 2010

Abstract:The aegis is Athena's most intimate and widely-discussed attribute, yet one of its vital aspects has so far been largely neglected: its colour. We shall argue that the nature and the role of the aegis and of its bearer are reflected not only in its shape and decoration, but also in its colour and luminosity. As with Athena'sglaukoseyes, the key to chromatic characterization and meaning lies in brightness rather than hue. Most often in literature and art, Athena's aegis is characterized by a yellow or gold reminiscent of the gleam of the sun or of metal, which expresses a general divine gleaming brightness but also Athena's specificcharis, namely the beauty, vitality and sparkling (or cunning) attractiveness that she can bestow on mortals under her protection. The dark or even black aegis (kyanaigisormelanaigis), by contrast, expresses the dark, wrathful and furious side of the goddess. Brightly shimmering or darkly obscuring, the aegis refers to Athena's protective, yet also potentially destructive, power. Its variable characterization in terms of ‘colour language’ constituted one tool among the many that were available to the Greeks for the construction of her divine personality.
Some Recent Developments in Charting
Authors: Ritchie G. S. 
Published: January 2010

Since the last Institute meeting on the Admiralty chart in 1967 the compilation office, formerly at Cricklewood, has been moved to a new building at Taunton, alongside our printing works established there in 1940. Thus, except for a small office in Whitehall, which keeps in touch with the ever changing defence scene, the whole of our organization is now concentrated at Taunton, from where every week between 30,000 and 40,000 Admiralty charts are despatched, through our agents, to navigators in every part of the world.As readers of the Institute'sJournalwill know, to mark the 21st anniversary of the Institute a special edition, entitledThe Navigation Explosionwas published. Papers published in this edition highlight the very rapid advances which have been made during those 21 years as a result of a happy marriage between the ancient art of navigation and modern science and technology.
The International Chart
Authors: Pascoe L. N. 
Published: January 2010

At the 9th International Hydrographic Conference in 1967 it was agreed to set up a Commission to study the constitution of an international set of charts, confining the study initially to charts on scale smaller than 1 in 1 million. This set should eventually enable all the members of the International Hydrographic Bureau (I.H.B.) to print in facsimile all such small-scale charts required for world-wide navigation in international waters. Among the factors which influenced this decision were:(1) The duplication of charting which exists at present; as an example, six nations compile and publish a general chart of the Mediterranean, all with almost the same scale and limits.(2) The large degree of standardization of chart symbols achieved by the work of the Bureau.(3) The great and continuing increase in the work load of all the national hydrographic offices.
Commercial Navigation Systems for Long-range Subsonic Transports in the 1970's
Authors: Waldman R. H. 
Published: January 2010

The economic requirement for reductions in horizontal separation standards on high density oceanic routes such as the North Atlantic has motivated the search for a navigation and guidance system combining compatibility with foreseeable separation criteria while at the same time remaining cost effective. In this paper, by the Executive Vice-Chairman of the International Air Navigators' Council, an attempt is made from that point of view, to suggest various systems which are envisaged as meeting the most stringent requirements foreseen. Consideration is given to accuracy requirements, avionic hardware, and optimization of crew responsibilities based on airline experience derived over the past decade. Mr. Waldman is a navigator with Air Canada, but the views expressed are not necessarily those of the Air Canada Management.1. Introduction. In the spring of 1965, an I.C.A.O. Special North Atlantic Regional Air Navigation Meeting (NAT/ RAN) approved by a margin often to two a reduction in nominal lateral separation from 120 n.m. to 90 n.m. in the ‘principal area’. (The ‘principal area’ of the NAT Region is the area delineated by Gander Oceanic, Lisboa Oceanic, New York Oceanic, Reykjavik, Shanwick Oceanic, and Sondrestrom, South of 700 North.)
The Accuracy Contours of a Running Fix
Authors: Black A. N. 
Published: January 2010

The diagrams in the paper by Y. Namikawa and Y. Yamazaki with the above title (thisJournal,22, 169) are based on a fallacious argument. Since the distance run between bearings is one of the parameters a navigator must choose, it is useless to express the error as a multiple of it. Consequently their final recommendations are also invalid.Instead, the error should be expressed as a multiple of the shortest distance off, a distance which is not affected by the pattern of observation chosen. The navigator must then choose the angles off the bow, or more correctly off the course made good, to obtain the best fix.
EVERY SHIFT AUTOMORPHISM VARIETY HAS AN INFINITE SUBDIRECTLY IRREDUCIBLE MEMBER
Authors: OWENS KATE S. 
Published: January 2010

AbstractA shift automorphism algebra is one satisfying the conditions of the shift automorphism theorem, and a shift automorphism variety is a variety generated by a shift automorphism algebra. In this paper, we show that every shift automorphism variety contains a countably infinite subdirectly irreducible algebra.
8 Henry Cowell’s “Throbbing Masses of Sounds”
Authors: Oja Carol J. 
Published: January 2010

Abstract
Henry Cowell (1897-1965) gained fame for his musical innovations during the 1910s and 1920s—especially for his use of clusters (which he defined as “chords built from major and minor seconds”), his conceptualization of the string piano (a technique of plucking and otherwise manipulating the piano strings rather than striking the keys), and his forays into complex rhythms. And as with Carl Ruggles, Cowell's connection to the innovative theories of Charles Seeger deeply affected his own work. Cowell made a debut at Carnegie Hall in New York City in 1924 and took several European concert tours during the 1920s. Cowell also felt the impact of spirituality on his evolving theories of new music. In the early stages of his exploration he had significant contact with Dane Rudhyar. In writings about spirituality and dissonance, Rudhyar repeatedly conjured up Cowell's clusters as exemplifying his ideals. By late in the decade, the language Rudhyar used for describing Cowell's music began to travel beyond spiritual circles, becoming enmeshed in the rhetoric surrounding these novel pitch constructions.
10 A Forgotten Vanguard: The Legacy of Marion Bauer, Frederick Jacobi, Emerson Whithorne, and Louis Gruenberg
Authors: Oja Carol J. 
Published: January 2010

Abstract
American composers not only explored new compositional byways during the 1920s but also sought ways to bring their work before the public. They were good at it, often finding others willing to invest time and money in devising opportunities for performance and publication. As a result, a string of new music organizations appeared in New York City, including the International Composers' Guild, the League of Composers, the Pan American Association of Composers, and the Copland-Sessions Concerts. These followed parallel ventures in the visual arts. During the first two decades of the century, Alfred Stieglitz's Gallery 291 exhibited new European and American art, while selected dealers such as Stephan Bourgeois began featuring modernist painting. This chapter looks at the legacy of composers Marion Bauer, Frederick Jacobi, Emerson Whithorne, and Louis Gruenberg in the field of modernist music in New York.
14 The Transatlantic Gaze of Aaron Copland
Authors: Oja Carol J. 
Published: January 2010

Abstract
More than any other composer in the generation born around 1900, Aaron Copland (1900-1990) has come to be seen as championing an idiom that was identifiably American. Copland began pursuing a nationalist voice during the 1920s, while keeping pace with the latest developments abroad. During this period, Copland grasped the importance of having both an international purview and a national one. His transatlantic gaze was deeply intertwined with his personal response to neoclassicism. Copland's European connections were reinforced by Paul Rosenfeld, as well as by the modernist climate in New York City, with the high value it placed on new music from abroad. Over the course of the 1920s, Copland kept his transatlantic ties strong by visiting Europe frequently, and played a public role in encouraging Euro-American communication by publishing essays and reviews commenting on his experiences. Through these trips and articles, Copland's relationship to neoclassicism emerged with clarity.
19 Modernism and the “Jazz Age”
Authors: Oja Carol J. 
Published: January 2010

Abstract
Jazz was the single most discussed musical genre of the United States during the 1920s, coming to represent the decade as a whole. The “Jazz Age” evoked rapid mechanization and the giddy good life of America's more high-rolling citizens, as much as it did a particular genre of music. For American modernist composers, increased pluralism expanded the repertory of available sound sources, and their “eclectic breeding” became a vital component in shaping modernism in the New World. Jazz was the non-European music with the greatest impact on composers of modernist music. Aside from contributing materials to new music, it provided a much-desired musical link to cultures thought to be “primitive”, whether those of the African continent or the American South. It also appeared to be one of the most effective ways in which American composers might gain long-desired acceptance in Western Europe. The vogue for jazz among American concert composers reached its peak between 1924 and 1926, yet it had ongoing implications profoundly affecting the musical language of Americans for decades to come.
Black and White Manhattan
Authors: Foote Thelma Wills 
Published: January 2010

Abstract
Race first emerged as an important ingredient of New York City's melting pot when it was known as New Amsterdam and was a fledgling colonial outpost on the North American frontier. This book details the arrival of the first immigrants, including African slaves, and traces encounters between the town's inhabitants of African, European, and Native American descent, showing how racial domination became key to the building of the settler colony at the tip of Manhattan Island. During the colonial era, the art of governing the city's diverse and factious population, the book reveals, involved the subordination of confessional, linguistic, and social antagonisms to binary racial difference. Everyday formations of race are investigated — in slave owning households, on the colonial city's streets, at its docks, taverns, and marketplaces, and in the adjacent farming districts. Even though the northern colonial port town afforded a space for black resistance, that setting did not, this book argues, effectively undermine the city's institution of black slavery. This history of New York City demonstrates that the process of racial formation and the mechanisms of racial domination were central to the northern colonial experience and to the founding of the United States.
“One and the Same Interest”
Authors: FOOTE THELMA WILLS 
Published: January 2010

Abstract
This chapter shows that the disciplinary mechanism of antiblack racism became a key instrument of governance in colonial New York City. It notes that New York City's Slave Revolt of 1712 was the act of unculturated native Africans and other slaves, who from their own distinctive worldviews, regarded colonial New York's institution of slavery as an unjust social relation. It demonstrates the specter of interracial sexual desire, especially in households where slave owners and their families lived under the same roof with black Africans.
A Different Sense of Time
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Newspaper reports on the monks of Santo Domingo de Silos have called their best-selling CD “an album of 1,000-year-old Gregorian chant” or even “1,500-year-old chant”. But both estimates erroneously assume that the chants on the CD are unaltered relics from the Middle Ages. If anything in music can be shown clearly, it is that the chanting of modern monks bears only a general resemblance to what was sung a thousand years ago. It can be argued that today’s historical-performance movement began with plainchant. Marcel Pérès has devoted his career to exploring such chant traditions as the Old Roman, the Beneventan, and the Mozarabic. Pérès has also explored Ambrosian chant, which escaped suppression and was sung in Milan—though not necessarily in its original form—until our own time, and various Gregorian “dialects”, such as the 17th- and 18th-century plainsong repertoires of Auxerre, Paris, and the Italian Franciscans. This chapter presents an interview with Peres, who discusses plainchant, Gregorian chant, ancient chant, musicology, and the use of microtones in early chants.
Emotional Logic
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Conventional wisdom holds that during the Renaissance period, instrumental music was a sideshow. Vocal music, such as that discussed by Peter Phillips and Paul Hillier, had such prestige that only after 1600 did instrumental repertory come into its own. But according to the harpist-keyboardist Andrew Lawrence-King, conventional wisdom is wrong. It became the conventional view anyway, he argues, partly because of the modern preoccupation with written scores. In Renaissance instrumental music, much of what was important was not written down but was improvised. This raises, he points out, a paradox at the heart of the early music movement: to be faithful to the spirit of the past often means being unfaithful to the written notes that survive from the past. This chapter presents an interview with Lawrence-King on improvisation in Renaissance instrumental music and perfect instruments.
You Can Never Be Right for All Time
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
George Frideric Handel was the first composer in history whose works never fell out of the concert repertory. But despite the reverence for him, only a little of his music was actually performed in the 19th century. Messiah was one of them, of course, sung with increasingly gargantuan choruses and orchestras, and so were Samson, Israel in Egypt, and Judas Maccabeus. But such masterpieces as Theodora, Giulio Cesare, Jephtha, Orlando, and L’Allegro, il Penseroso, ed il Moderato occupied few beyond the occasional scholar. The coincidence of the Handel revival with the historical-performance movement has raised a number of issues. A more basic issue is the works themselves. When certain works by a widely revered composer are almost never played, one might be forgiven for suspecting that these works are of lesser quality. Such suspicions have faded in recent decades, but doubts about the stageworthiness of the operas persist. This chapter presents an interview with Nicholas McGegan on Handel, use of countertenors for the operatic roles written by Handel for castrati, early music singing in Handel, improvisation with Baroque orchestras, ornamentation in Handel’s works, harmony, rubato, Handel’s rhythmic notation, technical perfection, period pronunciation in English-language oratorios, and overdotting.
Reinventing Wheels
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Joshua Rifkin’s career as conductor, harpsichordist and pianist has taken him from Antoine Busnoys to Johann Sebastian Bach, and Igor Stravinsky to Scott Joplin—with, along the way, the spoof The Baroque Beatles Book and some lovely instrumental arrangements for Judy Collins. The Bach Ensemble, which he founded in 1978, has recorded a number of Bach works and has toured throughout the United States and Europe; he has also appeared as guest conductor and keyboard soloist with many modern orchestras. Rifkin is also a scholar who has specialized in Renaissance and Baroque music, with particular emphasis on Josquin des Prez and Bach. This chapter presents an interview with Joshua Rifkin on more basic issues of historical performance, interpretation and inflection, technical perfection, and the concept of musical rhetoric.
Economic Life
Authors: Lowenstein Steven M. 
Published: January 2010

Abstract
This chapter shows how the Jewish population pursued a very limited range of often marginal occupations within the relatively underdeveloped preindustrial economy of Germany in the 18th century. Subject to many legal restrictions, they rarely had a fixed place of business and often lived on the edge of subsistence. Although there were always some wealthy Jews, the vast majority were in difficult economic straits. Political emancipation and the Industrial Revolution helped large numbers of Jews find new economic opportunities and improve their positions substantially. Although not all Jews benefited from the rapid changes, many were able to enter the German middle class.
Career and Employment
Authors: Maurer Trude 
Published: January 2010

Abstract
The two major economic crises of the Weimar Republic — the inflation at the beginning and the Depression at the end — accelerated the stagnation and economic decline that had already begun before World War I. As early as 1933, a social worker predicted that German Jews would experience such grave restrictions in their “economic sphere” that their standard of living would be reduced to the point of ending their “middle-class existence”. This chapter shows how this prediction came true, with the onslaught of discrimination, boycotts, and ultimately “Aryanization” — a euphemism for the Nazi expropriation of Jews.
A Question Of Definition
Authors: Sweers Britta 
Published: January 2010

Abstract
A hybrid revival genre like electric folk illustrates the difficulty of a strict separation of art, folk, and popular music. This is also corroborated by a deeper analysis of the relationship between electric folk and traditional English music. This chapter starts out with a picture of traditional music as depicted by the collectors of the First Revival, Cecil Sharp in particular, whose definition was also adapted by the International Folk Music Council in 1954. Issues discussed here include: the ideal of a “pure” English folk music tradition, the separation of traditional music from popular/commercial music, the disappearance of the tradition, exclusiveness of oral transmission, the ideal of unaccompanied singing, editorial changes and notational aspects. Discussing several modern controversial perspectives on the relationship of traditional and popular music, including Dave Harker, Karl Dallas, Alan Lomax, and Simon Frith, the chapter argues for more a flexible application of the various concepts.
Modern Revival And Fusion Processes
Authors: Sweers Britta 
Published: January 2010

Abstract
In order to discuss modern revival and fusion processes from a broader perspective, this chapter presents the case study of the New St. George, an American English electric folk band. The interview with band leader Jennifer Cutting adds a relativizing angle to the specific situation of a hybrid music band, such as the musical selection process, the performance situation, and the business side. As the specifically marginal situation of American English bands reveals, hybrid bands often have to work with compromises much stronger than the dominant “Celtic” scenes, which can fall back on a much broader local and global network. While thus appearing as a highly specific genre, English electric folk is nevertheless also being revealed as a highly influential genre — be it with regard to the more successful “Celtic” branch — yet also with regard to folk rock approaches in neighboring countries like Scandinavia.