bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mitigation implications of midcentury targets that preserve long-term climate policy options
Authors: O’Neill Brian C. , Riahi Keywan , Keppo Ilkka 
Published: January 2010

Midcentury targets have been proposed as a guide to climate change policy that can link long-term goals to shorter-term actions. However no explicit mitigation analyses have been carried out of the relationship between midcentury conditions and longer-term outcomes. Here we use an integrated assessment modeling framework with a detailed representation of the energy sector to examine the dependence of climate change outcomes in 2100 on emissions levels, atmospheric concentrations, and technology characteristics in 2050. We find that midcentury conditions are crucial determinants of longer-term climate outcomes, and we identify feasibility thresholds describing conditions that must be met by midcentury to keep particular long-term options open. For example, to preserve the technical feasibility of a 50% likelihood of keeping global average temperature at < 2 °C above preindustrial in 2100, global emissions must be reduced by about 20% below 2000 levels by 2050. Results are sensitive to several assumptions, including the nature of future socio-economic development. In a scenario with high demand for energy and land, being below 2 °C with 50% likelihood requires a 50% reduction in emissions below 2000 levels by 2050, which is only barely feasible with known technologies in that scenario. Results suggest that a greater focus on midcentury targets could facilitate the development of policies that preserve potentially desirable long-term options.
Remosomes: RSC generated non-mobilized particles with approximately 180 bp DNA loosely associated with the histone octamer
Authors: Shukla Manu Shubhdarshan , Syed Sajad Hussain , Montel Fabien , Faivre-Moskalenko Cendrine , Bednar Jan , Travers Andrew , Angelov Dimitar , Dimitrov Stefan 
Published: January 2010

Chromatin remodelers are sophisticated nano-machines that are able to alter histone-DNA interactions and to mobilize nucleosomes. Neither the mechanism of their action nor the conformation of the remodeled nucleosomes are, however, yet well understood. We have studied the mechanism of Remodels Structure of Chromatin (RSC)-nucleosome mobilization by using high-resolution microscopy and biochemical techniques. Atomic force microscopy and electron cryomicroscopy (EC-M) analyses show that two types of products are generated during the RSC remodeling: (
i
) stable non-mobilized particles, termed remosomes that contain about 180 bp of DNA associated with the histone octamer and, (
ii
) mobilized particles located at the end of DNA. EC-M reveals that individual remosomes exhibit a distinct, variable, highly-irregular DNA trajectory. The use of the unique “one pot assays” for studying the accessibility of nucleosomal DNA towards restriction enzymes, DNase I footprinting and
ExoIII
mapping demonstrate that the histone-DNA interactions within the remosomes are strongly perturbed, particularly in the vicinity of the nucleosome dyad. The data suggest a two-step mechanism of RSC-nucleosome remodeling consisting of an initial formation of a remosome followed by mobilization. In agreement with this model, we show experimentally that the remosomes are intermediate products generated during the first step of the remodeling reaction that are further efficiently mobilized by RSC.
Making Music Modern
Authors: Oja Carol J. 
Published: January 2010

Abstract
New York City witnessed a burst of creativity in the 1920s. This artistic renaissance is examined from the perspective of composers of classical and modern music who, along with writers, painters, and jazz musicians, were at the heart of early modernism in America. The book also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century. Aaron Copland, George Gershwin, Ruth Crawford Seeger, Virgil Thomson, William Grant Still, Edgard Varèse, Henry Cowell, Carl Ruggles, Marion Bauer, and Dane Rudhyar were the leaders of a talented new generation of American composers whose efforts made New York City the center of new music in the country. They founded composer societies—such as the International Composers' Guild, the League of Composers, the Pan American Association, and the Copland-Sessions Concerts—to promote the performance of their music, and nimbly negotiated cultural boundaries, aiming for recognition in Western Europe as much as at home. This book provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths. American composers active in New York during the 1920s are explored in relation to the “Machine Age” and American Dada; the impact of spirituality on American dissonance; the crucial, behind-the-scenes role of women as patrons and promoters of modernist music; cross-currents between jazz and concert music; the critical reception of modernist music (especially in the writings of Carl Van Vechten and Paul Rosenfeld); and the international impulse behind neoclassicism. The book also examines the persistent biases of the time, particularly anti-Semitism, gender stereotyping, and longstanding racial attitudes.
1 Leo Ornstein: “Wild Man” of the 1910s
Authors: Oja Carol J. 
Published: January 2010

Abstract
The decade between 1910 and 1920 was the mysterious Paleolithic period of modernist music in America. In the middle of a hazy, emergent scene, a charismatic keyboard virtuoso and composer named Leo Ornstein dazzled New York City with a series of four recitals at the Bandbox Theatre in January and February 1915. Ornstein's concerts startled musical New York and even aroused orchestral conductors, in some measure, out of their lethargic method of program-making. Ornstein performed not only recent music by European composers such as Arnold Schoenberg, Alexander Scriabin, Maurice Ravel, Isaac Albeniz, Erich Korngold, and Cyril Scott, but also adventurous new works of his own. With a flair for flamboyance and self-promotion, Ornstein provided an early model of how a modernist composer might make a career in the United States. He showed that modernism could be successfully marketed through clever packaging.
6 Dane Rudhyar’s Vision of Dissonance
Authors: Oja Carol J. 
Published: January 2010

Abstract
Noise was but one tool for modernist composers in the early 20th century. For many, the principal challenge came in devising alternatives to the tonal system on which much Western music had been based. One particular group of Americans—the “ultra-moderns”—took this mission especially seriously. Including composers who spanned a range of styles, the ultra-moderns seized experimentation as their rallying cry, and dissonance as their ideal. One facet of the ultra-moderns' music—especially that of Carl Ruggles, Henry Cowell, and Ruth Crawford—has been largely forgotten over time: the degree to which they associated dissonance with spirituality. In this realm, the French-American composer and philosopher Dane Rudhyar (1895-1985) became their quiet leader. Although Rudhyar's perspective represented only one part of ultra-modernism in the United States, it was influential for a time, and affected the way some of the most difficult strains of new music were being composed and perceived. All in all, Rudhyar fused an abundant array of ideas and influences into a distinctive vision of American dissonance.
13 Neoclassicism: “Orthodox Europeanism” or Empowering Internationalism?
Authors: Oja Carol J. 
Published: January 2010

Abstract
The stylistic designation “neoclassicism” met with especially strong resistance from young composers in the United States during the 1920s. Although slippery to define, neoclassicism popped up all across the Western modernist spectrum, often encompassing stylistic principles of “clarity” and “simplicity” and a broad range of attempts in art, music, and literature to re-imagine materials from the past. Whatever its profile, as a loosely defined aesthetic it affected a significant body of American works written late in the decade. These included compositions by Aaron Copland, Virgil Thomson, Roy Harris, Roger Sessions, Carlos Chavez, Walter Piston, and other newcomers to the scene. Much of the ambivalence of American composers toward neoclassicism hung on the question of whether the aesthetic yielded orthodox Europeanism, or whether it represented an empowering form of internationalism. Selected works from the Copland-Sessions Concerts exhibit sprightly responses to varying aspects of the aesthetic, showing how American composers achieved individuality while responding to a transnational set of aesthetic values.
20 Crossing Over with George Gershwin, Paul Whiteman, and the Modernists
Authors: Oja Carol J. 
Published: January 2010

Abstract
On February 12, 1924, Rhapsody in Blue, composed by George Gershwin (1898-1937), premiered at Aeolian Hall in New York City. Soon a group of other composers joined him in a brief but intense movement to produce “highbrow jazz”, including John Alden Carpenter, Aaron Copland, Louis Gruenberg, and William Grant Still. The first three made their careers in concert music, and the last straddled both popular music and concert music. At the same time, parallel forays were being made by European modernists seeking a means of mediating between the rarefied aesthetic terrain of high modernism and the more accessible plains of jazz. Gershwin may have taken his biggest artistic leap of the mid-1920s with another work, the Concerto in F, which represented a more ambitious attempt to bridge independent musical categories. One of the trendsetters in the crossover movement was the jazz-band conductor Paul Whiteman (1890-1967).
Introduction
Authors: Jarausch Konrad H. 
Published: January 2010

Abstract
This introductory chapter begins with a discussion of the aftermath of the German defeat and the atrocities committed under Nazi dictatorship. It then considers interpretations of Nazi barbarism. The chapter explains the purpose of the book, which is to explore German political culture during the second half of the 20th century. It looks at the practical rather than the intellectual ways in which Germans dealt with their problematic past.
“The Most Natural View of the Whole”
Authors: FOOTE THELMA WILLS 
Published: January 2010

Abstract
This chapter reveals that, by the 1740s, interracial socializing among colonial New York City's subaltern population of enslaved blacks, propertyless white servants, and transients troubled ruling elite and its binary racial division of society. It explains that with the additional threat of an impending Spanish invasion, the aggravation of an unsolved crime wave, and the outbreak of a mysterious rash of fire during the winter of 1741-42, fear of the city's dangerous classes crystallized in the discovery of the “plot of 1741-42,” an alleged conspiracy among enslaved blacks and several white outsiders accused of plotting together in secret to overthrow English rule, murder the city's white male settler population, enslave white females in harems, and establish a “Negro regime” under the protection of Catholic Spain.
“We Shall Never Be Quite Safe”
Authors: FOOTE THELMA WILLS 
Published: January 2010

Abstract
This chapter investigates examples of insubordination, ranging from the unruly behavior of the city's laboring class in the streets, marketplaces, dock areas, and taverns to the remarkable bids for freedom on the part of runaway servants and slaves. It points out that the largely unregulated population flows moving in and out of the port of New York compounded the problem of policing the city's servile population. It notes that the British war policy marked the abandonment of the long-standing disciplinary mechanism of governing the rulers and the majority settler population by cultivating a shaded interest between the rulers and the ruled in subjugation of the black population.
The Double Chorus in the St. Matthew Passion BWV 244
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
Is Bach's St. Matthew Passion really for double-chorus and orchestra? The one thing everyone seems to know is that the St. Matthew Passion is a double-chorus composition. The idea that the work balances two matched ensembles against each other—a feature typically regarded as “symmetry”—has itself been a theme of almost every discussion of the St. Matthew Passion. But the view of the St. Matthew Passion as a symmetrical double-chorus work has arisen largely from the experience of modern performances that use two large choirs. Bach's original performing materials and analytical features of the work show that very little is actually scored for equal choruses, and that the two ensembles do not have the same status. Chorus 2 is subordinate to Chorus 1 and is better viewed as a ripieno ensemble that most often supports the work's concertists (Chorus 1), only occasionally gaining a measure of independence. This flexible and expanded role for a group of ripieno singers had its origins in a movement from Bach's St. John Passion and was particularly suited to the dialogue texts at the core of the St. Matthew Passion's libretto. It is also consistent with the particular performance forces Bach had at his disposal.
There Is No Such Thing as a Norm
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
The mainstream repertory is so heavily Germanic that a novice of an earlier generation might easily have imagined that classical music had always been Teutonic territory. But in the art music of the Renaissance, the crucial region was what is now Belgium and northern France. Franco-Flemings like Dufay and Ockeghem dominated the 15th century, and their follower Josquin Desprez established the polyphonic style that dominated the 16th-century. This chapter presents an interview with Paul Hillier on Renaissance sacred music, the concept of definitive realization, size of an ensemble, how to perform a Renaissance piece, William Byrd’s Anglican works, instrumental accompaniment, voice production during the Renaissance, use of unwritten accidentals, barline as a musically significant element, transposition, intonation, improvisation, and authenticity and articulation in Renaissance music.
Beyond the Beautiful Pearl
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
More than anything else in music, the art of singing can turn reasonable people into red-faced absolutists. That by itself guarantees that the most controversial area of Baroque performance today is singing. It probably explains why outsiders often have problems with early music singing. And after the opulent beauty of the singing of Renata Tebaldi, they often object to such elements as limited vibrato—although it is a mistake to assume that Baroque singers never use any vibrato. However, the early music community itself argues over Baroque singing. Reconstructing historical singing styles has proved more challenging than reconstructing instrumental styles. In the field of singing, far more than in the world of the harpsichord or the gamba, modern mainstream style weighs heavily upon us. This chapter presents an interview with Julianne Baird on Baroque singing, her admiration for Maria Callas and Mirella Freni, opera singing, the rising power of the composer and reverence for the score, vocal writing, articulation in Baroque singing, portamento, the use of non-vibrato by opera singers, and vibrato and rubato in Italian Baroque singing.
At Home with the Idiom
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
According to The New York Times, William Christie is chiefly responsible for reviving interest in French Baroque music. After studying the harpsichord with Ralph Kirkpatrick at Yale University, Christie moved to Paris in 1971, where he immersed himself in the available documentation on French Baroque music, culture, and performance practices. From this he extracted not only a wealth of details but also the essence of a living style. He has managed to share that style with a pool of young musicians, many of them his students at the Paris Conservatoire, where he was the first American ever to be given a professorship. This chapter presents an interview with Christie on the French Baroque music, why the French Baroque is the most difficult style for modern performers to master, the importance of stressing certain syllables for comprehension of the text, historical information, French instrumental music, the distinction between the Italian and French style of Baroque singing, vibrato, early music, and ensemble.
Triple Counterpoint
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Small choruses may command the scene today, but Johann Sebastian Bach’s choral music remains in some respects embattled terrain: the arguments keep circling back to Bach. For some listeners, historically informed performances “are so supple and elegant, so refined and light, that they miss the gravity” implicit in some of Bach’s scores. Among the historicists themselves, the performance-practice issues are by no means resolved. Chief among the problem areas are the very concepts of “singing” and, even more, of a “chorus”. This chapter examines this pair of issues and others, including the question of historical authenticity itself. The discussions bear out Joseph Kerman. The views of Jeffrey Thomas, Philippe Herreweghe, and John Butt on singing Bach are discussed, along with issues such as phrasing and articulation, the use of musicological evidence in preparing performances, the importance of rhetoric in understanding the aesthetic of Baroque music, boys’ versus women’s voices in Bach, music conducting, and the distinction between German and Italian singing styles.
Restoring Ingredients
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
In 1976, Andrew Porter wrote that audiences and pianists, having once discovered the tone colors, clarity and alertness of wooden-framed pianos with thin strings and buckskin-covered hammers, will want to hear more of them. That time has yet to come, however. Even in the early music world, the fortepiano has fewer friends than we might expect. The harpsichordist Christophe Rousset speaks for many when he called it an imperfect instrument which had yet to evolve. Part of the problem is that in a large modern concert hall, the instrument becomes little more than a tinkling symbol. Malcolm Bilson, who mastered the Steinway long ago, argues for the advantages of the fortepiano. In making a case for the older instrument, Bilson addresses a more basic issue, still a touchy one for fortepianists: why might historical instruments matter at all? He also discusses changes in playing style, involving approaches to articulation and phrasing that are diametrically opposed to what has become the standard modern practise.
Speaking Mozart’s Lingo
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Robert Levin became a fortepianist by accident. What makes Levin uncommon is that he introduces into the Mozart works he performs: he does not play the same notes at each performance but makes some of them up on the spot. We now think of music in terms of a division of labor: the composer writes it, the performer plays it. In Mozart’s time, genres like the opera aria and the concerto still called for a good deal of performer input. In these works, Mozart did not write down all of the passagework, lead-ins, and cadenzas, but often played whatever occured to him at that moment. This chapter presents an interview with Levin on Wolfgang Amadeus Mozart and improvisation in music, how character is delineated in concertos, absolute pitch, use of the continuo in Mozart and Joseph Haydn, how improvisation can be translated into the recording studio, and the decline in size of audience for classical music.
The Environment of Jewish Life
Authors: Liberles Robert 
Published: January 2010

Abstract
This chapter shows that Jews lived in a variety of settings. In most locations, Jews lived among the Christian population. In some cities, notably in the Frankfurt and Prague ghettos, they lived in crowded conditions, with several families sharing a single unit. But in the majority of settlements, especially in the smaller towns and villages where most Jews lived, housing conditions could be more spacious. In such smaller communities Jews would allocate space to fill religious needs as well, ranging from synagogues and room to study to ritual baths and ovens. Wealthier Jews sought to improve their residences by living outside the accepted domains of Jewish residence, a move often opposed by the local authorities as a slight to Christian citizens and officials living in these more prestigious neighborhoods. For other Jews, residential restrictions often required that they move elsewhere to establish a family and a household.
Family Life
Authors: Lowenstein Steven M. 
Published: January 2010

Abstract
This chapter shows how German Jewish families underwent great change in the 19th century. In the early 19th century, there was still much overcrowding, many absent fathers, and many household members not part of the nuclear family to be found. With increasing urbanization, improving economic conditions, and the slow diminution of itinerant occupations, German-Jewish families increasingly adopted the traits and values of bourgeois German families.
German Jews and Their Social Relationships
Authors: Lowenstein Steven M. 
Published: January 2010

Abstract
This chapter shows that Jewish social life in the 19th century slowly became more sophisticated and less exclusive. Numerous German Jews acquired manners appropriate to polite gentile society and began attending cultural events such as concerts and the theater. Though most Jews continued to socialize mainly with coreligionists, mixed Christian-Jewish formal and informal circles became more common. Jews of the higher classes were admitted to general bourgeois associations, and Jews participated in slowly growing numbers in local government and national politics. Violence against Jews became less common. In the liberal era of the 1850s and 1860s, barriers to Jewish mixing with non-Jews were probably lower than ever before in German history, though separate social circles were still quite noticeable.
The Performers and Groups
Authors: Sweers Britta 
Published: January 2010

Abstract
The history of electric folk is a sequel of individual, yet closely intertwined biographies. Given the complex interrelationship of the acoustic revival scene and subsequent electric approaches, this chapter first discusses acoustic artists of the Second Revival who played a key role in the emergence of the genre. This includes the more traditionally oriented duo Shirley and Dolly Collins, guitarist Martin Carthy and fiddle player Dave Swarbrick, as well as guitarists Davy Graham, Bert Jansch, and John Renbourn, the latter two being the founding members of the jazz-fusion group Pentangle. A central focus is set on the key folk rock group Fairport Convention — including Sandy Denny, guitarist Richard Thompson, and bassist/band leader Ashley Hutchings, who also founded Steeleye Span. While still connected to this early period, the Oysterband represents a more recent folk rock-oriented approach.
Why Massive Resistance?
Authors: Klarman Michael J. 
Published: January 2010

Abstract
This chapter assesses how the forces of massive resistance overwhelmed more liberal opinion on racial integration. It stresses that those white southerners who were opposed to the Brown decision were more politically committed than were those who accepted or supported it. It adds that die-hard segregationists used the apparatus of local and state government to destroy political dissent among the southern whites. It highlights the importance of legislative malapportionment, which provided disproportionate political power to rural districts where white racism was most virulent. It shows a dramatic picture of the southern states in the grip of reactionary racial politics.