bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction: What Is Music Theater?
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
What is music theater? This is a fairly recent coinage in English, which can function as an “inclusive” term for all forms of theater based in music or music-and-dance (in which case opera is only a specialized historical form of music theater) and sometimes (as we use it here) as an “exclusive” term to refer to recent developments outside of traditional opera, operetta, and musicals. The crisis of opera is, at least in part, a reflection of the fact that opera is no longer at the apex of the arts, a role that has been taken over by new media. The “return” of music theater and its involvement with new media and new technologies is both the revival of something old, but also something new and ongoing.
Chapter 4 Cultural Narratives and Performance Institutions
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the cultural narratives inside and outside of opera and music theater as well as structural models for operatic and music theater companies. Issues of storytelling and highbrow/lowbrow art are followed by discussions of new roles for performers and subject matter. The chapter ends with a consideration of “loudspeaker culture”.
Chapter 9 Music Theater as Musiktheater
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
Music theater is a coinage taken from the German musiktheater, originally applied to the chamber opera or zeitoper of the '20s and '30s. After World War II, new music in Germany became experimental, almost exclusively instrumental and highly abstract (non-theatrical) as a reaction to fascism and the devastation of the war. This movement was focused on the Darmstadt Summer Courses. The return of the human voice and the influence of Cage can be noted in the works of Stockhausen, Ligeti, Schnebel, and others. Darmstadt began to lose its influence; the events of 1968 and the subsequent collapse of the East German regime created new concerns. Popular and social subjects began to influence younger German and Austrian composers. New technologies, multi-media and cross-over works began to appear. The founding of the Munich Biennale (by Henze) and the establishment of festivals and smaller companies provided platforms for new works of opera and music theater.
From Oberlin to Berlin
Authors: Carter Marva Griffin 
Published: January 2010

Abstract
This chapter discusses how Will Cook satisfied his musical interest by seriously studying the violin from 1883 to 1887 at Oberlin Conservatory. It discusses how Will outgrew Professor Doolittle’s violin instruction and how he studied and enjoyed his stay at Berlin’s Hochschule für Musik under the Austro-Hungarian violinist Joseph Joachim. It then narrates Cook’s return to Washington after a year’s study in Germany as a musical phenomenon performing some of the masterpieces upon his violin with one hand, probably because he had depleted his funds and became ill. It discusses how Will made a dramatic name change by abandoning the middle name Mercer, in favor of Marion, in honor of his mother. It explains that Will changed his name for he heard Langston boasting about how he got his best features from his white ancestors. It shows that Cook’s racial consciousness and pride were dramatically sensitive aspects of his personality.
“Broadway, Here I Come!”
Authors: Carter Marva Griffin 
Published: January 2010

Abstract
This chapter begins by discussing how the Worth’s Museum in Manhattan initiated Will Cook into musical theater. It talks about how important Bob Cole was to Will Cook in learning the tricks of the theatrical trade. It also talks about Will Cook and Paul Laurence Dunbar’s collaboration in creatively composing songs. It also tells of Cook’s disappointment and depression after being told by his prospective producer that he must be crazy to believe that any Broadway audience would listen to Negroes singing Negro opera. It narrates how Cook gathered another group of talented blacks, succeeded in organizing Broadway’s first black musical-comedy sketch, and gained praise from their audience. It then talks about Abbie Mitchell’s life as Will’s wife. It explains that Will Cook formed and applied his own philosophy—African-Americans should no longer imitate, but rather adhere to their own cultural mores—into his own musical compositions.
The Pearl of the Orient Seas
Authors: Goldoftas Barbara 
Published: January 2010

Abstract
This introductory chapter offers an overview of the history of the over-exploitation of natural resources in the Philippines, the political context, and the role of the Catholic Church in the environmental movement at local level. It argues that the Philippines and many developing countries need an environmentalism which treats the conservation of natural resources as both an ecological and economic problem; which is appropriate for their particular ecosystems; and which addresses entrenched poverty, weak governance, and the implications of unequal land ownership.
China: In Times of Civil and Cold War
Authors: Yoshida Takashi 
Published: January 2010

Abstract
This chapter traces the history and memory of the Nanjing Massacre in China from 1945 to 1971. During the civil war, the main focus of both Nationalist and Communist governments was on defeating their current enemies rather than remembering the war against Japan. Locals in Nanjing, however, preserved their personal memories and the history of the atrocities by initiating studies of Nanjing within the framework of the Chinese official narrative.
Epistemology and Teaching Styles: Different Forms, Same Message
Authors: Mertz Elizabeth 
Published: January 2010

AbstractThis chapter deals with the divergent teaching styles found in law schools. It looks at the variety of ways that a similar message about legal language is conveyed in today's law school classroom, ranging from a class dominated by lecturing to a modified Socratic method of teaching to a style characterized by shorter student-professor exchanges. This provides an opportunity to examine the nuances of discourse structure across different classes. Although surface features of classroom discourse differ among these classrooms, some interesting resonances are evident in other structural features of classroom language. These resonances provide subtle structural support for the underlying message about legal epistemology (and accompanying metalinguistic orientations) that is being conveyed to students.
On Becoming a Legal Person: Identity and the Social Context of Legal Epistemology
Authors: Mertz Elizabeth 
Published: January 2010

AbstractThis chapter considers what kind of person is created through the talk of the law school classroom and discusses the larger view of the world, of human selves and motivations, and of social context that are entailed in this creation. The chapter concludes by discussing the broader social implications of the underlying legal epistemology outlined earlier. Based on contemporary social theory, this chapter draws connections between U.S. legal language and the wider social system in which it is embedded.
Legal Language and American Law: Authority, Morality, and Linguistic Ideology
Authors: Mertz Elizabeth 
Published: January 2010

AbstractThis book has demonstrated that context matters to the understanding of law school training in a number of ways. In the classroom, aspects of the immediate context are crucial in the dynamics that create more and less inclusive discussions. These include, but are certainly not limited to, the demographic backgrounds of students and professors, the size and linguistic structuring of the class itself, and the status, history, location, and culture of the law school. Contextual cues in class also point the way to the shared epistemology that is conveyed in all of these classrooms, despite surface differences in discourse style. Finally, some kinds of context are ignored or omitted, creating a blind spot in the understanding of social conflict taught to law students. This chapter looks at the concepts of authority, morality, and linguistic ideology with respect to the teaching of law in law schools.
The End of Early Music
Authors: Haynes Bruce 
Published: January 2010

Abstract
Its performing traditions lost to time, early music has become the subject of significant controversy across the world of classical music and presents numerous challenges for musicians, composers, and even listening audiences. The studies of instruments and notes on early manuscript pages may help to restore early music to its intended state, yet the real process is interpretive, taking place within performers themselves. This book is about historical performance practice in its broadest sense. The book begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, the book engages with the most current and controversial topics in the field in defining the differences between them. Throughout, it presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance. From Werktreue and the Urtext imperative to formality in ritualized performances and authenticity as an industry standard, this book offers straightforward explanations of the most significant questions in the field. Two chapters compare Baroque expression through rhetoric and gestural phrasing to the Romantic concept of autobiography in notes. The book argues that performances are more pleasing and convincing to contemporary performers and listeners not through the attempt to return to the past, but rather by endeavoring to revive as best we can the styles and techniques that originally produced the music.
When You Say Something Differently, You Say Something Different
Authors: Haynes Bruce 
Published: January 2010

Abstract
Music has different styles: on the conservative end are wedding, funeral, and most religious repertoire, in the middle is the relatively unchanging “canonic” music, and on the informal side is popular music, highly variable and constantly shifting. It used to be, back in pre-World War II days, that performing style in Romantic music would “demode” very slowly. In those days, there was only a single performing protocol, one style that “fit all” and was used for music of many different kinds of composition. It was only in popular music that musical styles developed and atrophied in the space of a year or less. Before the Romantic Revolution, however, concert music was much less stable. This chapter discusses musical style, innovation in music, chronocentrism, and the rise of pluralism in the music scene.
Classical Music’s Coarse Caress
Authors: Haynes Bruce 
Published: January 2010

Abstract
Romanticism arose along with other values that are the foundations of modern life, like human rights, democracy, the decimal system, the universal use of family names, marriage based on love, and street addresses. No wonder it is so pervasive. Musicians find themselves looking at rhetorical repertoire through a series of veils, consisting of axioms and dogmas, usually unspoken, that are so strong in their culture that they tend to distort and obscure everything that pre- Romantic people thought music was meant to do, or how they went about playing it: not just how to play a trill, but something as basic as how to read the page. This chapter discusses classical music and why the Romantics called music “classical”, canonism in music, Charles Burney's documentation of the beginnings of music history, what conservatories conserve absolute music (the autonomy principle), originality in music and music genius, attribution and designer labels, and repeatability and ritualized performance.
The Medium Is the Message
Authors: Haynes Bruce 
Published: January 2010

Abstract
The years 1760 to 1840 are usually associated with the Industrial Revolution. They also encompassed a series of significant musical developments that led from Galant music to the Romantic/Canonic aesthetic. During this period, every kind of musical instrument underwent a fundamental transformation from the Baroque type to the Romantic. String instruments were rebuilt, mainly in order to make them louder and reduce the overtones, giving them a rounder, thicker sound. Woodwinds were redesigned so that each semitone was played with its own dedicated tone hole; this meant adding keys to close those holes when they were not used. The general system of tuning changed fundamentally, as leading tones became high rather than low and a new simplifying universal tuning, equal temperament, became common. This chapter discusses Period instruments and the influence of musical instruments on performing style, violins, and hardware and software for Period instruments.
The Rainbow and the Kaleidoscope
Authors: Haynes Bruce 
Published: January 2010

Abstract
Romantic and modern phrasing is seldom based on small units, but is an integral element of legato style. The Romantic long-line or “climax phrase” is traditionally the length of a singer's or wind player's breath. Also called “the overarching phrase,” the “sweeping melodic line,” the “sostenuto,” and the “grande ligne,” the long-line phrase is essentially a dynamic shape, starting softly and building to one or more notes, often high and usually somewhere in the middle of the phrase (these are the “goals” or “climaxes”), then diminishing to the end. This chapter discusses figures and gestures, examples of melodic figures, gestures as the antiphrase orders or levels of meaning, and gesture and phrase inflection (individual note-shaping).
Passive and Active Musicking
Authors: Haynes Bruce 
Published: January 2010

Abstract
If music is to remain a living art, the concept of performer as arranger/co-composer must be revived. We should share the sense of freedom that musicians felt at the time, not just in arranging their own and other people's compositions, but in writing new ones. However, it will be something of a miracle to overcome our habitual canonic thinking, which constrains us to play the same pieces over and over again, like cover bands. The modern cover band typically imitates one of the famous rock groups of the late 1960s, like the Beatles or Led Zeppelin. Cover bands may wear the same clothes and hairdos, or act the same way as their models. The basic attribute of cover bands, however, is that they play someone else's music. This chapter discusses the cover band mentality, the border between composing and performing, improvisation by the performer, style-copying in composing, Period composition, the genius barrier, and designer labels.
Introduction
Authors: Haynes Bruce 
Published: January 2010

Abstract
Separation between compositing and performing has not always existed. Before the rise of Romanticism, improvisation and composition were normal activities for any musician. In a time when new pieces were in constant demand, being a composer was nothing special, just part of the process of producing music. But even if a musician did not always write their improvisations down, they had to know how to make up music on the spot. Without that ability, they could not play the music of the time. What hangs like a veil between the musicians of today and those of pre-Romantic times are the changes in ideals and mentality, the paradigm shifts that are symbolized by the Industrial Revolution that took place between about 1760 and 1840, and more specifically the French Revolution that began in 1789. This chapter discusses canonism and classicism in early music, musical rhetoric, and authenticity as a statement of intent.
Composition in the Playground
Authors: Marsh Kathryn 
Published: January 2010

Abstract
The foregoing chapters have explored the interrelationship of oral transmission and generative practices in children's musical play in school playgrounds within its social context. While some variation is inadvertent, it is clear that children also use deliberate processes of innovation to vary game material for a range of different social and aesthetic purposes, in some cases creating entirely new compositions. This chapter looks at case studies of particular groups of children to investigate the compositional strategies enacted by playground performers in the context of their musical play. These strategies are compared with innovative processes found in other orally transmitted performance genres and then used to challenge a number of the assumptions and models pertaining to children's musical creativity. The “mystery” of children's playground composition in performance is considered by focusing on their statements regarding their innovation with respect to playground singing games and other forms of musical play.
6 The Spirit of Governance
Authors: DUSINBERRE WILLIAM 
Published: January 2010

Abstract
Several instances of relatively benevolent conduct toward slaves, directed usually toward a house servant, a skilled artisan, a “family slave,” or a mixed-race person, can be discovered in the Polk family records. White women sometimes pressed their husbands or their sons to act more benevolently than they would otherwise have done. But expressions of genuine feeling for a black person were exceedingly rare, and the actions of the Polk men (and some of the women) were normally governed by self-interest — sometimes dressed in beguilingly paternalist language. The Polk family records lend little support to the view that the men in this family acted largely in consonance with the paternalist code that was supposed to govern their conduct.
11 Texas and the Mexican War
Authors: DUSINBERRE WILLIAM 
Published: January 2010

Abstract
Polk's grandfather Ezekiel, his father, Sam, and the president himself had all established slave plantations on the westward-moving frontier; and the expansion of plantation slavery into Texas held deep personal meaning for the president. Polk had always felt a need to prove himself, and the early humiliations he had experienced in governing his slaves may have contributed to the belligerence of the diplomatic and military policies through which he demonstrated his determination to show the Mexicans who was in control. By whipping a war resolution through the House of Representatives against the wishes of 35 percent of its members, President Polk planted the seeds of a towering political conflict over the aims of the war with Mexico: was slavery to be legalized in the territory west of Texas that Polk wished to seize?
Expansive and Cursory Presentation of Authorship in the Secular Short Story
Authors: Coxon Sebastian 
Published: January 2010

Abstract
The short story or ‘Märe’ is another kind of narrative poetry which appears inextricably linked to an oral tradition of storytelling but whose increasing popularity characterizes the German literary scene of the period 1220-90. The presentation of authorship in several ‘Mären’ was already observed in the context of Konrad von Würzburg's oeuvre, where the poetic strategies involved range from the expansive (Herzmaere) to the cursory (Schwanritter). This chapter explores just how far the short story as a genre relates to such self-conscious authorial practices, and whether or not there is any affinity to be discerned between these texts and the heroic epic.
Venice and Habsburg Imperial Policy
Authors: LAVEN DAVID 
Published: January 2010

Abstract
This chapter looks at the place Venice and its hinterland assumed within broader imperial policy. It examines its role both within Metternich's defensive and diplomatic strategy, and within debates on economic and commercial issues. Underpinning this discussion is a consideration of how the authorities in Vienna viewed Venetians (in the sense of both veneziani and veneti), and how Venetians viewed not only their Austrian rulers, but other neighbours both within and without imperial frontiers. It is stressed that Venetians were more likely to see fellow Italians from Trieste or Lombardy as threatening to their interests than the German-speaking officials who were largely responsible for taking decisions about the region.
Conscription
Authors: LAVEN DAVID 
Published: January 2010

Abstract
This chapter examines another widely-disliked Habsburg institution: conscription into the army and navy. It analyses the debates that went on surrounding the introduction of an annual levy in Venetia, and contrasts the way in which the Austrian system operated with the fashion in which that of the Napoleonic Kingdom of Italy functioned. It argues that, while most Venetians still loathed conscription under the Austrians, and often went to great lengths to avoid it, military service was less irksome than under the French.
Nuns, Abbesses, Saints, and their Monasteries, c.900–1200
Authors: Harrington Christina 
Published: January 2010

Abstract
By all accounts, much of the Irish women's religious life was little affected by the changes of the 10th, 11th, and early 12th centuries. The structure of the professions, for example, seems unchanged. The two types of nuns, the virgins and the penitents/widows, continued to exist. Nuns, nunneries, abbesses, female saints, and their monasteries were all flourishing during this period. The female houses, large and small, were still in place. The nuns' professions appear to have continued much as before. Female saints, major and minor, continued to be petitioned by worshippers of both sexes. The changes of these centuries are, against this background, initially invisible. They become more apparent, however, when the scholar turns to the question of relations between the sexes within monastic life, and concentrates particularly on the chronology in the hagiographical corpus.
‘Generous Eve’ and the Echoes of Reform
Authors: Harrington Christina 
Published: January 2010

Abstract
If the changes in Irish material are best explained as a response, albeit an ambivalent and resistant one, to reform ideas flourishing beyond its shores, there are further enquiries to be made. First there are the reforms themselves — the language, imagery, and methods used, a few points of which have already been encountered. Then there is the vexed question of transmission, for it is commonly asserted that Ireland was largely insulated from overseas movements; in fact it is standard to say that the Gregorian reforms only reached Ireland in the 12th century, and the Benedictine reforms in England are generally thought to have made no impact on Ireland at all. If the first two issues can be explained satisfactorily, the final question remains: does the thesis work, in a broader way, for Irish writing on women as a whole?
On the docket: Changing conventions in a Muslim court, 1965–1995
Authors: ROSEN LAWRENCE 
Published: January 2010

Abstract
This chapter uses the docket of a Moroccan court for thirty years to show how the types of cases have changed over time. The introduction of new ways of approaching evidence — especially through circumstantial evidence — and new forms of thinking about causation have entered the law. As a result, the argument is made, both historically and for the present, that Islamic law is ever-changing and creative.
The Oslo Accords
Authors: Watson Geoffrey R. 
Published: January 2010

Abstract
This book presents a legal analysis of the Oslo Accords. The book begins by rejecting suggestions that the Accords are non-binding political undertakings. It argues instead that they are binding international agreements between subjects of international law. The book next analyses Israeli and Palestinian compliance with the Accords. It concludes that each side has a mixed record of compliance, but that neither side has committed so serious a breach as to warrant termination of the Accords. Finally, the book offers some suggestions on how international law might help shape a final status agreement between the parties.