bluuebunny/crossref_metadata_2025_split huggingface dataset:
Remaking Copyright in the First Amendment's Image
Authors: Netanel Neil Weinstock 
Published: May 2008

Abstract
Courts are not the only realm in which First Amendment values should come into play in defining and delimiting copyright. Concern over copyright's speech‐burdening potential should also animate Congressional legislation and Copyright Office regulation and arbitration. This chapter outlines a number of ways in which the Copyright Act could be modified to be more solicitous of speech while still preserving the copyright incentive's positive contribution to our “system of freedom of expression.”
The proposals tend toward narrowing copyright holders' proprietary entitlements—in some cases converting them to liability rules. But they do not all result in a net loss for copyright holders. In fact, the chapter proposes mechanisms for payment where today copyright holders receive nothing. The proposals cover copyright's extension to creative appropriation, copyright's inordinately lengthy term, the conflict between copyright and personal uses, the conflict between copyright incumbents and new media, paracopyright, and moral rights.
INTRODUCTION CONCEPTUALIZING MUSIC
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This introductory chapter begins with a discussion of two theories from Greek antiquity, the music theories of Pythagoras and Aristoxenus. These theories, and the music to which they refer, are unfamiliar even to those who make music theory the focus of their research. However, the disorienting effect of this unfamiliarity also serves to loosen our notions about what a theory of music, or a theoretical construct, should be. It is argued that the music theories of Pythagoras and Aristoxenus belong to a world remote from our own. Not only did these theorists have to grapple with the most basic of principles, but also the music they would describe is microtonal, one that is primarily concerned with the successive notes of melody rather than the simultaneous notes of harmony. Despite this, Pythagorean and Aristoxenian accounts of musical organization provide us with a glimpse into how theories are formed and, more important, the cognitive processes that are basic to these theories. In particular, three cognitive processes can be seen at work: categorization, cross-domain mapping, and the use of conceptual models. An overview of the succeeding chapters is presented.
CONCLUSION COGNITIVE STRUCTURE, THEORY, AND ANALYSIS
Authors: Zbikowski Lawrence M. 
Published: May 2008

Abstract
This concluding chapter returns to M. Swann and to his final encounter with Vinteuil's sonata after a year in which it became thoroughly intertwined with his love affair with Odette, the courtesan with whom he had become acquainted around the same time he first encountered the andante. This provides a frame for a review of the points made in the preceding chapters and an instrumentality for drawing conclusions from the whole.
CHAPTER 2 De Meyer in the South and Midwest
Authors: Lott R. Allen 
Published: May 2008

AbstractDe Meyer made the usual inland tour of visiting performers, following the coastline to Charleston, then to New Orleans and Mobile, then up the Mississippi and Ohio rivers. He traveled with his own Erard grand pianos, and with his brother-in-law made all arrangements for the concerts as they appeared in each city. His concerts were generally well attended, and many of those in the audience seemed to be attracted out of curiosity. Although De Meyer's music may be seen today as catering to the masses, many of the reviews suggest that his works were beyond the comprehension of the musical taste of the general public.
CHAPTER 15 “Unfortunately … He Also lalks”
Authors: Lott R. Allen 
Published: May 2008

AbstractHans von Bülow was notoriously frank and admitted in a newspaper interview that Carl Bergmann had been fired as his conductor in Boston because of dereliction of duty and his interest in beer, like most Germans as he was quoted to say. His anti-German remarks created an outrage and concert attendance at many of Bülow's appearances suffered. Although Bülow was generally considered to have a more perfect technique and memory than Rubinstein, and surpassed his friendly rival on such issues as fidelity to the score and conscientious interpretation, Bülow was still found wanting by being too intellectual, analytical, and distant. In Baltimore, his appearances included concerts with the Peabody Institute Orchestra conducted by his former pupil Asger Hamerik, and in Washington, D.C., he made acquaintance with Romaine von Overbeck, with whom he would fall in love.
Conclusion
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
In the conclusion Gerhardt reviews the basic arguments made throughout the book about the role of precedent in constitutional law, as well as the ramifications of the Roberts Court's handling of precedent in its first two years. He suggests that the Roberts Court has been entirely predictable in avoiding direct overruling of precedents, weakening precedents which the majority does not like, and grounding its opinions largely (but not wholly) in precedent. Gerhardt reiterates the case for his comprehensive framework for explaining better than other current theories (or statistical studies) the multiple functions of constitutional law. One strength he identifies in his framework is the importance it places on candor as a means for justices and other constitutional actors to clarify the significance of precedent, as contrasted with judicial minimalism, which liberates justices from having to explain the reasons for (or implications of) their decisions.
FROM THE EROTIC TO THE DEMONIC
Authors: Scott Derek B. 
Published: May 2008

Abstract
This book is an attempt to decode, explain, and account for the way that social meaning in music is perceived. It is concerned throughout with the socially constituted values of musical styles, and contains a collection of wide-ranging chapters exploring aspects of sound and meaning, production and status, dissemination and reception, and criticism and aesthetics. Each chapter considers the workings of a particular relationship between ideology and musical style, offering different perspectives on how ideas are communicated through music. The book illustrates how musical styles construct ideas of class, sexuality, and ethnic identity. In doing so, it is concerned to demonstrate how such constructions relate to particular stylistic codes in particular cultural and historical contexts. The book is divided into four parts, covering the areas of gender and sexuality, ideology in relation to popular music, the sacred and profane, and ideology and cultural identity. The subjects debated include erotic representation from Monteverdi to Mae West, the sexual politics of 19th-century musical aesthetics, the Native American in popular music, the sacred and the demonic, Orientalism, and the initial impact of African-American music-making on the European classical tradition. The book's arguments are supported by ninety musical examples taken from such diverse sources as baroque and romantic opera, symphonic music, jazz, and 19th- and 20th-century popular songs.
2 Recognition Scenes in Theory and Practice
Authors: Waldoff Jessica 
Published: May 2008

AbstractThis chapter opens with a review of critical thinking about recognition in literary genres, beginning with Aristotle. This historical context is indispensable, though, as Terence Cave suggests, an understanding of recognition can be limited neither to Aristotle nor to its role in the literatures he knew and favored. An overview of recognition in Mozart's operas follows, focusing on topics of special interest: the recognition of identity and its status in Mozart's day (as opposed to Aristotle's), the role of disguise and its revelation, the quest for self-discovery, and the conventions of ending (including the relationship between dénouement and lieto fine). Scenes receiving critical consideration and musical analysis include the recognition scene of father and son in Idomeneo, the ending of Die Entführung aus dem Serail, and Pamina's attempted suicide in Die Zauberflöte.
3 Reading Opera for the Plot
Authors: Waldoff Jessica 
Published: May 2008

AbstractThis chapter takes up the question of how an individual event, such as a recognition scene, functions with respect to the operatic plot as a whole. It explores the notion of plot in critical works ranging from Aristotle's Poetics to Peter Brooks's Reading for the Plot, and differentiates plot from plotting. Plot in Aristotle's definition is static, “the structure of the events”, while plotting, according to Brooks, is active — the dynamic process that propels the work forward. The chapter illustrates the interaction of recognition and “operatic plotting” with a detailed consideration of the multiple plot of Le nozze di Figaro. Attention is given to prominent moments of recognition, including the dénouement in the Act IV finale. The last section of this chapter is devoted to comments about plot dramaturgy in Mozart's letters.
Afterword
Authors: Waldoff Jessica 
Published: May 2008

AbstractThe Afterword opens with a letter of 1791 in which Mozart relates an experience he has while attending a performance of Die Zauberflöte. He represents the episode as a recognition narrative in miniature that illuminates the opera's dependence on recognition as a vehicle for enlightenment. A final section makes two observations about the workings of recognition in the operatic context: the first concerning the almost unfailing optimism of the operas of Mozart and his contemporaries, and the second concerning the power of recognition in contexts beyond Mozart. The book concludes with the thought that critical thinking about recognition has much to tell us about operas of other types and periods.
CHAPTER ONE INTRODUCTION TO THE BUSINESS OF OPERA IN SEVENTEENTH‐CENTURY VENICE: PEOPLE AND FINANCES
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
After discussing the management of comedy theaters in Venice, this chapter examines the financial structure behind the opera business, exploring various sources of income, such as investors, loans, rental of seats and boxes, advances from the printer, and ticket sales. While the renters and managers of the comedy theaters usually came from the noble class, opera theaters tended to be run by artisans or members of the professional class. The opera business was sustained through the availability of guarantors who would repay loans and other debts remaining at the end of the season.
CHAPTER TWO THE BOXES: A MAJOR SOURCE OF INCOME
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter focuses on the development of the opera box as a means of income for the theater. All of the regularly operating theaters had boxes, and the annual rental fees provided significant income for either the impresario or the theater owner. The number of levels and the number of boxes within each level varied from theater to theater, and over the years various impresarios or theater owners would either decrease or increase the number of boxes with the aim of increasing either the income, or the size and comfort of the box. Towards the end of the 17th century, those desiring a box would pay in advance a gift, or regalo, in order to claim ownership indefinitely; these fees eventually made possible the building of new theaters. The systems by which fees were collected from recalcitrant box renters or owners are also discussed.
CHAPTER NINE SCENERY AND MACHINES
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter takes a comprehensive look at the scenic elements of opera: the sets and the machines. The operas featured numerous set changes, with a system of paired flats as well as backdrops and lontani, which conveyed deep perspective at the back of the set. In Venice during the mid-17th century, impresarios preferred to commission new scenery every year, rather than fall back on previously used elements (dote). Typically a painter designed and executed the scenery (along with his assistants), and a carpenter built the machines, which could appear from above or beneath the floor. Examining contracts signed by the impresario Marco Faustini with scene painters and machine builders provide invaluable insight into the costs, responsibilities, and time constraints involved in this important element of opera production. Several inventories of scenery enabling a comparison between the finished materials and the scenes described in the librettos are also discussed.
CHAPTER TEN COSTUMES
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main characters. The practice in Venice was for a separate artisan to take charge of costume design and manufacture. Venice was famous for the manufacturing and sale of cloth, and costumes could be made of a variety of silks and other fabrics; embellishments included embroidery and lace were added. The costumes for the minor characters and extras, however, could be rented from an agent or jobber. Some costumes for the prima donnas were especially extravagant, often costing more than many singers would earn in an entire year. On occasion these would be offered as an enticement to hire a prominent singer, who would then get to keep the dress after the opera had concluded. After the opera season, the costumes could be returned as the property of the designer/tailor, or could be distributed among the investors of the company for their own use or as capital.
CHAPTER ELEVEN THE AUDIENCE AND THE QUESTION OF PATRONAGE
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter explores questions regarding the audience, ticket sales, attendance figures, and the patronage of opera in Venice. Opera boxes are viewed in this chapter not so much as a form of income for the theater, but as a means of displaying social status. For several theaters, especially S. Aponal, surviving records and accounts allow for a study of the boxholders, and audiences consisting of a mix of Venetian patricians, Venetian cittadini and businessmen, and foreigners can be observed. Ambassadors, moreover, had special privileges in the granting of opera boxes. The chapter concludes with an examination of opera and patronage, making reference to previous theories of public opera espoused by Claudio Annibaldi, Lorenzo Bianconi, and Thomas Walker. The book concludes that opera in Venice was made possible only through the participation of a wide range of artisans, merchants, cittadini, and patricians, nearly all of whom risked losing money on this expensive entertainment.
When Women Recite
Authors: Qureshi Regula Burckhardt 
Published: May 2008

AbstractBy focusing on the celebration of the birthday of the Prophet Muhammad (milad) by South Asian Muslim women in Edmonton, Canada, this chapter refocuses the usual consideration of Islam as public and male-oriented. Immigrant and ethnic Canadian Muslim women gather in homes and perform the prayers and recited texts that are not strictly considered music, employing texts and styles that are gathered from different traditions. The Arabic and Urdu languages are used separately and together, and distinctive styles and genres of worship are mixed to create musical practices traditional in Islam and new to Canada. The creativity of the Muslim women is considerable as it further creates new spaces for Islam that then becomes part of their religious and immigrant experiences in Canada.
Medeolinuwok, Music, and Missionaries in Maine
Authors: Spinney Ann Morrison 
Published: May 2008

AbstractThis chapter examines the musical practices employed by Catholic missionaries among the Wabanaki peoples during the colonial period in what would become the northeastern United States and the Maritime Provinces of Canada. Liturgy, ritual, and hymnody all contained musical styles and sacred genres that made it possible for priests to convert Native Americans, while at the same time Native Americans found ways to retain many distinguishing characteristics of their own religious experiences. The Thomas Kyrie Manuscript provides the central case study in the chapter. Hymn practices grew up around funeral practices. The chapter contributes substantially to understanding how sacred musical practices provided the basis for new practices of literacy and the transformation of Wabanaki society until the present.
Hymnody and History
Authors: Marini Stephen A. 
Published: May 2008

Abstract
This chapter examines the ways in which early American hymns provided texts and discourse for American history by employing computer-assisted statistical analysis. Evangelical hymns formed as repertories and canons as they passed from English Protestant traditions to the social and sacred practices that accompanied the settlement of the United States from the late 18th through the 19th century, particularly at moments such as the Great Awakening. At the beginning of the 21st century, many hymns from historically evangelical practices have become the favorite hymns (e.g., those by Isaac Watt, and Charles and John Wesley) shared by Protestant denominations and beyond. The chapter compares the ways meaning in hymn texts affords meaning to American religious experience. Hymnody itself is presented comparatively, as texts (ritual song, sacred medium) and contexts (belief, spirituality) for the lives of evangelicals and the formation of their churches and denominations.
The Evolution of the Music of German American Protestants in Their Hymnody
Authors: Westermeyer Paul 
Published: May 2008

Abstract
This chapter examines the establishment of German Protestant hymnody in North America, and then traces its transformation through mixed-language traditions to a largely English-language hymnody. The historical and cultural transformation is that of immigrant German to ethnic German music. Statistical comparison of German American sacred songs — from the Reform tradition in early America with the transformation of these through American publications and traditions in the 19th century, particularly through the endeavors of Henry Harbaugh (1817-67) — illustrates the tension between traditional German repertories and the use of music to ensure a place for German and English Protestants in American religious experience. The influence of Anglo-American hymnody was, in many ways, as great as the original German traditions.
“When in Our Music God Is Glorified”
Authors: Gray Judith 
Published: May 2008

Abstract
Drawing upon the participatory worship and ethnography of its author, this chapter considers the frequent use of hymns that use singing as a text about the sacredness of singing in the hymnody of the United Church of Christ. In both text and context, the Pilgrim Hymnal of the Congregational Church and the choices of congregation members illustrate the ways in which personal choices about music express communal concepts and practices of faith and worship. Statistical comparison is employed to follow patterns of song choice of the course of five years (1989-93) in the First Congregational Church of Washington, DC, thus illustrating the rich texture of hymn singing during the life and liturgy of the church itself. The chapter concludes that hymns allow worshipers to express thoughts and sentiments they would otherwise not express.
Women's Ritual Music
Authors: Walton Janet 
Published: May 2008

Abstract
In late 20th-century American religious experience, women gathered to use sacred music in transformative ways to change their condition in a society and in religious practices dominated by men. Women's ritual music draws upon many different traditions, from traditional hymns with new texts to secular art music (e.g., by Luciano Berio) to popular music with African American roots (e.g., performed by Sweet Honey in the Rock). This chapter examines different occasions, most of them non-liturgical and outside congregational religious practice, and the creation of new texts from existing hymns or songs as the convergence of women's ritual practice. The rituals and repertories examined in the chapter acquire political potential, and their performance serves to empower women to act together to bring about real change in their lives.
2 Genre and Character
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractDrawing on Italian, French, German, and Viennese precedents, Haydn's early string quartets were among the first to define the genre's components: two violins, viola, and cello, without doubling and without basso continuo or contrabass support. The predominant cyclic design features a principal sonata-form movement followed by three other ingredients (minuet-trio, slow movement, finale) that unfold within its orbit. The six quartets in a normal opus group embrace various style topics and allusions, including popular song and dance, aria, concerto, and strict style. Each has a different tonal center; keys with few accidentals are favored; and connections are sometimes apparent between the prevailing character of a quartet and the traditional associations of its key. Minor tonality is always represented, normally by one quartet only. Virtually all groups feature musical wit, irony, and humor in addition to more elevated modes of discourse.
6 Variation
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractWhereas Haydn's favored variation procedures — melodic outline, cantus firmus, and constant bass (or harmony) — are variously embedded in all portions of the cycle, his variation-based designs occur principally as slow interior movements, representing four distinct categories: strophic, alternating, ternary, and varied reprise. Strophic variations, the most common type, are found throughout the repertory; slow varied-reprise movements, with decorated repeats showcasing first-violin virtuosity, occur mainly among earlier quartets (through Op. 33); alternating variations, involving the juxtaposition of two themes in opposite modes, appear sporadically from Op. 33 on; ternary variations, featuring a contrasting middle part and a final section that embellishes the first, are found among later opus groups. However limited in thematic diversity, development, or hierarchic complexity, variation forms allowed Haydn to indulge richly in soloistic embellishment, rhetorical amplification, and ensemble interplay.
8 The Earliest Quartets (ca. 1755–60 [?ca. 1757–59])
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractThe ten earliest quartets were initially disseminated in manuscript copies. They reached publishers in Paris and Amsterdam only in the 1760s. All are closely related in style, and all have five-movement designs with two dance movements on either side of an extended, central movement which (in all but one instance) constitutes an expressive violin solo. Fast outer movements display textures that engage all four parts thematically. The stylistic range of the dance movements extends from courtly elegance to rough-hewn comedy, and their binary and rounded binary schemes allow for variety of structural detail in the relationship between first and second parts. All ten works demonstrate Haydn's gift for motivic elaboration: an initial phrase is formed from a thematic kernel, and subsequent phrases arise as variants or derivatives, thereby bestowing cohesion on a developing, goal-directed narrative.