bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Power of Precedent
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
In this book Professor Michael Gerhardt provides the first comprehensive effort to use both social science methods and conventional legal analysis to explain the role of precedent in constitutional law. His analysis demonstrates how precedent influences more than social scientists claim, but less than most scholars claim. He further shows how precedent, broadly understood, performs multiple significant but underappreciated functions in constitutional decision making both inside courts and outside of them. Last, but not least, his analysis explains a fundamental tension in constitutional adjudication in which precedent is generally respected as an abstract principle but particular precedents rarely constrain the decisions of courts and nonjudicial actors.
The Multiple Functions of Precedent
Authors: Gerhardt Michael J. 
Published: May 2008

Abstract
In this chapter Professor Gerhardt demonstrates that precedents end up influencing and contributing to constitutional law in many ways other than constraint, which is the predominant concern of social scientists who study courts. These multiple functions include educating the public about constitutional law, shaping constitutional discourse in and outside of courts, implementing constitutional values, clarifying constitutional structure and history, resolving particular cases or controversies, and democratizing constitutional law.
1 EROTIC REPRESENTATION FROM MONTEVERDI TO MAE WEST
Authors: Scott Derek B. 
Published: May 2008

Abstract
This chapter examines some of the conventions involved in representing the erotic in music, and reveals the ideological character of these conventions. The disparity and mutability uncovered by a comparison of representations of sexual desire in three differing musical styles (Baroque opera, the Victorian drawing-room ballad, and Tin Pan Alley in the 1920s and 1930s) show that a genealogy of sexuality in music needs to address disjunctions rather than developments, historical contingencies rather than evolutionary questions. There is certainly no progress to be discovered in the way eroticism has been depicted in music: representations of eroticism in contemporary music are not more real now than they were in the 17th century. The fact that the latter can seem cool or alien to us today points to the way sexuality has been constructed in relation to particular stylistic codes in particular historical contexts, and is therefore cultural rather than natural.
2 THE SEXUAL POLITICS OF VICTORIAN MUSICAL AESTHETICS
Authors: Scott Derek B. 
Published: May 2008

Abstract
A sexual division of musical composition emerged in 19th-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the new scientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socioeconomic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as composers, restricted to “acceptable” genres such as the drawing-room ballad. Men, too, were affected by the sexual politics of the age, because the supposed revelation of biological truths in music meant that the presence of feminine qualities in their compositions could lead to invidious comparison with the less elevated output of women.
4 INCONGRUITY AND PREDICTABILITY IN BRITISH DANCE BAND MUSIC OF THE 1920S AND 1930S
Authors: Scott Derek B. 
Published: May 2008

Abstract
This chapter is concerned with the ideology of “high” and “low“ art, and how this impacts upon both musical style and reception. Defenses of the popular that relate its value to its historical context often provoke the question: how is it to be valued once its historic moment has passed? The purpose of this chapter is to show how a “popular musicology” might tackle the problem of discussing music once loved but now regarded by many as valueless. To this end, it explores qualitative issues in British dance band music. A critique of musical style needs to take account of incongruity between styles. The argument in Chapter 1 was that modes of representation needed to be related to different styles; here it is argued that the same goes for qualitative values. For instance, what is admired as good singing in one style may not be so perceived in another.
5 Lux in Tenebris: BRUCKNER AND THE DIALECTIC OF DARKNESS AND LIGHT
Authors: Scott Derek B. 
Published: May 2008

Abstract
This chapter discusses the construction of the sacred in music by way of a study of the composer Bruckner, chosen because he is widely seen as a “pure” musician, impervious to ideological assault. It becomes clear, however, that he often makes musical choices with reference to Christian religious discourse and thus for ideological rather than structural reasons. The chapter examines the usefulness of a “darkness and light” trope for understanding the compositional process in his music. The strategy is: (1) to establish the sacred character of Bruckner's music and show how he inherits religious signifiers for darkness and light; (2) to show how he uses these signifiers; (3) to explore the appropriateness of the darkness/light trope; and (4) to put forward a theory of “transfiguration of themes”. It affords an opportunity to import ideas from Gilles Deleuze and Félix Guattari, as well as to draw on Jacques Derrida's anti-dialectical arguments.
6 Diabolus in Musica: LISZT AND THE DEMONIC
Authors: Scott Derek B. 
Published: May 2008

Abstract
This chapter presents a typology of the demonic in the music of Liszt, and seeks to answer the questions: what impact did his representations of the demonic have on his stylistic development as a composer? Do demonic elements appear even where Liszt has not chosen to indicate their presence by title? Liszt plays an important part in establishing particular demonic genres, such as the danse macabre and the demonic scherzo. He bequeathed a fertile legacy to the likes of Saint-Saëns, Dvorak, Mussorgsky, and others. The primary demonic technique for Liszt is that of negation: negation of the beautiful, the noble, the graceful, and so forth. The secondary technique is parody, though qualities are often negated and parodied (or mocked) at the same time. Liszt's strategies are discussed in the context of ideas of the demonic in the work of Goethe and Kierkegaard.
7 ORIENTALISM AND MUSICAL STYLE
Authors: Scott Derek B. 
Published: May 2008

Abstract
This chapter examines constructions of the East in Western music, and the development of Orientalist styles independently of the objective conditions of non-Western musical practices. It explores a variety of questions concerning the impact of Orientalist ideology on Western music. Is there any consistency to be found in the way non-Western cultures have been represented? Is it often only the exotic, or the cultural Other, that is signified rather than a particular ethnic musical practice? Are there reductive sets of musical conventions that signify something vaguely Asian, Spanish or Chinese/Japanese and little else? When did these styles become recognizable? Once established, did they perpetuate themselves as musical discursive codes in which a musical text of the East replaced the actual East? Is there a change in representations of non-Western cultures that can be related to the growth of Western nationalism and imperialism?
8 THE IMPACT OF AFRICAN‐AMERICAN MUSIC MAKING ON THE EUROPEAN CLASSICAL TRADITION IN THE 1920S
Authors: Scott Derek B. 
Published: May 2008

Abstract
The lack of identification of the black African with an Orientalist style in the early decades of the 20th century is explained by the association of black people with jazz. This chapter is concerned with the impact of ragtime, blues, and jazz on music of the European classical tradition. Consideration is given to the social and ethnic connotations of references to African-American styles in these pieces. The broader European social context — modernity, the alienated creative artist, and cosmopolitanism — is also important. The chapter discusses the relation of jazz to modernism, and confronts the question: how far are African-American elements seized upon by composers as mere tricks of the trade to give a new lease of life to a tradition in crisis? It explores the use of jazz-influenced styles as satiric weapons and, finally, looks at the misconceptions of African-American music-making that were widespread among European composers of this period.
Introduction
Authors: Waldoff Jessica 
Published: May 2008

AbstractThis introductory chapter presents the scope and value of recognition as an approach to Mozart's operas. The terms recognition and reversal (Aristotle's anagnôrisis and peripeteia) are defined, and the larger implications of recognition as a function of both plot and theme are explored. A section devoted to the opera-as-drama problem suggests that recognition offers a new perspective on some of the particular difficulties inherent in the study of opera. To illustrate the special status of recognition scenes as problem moments, a final section is devoted to the scene in Le nozze di Figaro in which Figaro is discovered to be the long-lost son of Bartolo and Marcellina, a moment that rather obviously combines Aristotle's paradigmatic examples of strong and weak recognitions into one highly implausible scenario.
1 Operatic Enlightenment inDie Zauberflöte
Authors: Waldoff Jessica 
Published: May 2008

AbstractThis chapter illustrates the value of recognition as an approach by providing a detailed analysis of plot, text, and music in Zauberflöte. With its rich store of enlightenment metaphor and symbolism, its overt treatment of knowledge as subject, and its marvelous dénouement in which the ascendance of light vanquishes the forces of darkness, this opera offers a marvelous demonstration of how recognition works at the levels of plot and theme. Tamino's famous colloquy with the priest in the Act I finale is read as a recognition scene. Later recognition scenes involving Papageno, Pamina, and Tamino are also discussed. The final section suggests that the contrivance (and reversal) various critics have sensed in Zauberflöte may be understood as what Terence Cave has called the “scandal of recognition”.
Inventing the Business of Opera
Authors: Glixon Jonathan , Glixon Beth 
Published: May 2008

Abstract
This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.
CHAPTER THREE MARCO FAUSTINI AND HIS COMPANIES
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter follows the career of Marco Faustini at three different Venetian theaters: S. Aponal, S. Cassiano, and SS. Giovanni e Paolo (the most prestigious theater of its time) between the years 1651 and 1668. Marco Faustini began to participate in opera production after the death of his brother, the librettist Giovanni Faustini, who had previously rented the Teatro S. Moisè, and then S. Aponal. Throughout his years as an impresario, he was helped by a variety of men, the patricians Alvise Duodo and Marc Antonio Correr, and, for a time, the cittadini Bortolo Pasinetti and Polifilo Zancarli; over the years, Faustini built up a reliable network of artisans, recruiters, and top-notch singers. Although Faustini worked with a variety of composers, he most frequently turned to Francesco Cavalli and Pietro Andrea Ziani.
CHAPTER FOUR CASE STUDIES: COMPANIES AND OPERA PRODUCTION AT FOUR VENETIAN THEATERS
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter comprises case studies of four different 17th-century theaters that present a variety of impresarial models. Despite being the first public opera theater, S. Cassiano had difficulty maintaining a stable opera company, and had a number of different impresarios during the first two decades of mounting opera. The Novissimo was a newly built theater dedicated to opera, built on the grounds of a monastery. Although it attracted operatic stars and enthusiastic audiences, it too suffered continual financial difficulties. S. Aponal was owned by cittadini rather than patricians, and provided an inexpensive, if small, venue for opera. S. Luca, which began to present opera only after Marco Faustini left S. Cassiano, managed to present high quality opera within a short time, after a rather shaky start.
CHAPTER EIGHT DANCERS, EXTRAS, AND THE ORCHESTRA
Authors: Glixon Beth L. , Glixon Jonathan E. 
Published: May 2008

Abstract
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.
Introduction
Authors: Bohlman Philip V. 
Published: May 2008

AbstractHistorical moments in which music consciously identifies American religious experience provide the historical framework of this introductory chapter, which stretches from William Billings's “America” to “Amazing Grace” as a historical text to the ethnographic present in Pentecostal worship in a Chicago Romanian church. The theoretical concepts that connect the book's chapters are introduced, including concepts of genealogy, individualism, and the metaphors of American religion in sacred music-making. Charles Ives and Thomas A. Dorsey Jr, the great American modernist composer and the inventor of the gospel blues, provide case studies. The interdisciplinarity of the book's diverse contributors is introduced and connected to the chapters that follow. The importance of music as ritual, sacred language, and the performance of sacred space generates further links and shared notions of religious experience for the book's chapters.
Singing as Experience among Russian American Molokans
Authors: Mazo Margarita 
Published: May 2008

Abstract
Molokanism is a domain of collective meaning and symbolic order that provides common religious experience for Russians and immigrant Russians who have chosen not to embrace the teachings of the Orthodox Church. Songs and ritual practice exist in extensive oral transmission, and the need to maintain traditions orally — often outside the norms of the host society in North America — means that sacred music provides the law, or zakon, of Molokan society. Case studies, such as the communitarian performance of sobranie, illustrate the ways in which sacred music embodies the structures of Molokan society, such as the relation between men and women, the elders, and the initiates in religious practice. The chapter illustrates central issues of power and transmission by comparing religious experience and its transformations in the United States and Russia.
Fanny Crosby and Protestant Hymnody
Authors: Blumhofer Edith L. 
Published: May 2008

Abstract
Fanny Crosby (1820-1915) was the most prolific author of texts for hymns throughout American history. This chapter surveys the vast range of her contributions to American hymnody, and interprets the complex meanings within such that she has come to play such a critical role in the shaping of language for American hymnody. Though blind, Crosby collaborated extensively with hymn composers and compilers, such as William Bradbury, developing both an individual style and displaying sensitivity to the ways in which images and texts would appeal to the broadest cross-section of American Protestants. She chose the language of her hymns from the revivals of her youth and the changing immigrant populations of New York City in her adult life. Her life and work embodied many different aspects of American religious experience, and her hymn texts shaped the canon and aesthetics of sacred song, particularly evangelical song, from the 19th century into the 21st century.
Reflections on the Musical Diversity of Chinese Churches in the United States
Authors: Chow Maria M. 
Published: May 2008

Abstract
Based on a fifteen-month survey of different Chinese American churches and hymnals, this chapter examines the choices made by immigrants from different parts and different linguistic traditions in East Asia. Chicago's Chinatown is given a central role. Chinese hymns respond not only to the adaptation of immigrants to American religious experience, but also to the need to find common Chinese languages, particularly for those from Cantonese and Mandarin backgrounds, as well as Taiwanese heritage. Hymnals vary in the way in which common American traditions take place, but most of them accommodate change and create possibilities for Chinese Americans to worship and sing together. Linguistic diversity therefore coexists with common repertories.
3 Texture, Ensemble Technique, and Sonority
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractConceived as a consortium of solo voices, a Haydn quartet is perpetually vulnerable to having the norm of first-violin leadership challenged, compromised, complicated, or temporarily overturned. The almost ubiquitously destabilized environment that prevails involves continuously changing relationships among the instruments, a concomitant variety of texture, sonority, and register, and numerous devices for blending and separating different strands of line and accompaniment. Separation is most intense in soloistic passages for the first violin, which occasionally climbs to its highest range. In addition to such vividly opposed states as strident unison and blended, hymn-like homophony, there are allusions to strict polyphony, including examples of canon and fugue, and many instances of loosely woven, conversational texture in which thematic threads pass from one part to another. Special effects include bagpipe-imitating drone basses, pizzicato, and the use of mutes (con sordino).
4 Sonata Form
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractCentrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional processes and those featuring a medial caesura; the varied profiles of long, thematically diverse and tonally unstable development sections; the variety of alternatives afforded by the recapitulation, often including developmental digression and reconfiguration of material from the exposition (sometimes so pronounced as to challenge the basic principles of thematic recurrence and proportional correspondence); and the occasional inclusion of a coda following the end of the recapitulation proper. Some interior movements exemplify the so-called slow movement form, with exposition and recapitulation but no development section.
7 Other Forms: Fugue, Rondo, and Miscellaneous Nonstandard Designs
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractMost items within this small but important category involve alternatives to sonata form among the finales. Examples include the three fugues of Op. 20 (Nos. 2, 5, and 6) and that of Op. 50 (No. 4), as well as a number of rondo and rondo-related forms, beginning with three straightforward instances in Op. 33 (Nos. 2, 3, and 4) and including later hybrid forms that mix rondo elements with those of sonata, variation, or fugue. Other, less easily categorized designs include the “Capriccio” of Op. 20/2, which parodies mannerisms of serious opera; forms such as the slow movement of Op. 33/2, which alludes to various formal conventions without lapsing into any standard scheme; and several slow movements (those of Opp. 33/5, 50/2, and 55/1) whose form resembles that of an aria or solo concerto movement, with opening, central, and closing ritornellos, and (in the Op. 33 and 55 instances) notated cadenzas as well.
10 Op. 20 (1772)
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractInitially published by La Chevardière in 1774, Op. 20 acquired the name “Sun” from a sunburst image on the title page of Hummel's 1779 edition. Despite resemblances to Opp. 9 and 17, the new quartets break fresh ground in matters of cyclic profile, opus design, and sonority, and they exceed their predecessors in musical wit, technical sophistication, expressive range, and formal variety. Memorable novelties include instances of metrical dissonance, tonal derailment, and dense chromaticism as well as passages that feature the cello as a tenor-range soloist. With two quartets cast in minor keys, there are new perspectives on minor-key discourse; and the incorporation of three technically exacting fugal finales points to a new concept of cyclic profile, with the finale now a focus of cyclic culmination.
12 Op. 50 (1787)
Authors: Grave Floyd , Grave Margaret 
Published: May 2008

AbstractDedicated to Friedrich Wilhelm II and known as the “Prussian” quartets, these difficult works were clearly designed for connoisseurs. Their sale and early publication history involved complex, evidently devious negotiations with the publishers Artaria in Vienna and William Forster in London. A distinctive first-movement trait involves a new kind of relationship between meter and surface rhythm (a fast alla breve with much triplet figuration), which fosters fluid rhythmic momentum and broad melodic trajectories. Dance movements are notable for their metrical dissonances and thematic connections between minuet and trio. Learned polyphony is emphasized most notably in the fugal finale of Op. 50/4. Other finales display elaborate sonata forms, several of which have multiple, rondo-like recurrences of primary-theme material. Possibly a musical response to Mozart's recently completed “Dedication” quartets, Op. 50 rivals Mozart's contemporaneous works in promoting the quartet's ascendancy as an aristocrat among instrumental genres.