bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mahler in Vienna (XXII)-Salome in Graz-Premiere of the Sixth Composition of the Eighth-Salzburg Festival-Mahler in his maturity (May-August 1906)
Authors: Louis De La Grange Henry 
Published: November 2023

Abstract
Although his main preoccupation for several months had been the restaging of the Mozart operas, Mahler had not forgotten Salome, the first modern theatrical masterpiece to have come his way since he had arrived in Vienna. But time was passing, and the Habsburg censorship had still not given way. The premiere had taken place in Dresden on 9 December 1905, and had been followed by performances in Prague and Breslau, and Strauss now wrote to Mahler to ask him if he had any objections to the Breslau production being brought to Vienna. Mahler replied in mid-March: Dear friend! I have neither the right nor the desire to stand in the way of the Breslau project. Under certain circumstances it would perhaps be the best way of making my opponents in the matter see reason.
Mahler in Vienna (XXIV)-The Third in Berlin-Encounters with Strauss The Fourth in Frankfurt-The First in Linz The press campaign against Mahler Die Walkiire and lphigenie en Aulide-Messchaert’s recitals-Schoenberg premieres (January-March 1907)
Authors: Louis De La Grange Henry 
Published: November 2023

Abstract
People are wholly unaware of the inaccessible kind of fortress a man lives in if he is truly dedicated to himself and to his cause ... MAHLER’S brief but frequent absences from the Vienna Opera to conduct his works were now increasingly held against him. In 1907 the first attack came on 1 January, when Hans Puchstein published a thoroughly negative summary of his recent activities in the Deutsches Volksblatt. His complaints were not new. He began by listing the composers absent from the repertory (Lortzing, Marschner, Gluck, Weber, Berlioz, Donizetti, Tchaikovsky, Smetana, Boieldieu, Flotow, Herold, and Kreuzer); emphasized the shortcomings of some of Mahler’s assistants at the Opera, particularly Bruno Walter; and deplored the Director’s ‘moody character ’ and’changes of taste’with regard to his proteges. Puchstein believed that all this made him unfit to direct the Vienna Opera, and voiced the opinion that the time ‘was ripe for a change’. He also criticized some of the singers.
The History of the Flute
Authors: Morris Gareth 
Published: November 2023

Abstract
The origin of the flute is lost in the darkness of prehistory, so no actual person can be credited with its invention or discovery. It probably owes its existence to Pan; when Syrinx transformed herself into a reed to escape his attentions he plucked it and made a flute, to play his sorrows away. This prototype of all wind instruments consisted of a single tube which produced a musical sound when air was directed across its open end, and the next stage in its development was the addition of several shorter and longer pipes whose pitches formed a primitive scale.
Annotated Fingering Charts
Authors: Morris Gareth 
Published: November 2023

Abstract
Tables of fingerings for the three flute registers are provided in Section B (ii) of Chapter 2. These will enable a disciplined technique to be acquired, and they must be scrupulously adhered to until every major and minor scale has been mastered in all octaves. It is then permissible to consider the use of alternatives that are acceptable in certaincircum stances. Nevertheless, two fingerings have already been allowed for a few notes:
Introduction
Authors: Quine Hector 
Published: November 2023

Abstract
A Book with the title ‘Guitar Technique’ needs to begin with a definition of the word ‘technique’, since the term is frequently misunderstood or misapplied. Guitarists arc often heard to refer to a player as having a ‘good technique’ when all that he has in reality is a measure of finger dexterity or the stamina to play pieces of acknowledged difficulty —usually at a rather faster speed than musical coherence suggests. This is the kind of ‘virtuoso’ of whom Beethoven said: ‘All reason and feeling are generally lost in the nimbleness of his fingers.’ A century earlier, Couperin expressed much the same view but in different terms: ‘I declare in all good faith, that I am more pleased with what moves me than with what astonishes me.’
The Physiology of Technique
Authors: Quine Hector 
Published: November 2023

Abstract
The Oxford dictionary defines physiology as ‘the science of normal functions of living things’. This definition sums up what I believe to be the fundamental principle of all ‘mechanical’ techniques-whether of playing the guitar, or any other activity which involves trained actions by the human body. The word ‘mechanical’ may not please everyone, because most people do not like to think of themselves as machines, but the human body is, in reality, a superbly designed and constructed piece of engineering with all the attributes of a machine. (It goes without saying that it also has many other qualities which machines lack.)
Left Arm and Hand
Authors: Quine Hector 
Published: November 2023

Abstract
The right hand may be considered as the artist in guitar playing, and the left as the artisan whose work consists almost entirely of preparing notes for articulation by the right hand. Though the functions of the hands are so different, the same physiological principles govern the operation of both. The right arm’s weight is supported by the guitar, while the left arm appears to have to support itself through tension in the biceps muscle. Although this is partly true, if, with shoulder and upper arm held loosely, the forearm is raised from the elbow and the thumb is allowed to lean against the guitar neck, some support is gained. If the wrist is also allowed to relax, the hand is brought forward in front of the fingerboard-where it needs to be-and pressure of the thumb in opposition to the fingers can be clearly felt; the arm is also prevented from pulling backwards.
Act ors and Actresses
Authors: Sarris Andrew 
Published: November 2023

Abstract
Greta garbo remains the most enduringly and endearingly mesmerizing after-image of the MGM star system. Garbo s art dissolves in her myth, and her myth seems to transcend even the cinema that first gave it form. The spine-tingling death scene in Camille (1937) transforms cinema into sculpture. The masthead close-up of Queen Christina (1933) flattens out the cameraman’s perspective from the transparency of a screen to the opaqueness of a canvas. Without benefit of the perpetually avant-garde mannerism of stop-motion, Garbo stops the flow of images on the screen by enslaving the memory of the spectator. Her demoralizing beauty corrupts the optical habits of the wariest critic. After all, the art of cinema is concerned with montage and camera movements and spatial relationships and deep focus and the composition of images— but what are all these trappings of mise-en-scene to Garbo or Garbo to mise-en-scene? Let us say simply and finally that Garbo is and always has been her own mise-en-scene.
Guilty Pleasures
Authors: Sarris Andrew 
Published: November 2023

Abstract
Let us now praise the B-picture. But what is it exactly? Or, rather, what was it? In an age of inflation and instant insights, there is nothing on the screen to which we can point and say: This is a B-picture. A Z-movie, perhaps, but not a B-picture. There is too much ambition at one end, too little craftsmanship at the other, and the bottom has fallen out of the middle. Nor is there today in the nineties any genre lowly enough to be dismissed out of hand by the critical establishment. Kungfu, porn (soft-core and hard-core), Damon and Pythias squad-car serenades, revisionist westerns, regressive Disneys, black-power fantasies, disaster and doomsday spectacles: all have their sociological and even stylistic rationales. The snobberies that afflicted supposedly serious film criticism in the 1930s, 1940s, and 1950s have been superseded in more recent decades by an open-mindedness that errs on the side of credulity. Another problem in finding a B-picture in the present is that the notion of the A-picture is more nebulous than ever, and you can’t have Bpictures without A-pictures. Indeed, with the disappearance of the predetermined double feature in the seventies, it became hard even to remember the once familiar refrain: “I liked the second feature better than the main one.” Nowadays a double feature is more likely to consist of two failed A-pictures, with the older one on the bottom of the bill.
Tales from Tom’s Town
Authors: Driggs Frank , Haddix Chuck 
Published: November 2023

Abstract
Originally A Wild-And-Wooly River Town, established ahead of the great westward migration, Kansas City grew into a center of commerce and entertainment, becoming nationally known by the late 1930s as the “Paris of the Plains “—a comparison drawn, not for Kansas City’s broad boulevards and fountains, but its immoderate nightlife and laissez-faire attitude. “Kansas City is more like Paris, “ syndicated columnist Westbrook Pegler observed. “The stuff is there, the gambling joints and the brothels, including among the latter a restaurant conducted in the imitation of that one in Paris, more haunted than the Louvre, where the waitresses wear nothing on before and a little less than half of that behind. But like Parisians, the people of Kansas City obviously believe that such things must be and, also like the Parisians, are proud of their own indifference. “1 Edward Morrow advised readers of the Omaha World-Herald, “[I]f you want to see some sin, forget Paris and go to Kansas City. With the possible exception of such renowned centers as Singapore and Port Said, Kansas City has the greatest sin industry in the world. “2 Ironically, the local government, run by a Democratic machine headed by Boss Tom Pendergast, fostered the vice and corruption. Kansas City Jazz flowered in this intemperate atmosphere. A stocky bull of a man with piercing blue eyes, Boss Tom dominated Kansas City and Missouri state politics from 1911 until his 1939 indictment for income tax evasion.
Get Low-Down Blues
Authors: Driggs Frank , Haddix Chuck 
Published: November 2023

Abstract
Jazz Arrived At The Corner of 18th and Vine one hot, dusty afternoon in July 1917. While playing a ballyhoo on 18th Street, a unit from Drake and Walker’s Big Musical Production engaged the band from the Billy King tent show in an exchange of jazz licks.1 Covering the musical street brawl for the Kansas City Sun, Charles Starks observed: There was the sound of rivalry as well as revelry last Monday night when Drake and Walker’s six-piece band of jazz experts were playing down in the old 1500 block on 18th street. Drake has some soft toned cunning and sensational artists who run a close second in harmony and easily out jazz all jazzers in stirring and catchy syncopations. They had just finished a dissecting treatment of the “Blues “ intermingling such popular stuff as “Yaaka Hula, Hicky Dula “ and “My Mother’s Rosary “ played first in pianissimo and then in its loud opposite, such as seemingly only black musicians can do, when who should come thundering up the avenue but a delegation from Billy Kling’s [King’s]! The Jazz aggregation, however, discovered the attack in due time and entrenched themselves in readiness so that when the enemy were in their midst they vociferously let go a volley of shot that fairly rained on the invaders. There was a terrible interchange of vehement artillery fire for about two minutes between the opposing forces. Trombone and cornet vying while the big bass drums spoke above the din of battle in thrilling sounds.
Roll ‘Em, Pete
Authors: Driggs Frank , Haddix Chuck 
Published: November 2023

Abstract
Pianist Jay Mcshann arrived in Kansas City by serendipity. During a layover on a bus trip to visit his uncle in Omaha, Nebraska, in late fall 1936, McShann stopped by the Reno Club to catch a set or two of the Count Basie band. Stepping into the dark, smoky confines of the club, he instead found Bus Moten’s swing combo on the stage. “I stopped in Kansas City and I had a two or three hour layover on the bus. So I went down to the Reno Club, “
Homefront Families on the Move
Authors: Tuttle William M 
Published: November 2023

Abstract
The plant, to be named Willow Run, would be located thirty miles west of Detroit in southeastern Michigan. The next month, bulldozers began clearing the flat fields. Soon the factory took shape, “a huge sprawling upthrust of red I-beams and endless windows.” Within weeks, access highways and a railroad spur from the main line of the New York Central appeared, along with acres of parking lots and a mile-long airfield. By Christmas time—even though the I-beams at the east end of Willow Run were still open to the wind-production workers began filling the plant, ready to build B-24 Liberator bombers. Willow Run became the largest plant in the world: the main building covered 67 acres, while the airport spread over an additional 1,434 acres and had six runways. The first B-24 rolled out of the plant on September IO, 1942, and by war’s end Willow Run had produced 8,685 airplanes. At its height the plant turned out one bomber every 63 minutes.
An American Writer
Authors: Rodriguez Richard 
Published: November 2023

Abstract
When I left California it was warm. The plane headed east, against the grain of America, into the dark. Nevada. Utah. Long shadows over Utah. Deep purple wells in the Rockies which seemed inverted afternoons. The Asian businessman on the airplane borrowed my newspaper for a time. The stewardess, a black woman, brought us dinner. In Hart­ ford, Connecticut, the blond lady at the Avis counter looked at me through green eyes. From where? Poland? Scotland? “Patty”-the label on her costume.
Comping for Count Basie
Authors: Murray Albert 
Published: November 2023

Abstract
In autobiography as in fiction, nothing has more to do with what the story is really about than the voice of the narrator. So the main thing was to get his voice on the page. Everything else came after that. Incidents mean only as much as the way they are told makes them mean. If you couldn’t help him sound like himself in print, you’d probably be better off working on a book about Count Basie than on one by Count Basie about himself.
Lost Chords
Authors: Sudhalter Richard M 
Published: November 2023

Abstract
Many jazz fans and critics--and even some jazz musicians--contend that white players have contributed little of substance to the music; that even, with every white musician removed from the canon, the history and nature of jazz would remain unchanged. Now, with Lost Chords, musician-historian Richard M. Sudhalter challenges this narrow view, with a book that pays definitive tribute to a generation of white jazz players, many unjustly forgotten--while never scanting the role of the great black pioneers. Eagerly awaited by the jazz community, this monumental volume offers an exhaustively documented, vividly narrated history of white jazz contribution in the vital years 1915 to 1945. Beginning in New Orleans, Sudhalter takes the reader on a fascinating multicultural odyssey through the hot jazz gestation centers of Chicago and New York, Indiana and Texas, examining such bands such as the New Orleans Rhythm Kings, the Original Memphis Five, and the Casa Loma Orchestra. Readers will find luminous accounts of many key soloists, including Bix Beiderbecke, Benny Goodman, Jack Teagarden, Red Norvo, Bud Freeman, the Dorsey Brothers, Bunny Berigan, Pee Wee Russell, and Artie Shaw, among others. Sudhalter revives the once-great reputations of these and many other major jazzmen, pleading their cases persuasively and eloquently, without ever descending to polemic. Along the way, he gives due credit to Louis Armstrong, Lester Young, Duke Ellington, Coleman Hawkins, and countless other major black figures. Destined to become a basic reference book on the subject, Lost Chords is a ground-breaking book that should significantly alter perceptions about jazz and its players, reminding readers of this great music's multicultural origins.
Miff Mole and the Original Memphis Five
Authors: Sudhalter Richard M 
Published: November 2023

Abstract
It’s hard now to remember who spotted him first. Just an old-looking guy in an old-looking overcoat, standing there beside his big, old-looking trombone case. No mistaking him, though: wire-rimmed glasses just a little askew on a leathery, seamed face. The look-still, so many years later-of a slightly quizzical owl.
Red Nichols and His Circle
Authors: Sudhalter Richard M 
Published: November 2023

Abstract
The late musicologist and lexicographer Nicolas Slonimsky, an unlikely commentator on jazz, once said of Red Nichols: Heuristic exegetes of European hermeneutics bemoaned the commercialization of his style, giving preference to his earlier, immaculate, jazzification.’ Translation and distillation: insiders, who claimed to understand the true artistic nature of hot music, cried “Foul!” when Nichols, in the late ‘20s, began acknowledging a responsibility to someone more than just fellow-musicians and hot music initiates.
Dixieland
Authors: Sudhalter Richard M 
Published: November 2023

Abstract
World War I turned out to be a major bonanza for popular songwriters. From 1917, when America entered the war, until 1919 and Versailles, Tin Pan Alley operated at capacity, turning out such topical trivia as “Hello, Central, Give Me No Man’s Land,” “Just Like Washington Crossed the Delaware, General Pershing Will Cross the Rhine,” “Goodbye, Broadway, Hello, France”- and, occasionally, more durable efforts, “Roses of Picardy” and “Avalon” among them.
Frank Trumbauer: The Divided Self
Authors: Sudhalter Richard M 
Published: November 2023

Abstract
It’s easy enough to wax lyrical about Bix Beiderbecke. Posterity loves him: in death, he has become an American icon, transcending the hermetical peer culture of hot jazz as he never did in life. Some of his associates have fared less well-as if the beatification process required defoliation of the musical landscape around him. Poor Bix, many assessments seem to say, hobbled by second-raters and wannabes, their only glow a pallid reflection of his.
Freedom Within Reason
Authors: Wolf Susan 
Published: November 2023

Abstract
In this work, the author argues that, contrary to the tradition in analytic philosophy, freedom of the will cannot be understood as a purely metaphysical notion. You enjoy freedom of the will only if you are in a position that enables you, not only to govern your actions on the basis of your own values, but also to develop and alter your values on the basis of the right data and by the right means. Accordingly, free will is the freedom to be good, or the freedom to do the right thing for the right reasons. This approach allows us to explain the failure of attempts to provide satisfactory metaphysical accounts of free will, whether compatibilist or in-compatilist: the metaphysical conditions of freedom of the will vary in accordance with the value of the action in question.
Introduction
Authors: Kay Lily E 
Published: November 2023

Abstract
During the 1930s a new biology came into being that by the late 1950s was to endow scientists with unprecedented power over life. These three decades culminated in the elucidation of the self-replicating mechanisms of DNA and an explanation of its action in terms of information coding, representations that laid the cognitive foundations for genetic engineering. Scientists could now manipulate genes on the most fundamental level and attempt to control the course of biological and social evolution; they laid claim to “the secret of life.”
Depression in the Age of Prosperity
Authors: Greenberg Cheryl Lynn 
Published: November 2023

Abstract
Harlem. For many Americans in the 1920s the word evoked images of “hot, throbbing jazz,” of “happy-go-lucky negroes” rubbing shoulders with “angry black poets.” This was the era of the Harlem Renaissance, of flowering black culture and pride. Practically every famous black figure of the time had moved to Harlem: poets like Langston Hughes and Countee Cullen; novelists and writers like James Weldon Johnson and Claude McKay; activists and intellectuals like W. E. B. DuBois and A. Philip Randolph. White America praised black writers and musicians, and frequented black clubs and speakeasies.
Barely Making Ends Meet: At Work in the Great Depression
Authors: Greenberg Cheryl Lynn 
Published: November 2023

Abstract
At any given time during the 1930s, a majority of Harlem families contained at least one working member, whose employment opportunities were dramatically affected by the Great Depression. The black occupational structure had changed since the 1920s, generally to the detriment of black workers. African-American economic opportunities, always limited, narrowed still further. While black skilled, unskilled, and white-collar workers, men and women, and the foreign-born and native-born experienced these changes in different ways, all shared this shrinking of opportunity and the consequent low wages. Although unemployment rates were lower in New York than elsewhere, and earnings a bit higher, Harlem’s experiences with employment paralleled the urban black experience across the country.
Postionization of Laser-Desorbed Neutrals for the Analysis of Molecular Adsorbates on Surfaces
Authors: Land Donald P , Wang Diana T S , Tai Tsong-Lin , Sherman Michael G , Hemminger John C , Mclver Robert T 
Published: November 2023

Abstract
In the last 20 years there has been a tremendous amount of activity in the field of surface science. Much of this activity has been aimed at the development of new and more precise probes of the solid-gas interface. The degree of success of these efforts is revealed by the fact that techniques now exist that can provide the elemental composition of a surface layer for virtually any solid sample. Among these techniques are Auger electron spectroscopy, X-ray photoelectron spectroscopy, ion scattering spectroscopy, and Rutherford backscattering. In addition, the static structure of a surface can be determined by diffraction techniques (electron or He atom), or modern methods of electron microscopy (scanning tunneling microscopy or high-voltage electron microscopes).
Hawthorne And Tradition
Authors: Brodhead Richard H 
Published: November 2023

Abstract
WHAT 1s OUR TRADITION? How did we become possessed of our tradition? What difference does it make for us to have a tradition-and to have the tradition we have, and not another? Asking these questions in the context of American literature puts them in an especially revealing light. Traditions, we know, begin when the past is purged of irrelevance. They come into existence when the full past, the sum of what has been, is allowed to fall from mind; then when a past worth remembering is selected and given memorable shape.
LATE JAMES: The Lost Art of the Late Style
Authors: Brodhead Richard H 
Published: November 2023

Abstract
No READER is likely to forget the great scene recorded in the fourteenth chapter of The Golden Bowl, at the opening of Part Third. The occasion is a diplomatic reception, a “great official party” (191),1 but this aspect of the scene is rendered as a mere swirl or blur-a “glitter of star and clink of sword” (192)-of undeveloped detail. This dimension of the scene remains an unfocussed background because the foreground is so strongly held by Charlotte Stant, a figure in the scene who, by her way of engaging it, makes a scene of another order. Charlotte appears here for the first time in her new role as Mrs. Adam Verver, to face our intense curiosity about what a union so strangely motivated on both sides will have turned into.