bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dermatologic Manifestations
Authors: Rogers III Roy S , O’Connor William J 
Published: November 2023

Abstract
The dermatologic features are an important part of tuberous sclerosis complex (TSC). Adenoma sebaceum was included in the classic clinical triad defined by Vogt1 in 1908. Even in the neonatal period, lesions that are highly suspicious for TSC may be recognized in some patients by the careful examiner. As the infant or child grows, additional lesions may appear that con firm the suspected diagnosis or provide the key piece to a diagnostic puzzle. A cross-sectional study of the age-related prevalence of cutaneous features of TSC performed by Webb et al. on 131 affected individuals showed that 126 (96%) exhibited skin signs.
Remembering and Knowing
Authors: Gardiner John M , Richardson-Klavehn Alan 
Published: November 2023

Abstract
Remembering and knowing are two subjective states of awareness associated with memory. Remembering refers to intensely personal experiences of the past-those in which we seem to recreate previous events and experiences with the awareness of reliving these events and experiences mentally. Remembering entails mental time travel that intimately engages one’s sense of self.
Conservation Biology
Authors: Clark Colin W , Mangel Marc 
Published: November 2023

Abstract
A dynamic state variable model yields numerical predictions of fitness-that is, expected life-time reproductive success, for organisms that use optimal decision strategies under the assumptions of the model. If the parameters of the model are altered, these optimal strategies and fitness values will also change. In previous chapters, we have considered this relationship between parameters and model predictions in terms of sensitivity testing of the model. The same method can also be used for environmental impact assessment. Thus a potential change in the organism’s environment may be reflected in changes in the model’s parameters.
A Tear Is an Intellectual Thing
Authors: Neu Jerome 
Published: November 2023

Abstract
Is jealousy eliminable? If so, at what cost? What are the connections between pride the sin and the pride insisted on by identity politics? How can one question an individual’s understanding of their own happiness or override a society’s account of its own rituals? What is wrong with incest? These and other questions about what sustains and threatens our identity are pursued using the resources of philosophy, psychoanalysis, and other disciplines. The discussion throughout is informed and motivated by the Spinozist hope that understanding our lives can help change them, can help make us more free.
Concerns About Some Common Research Practices
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
Storing human tissues for biomedical research purposes has been a common practice for decades, yet until a few years ago there were no reliable data in the United States or elsewhere on the approximate numbers or types of tissues in storage at government laboratories, universities, or commercial tissue banks. Likewise, the two statements quoted above remind us that expressions of concern about the multiple uses and possible abuses of our continually expanding knowledge in human genetics have been common for many years-long before and, we predict, long after the Human Genome Project (HGP)-yet there has been little information compiled about these concerns or how they may play influential roles in the current controversy over research with stored tissues.
The Controversy over Stored Tissues, Research Practices, and Informed Consent
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
Patients may expect that tissue samples will be used only for tests to provide information for their medical care. They may believe that samples will be discarded after testing, although the law often requires that samples be retained. When samples are obtained as part of medical care, patients may not be told [but should be told] about the possibility that these samples will be stored and used for research. NIH/CDC Workshop Statement, 1995 To give a description of each and every research protocol which might be performed on a patient’s tissue is an unreasonable burden for the patient and the researcher. The current informed consent doctrine ... is not well suited to research that does not involve patient therapy. General consent for use of the tissue should be sufficient. Society has a strong interest in research involving the use of human tissue which may be hampered by well-intended but intrusive regulations. College of American Pathologists, 1996 As discussed in Chapter 1, the CDC had an ethical problem in 1994. Their investigators had completed NHANES III in 1991, some of the geneticists at CDC had approximately 19,500 blood samples and 8,500 cell lines in storage, and several publications based on these stored tissue samples had already appeared in leading medical journals. Yet some of the CDC scientists doing molecular genetic research were sufficiently concerned about the inadequacy of the informed consent process used in NHANES III that they were reluctant to continue this research. They turned to the CDC’s Institutional Review Board for guidance.
Recommendations and Policies in Other Countries
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
The extraordinary successes of molecular biology and genetics in recent years have transformed the ways many of us think about ourselves, our families, and other persons and organizations that may have genetic information about us-or might have such profoundly personal information about us in the future. The laboratory practices that are common to the field of molecular genetics have, when coupled with the multiple concerns of many potential research participants, contributed to the ongoing controversy about human tissue research, whether that research is done in university research labs, government research labs, a variety of specialized tissue banks, commercial DNA banks, or biotechnology companies.
Updating Informed Consent in the Era of Genomic Medicine
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
Informed consent is one of the recurring themes in this book. The reason is simple: informed consent represents a kind of contested territory where an ongoing inter­ national debate is being waged by several interested parties. The point of contention is the conditions under which research with stored tissue samples can and should be done. The views of many of these interested parties-patients, re­search participants, geneticists and other biomedical scientists, pathologists and other physicians, IRB members, entrepreneurial “gene hunters,” indigenous populations, biotechnology companies, bioethicists, attorneys, and distinguished multidisciplinary panels in several countries-were presented earlier.
Beyond Informed Consent: Other Ethical Issues and Concerns
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
Much of the recent international debate about research practices with stored tissues has been characterized by differing views about the process of informed consent: what it is, when it is done in ethically appropriate ways, how much disclosure is needed in different research settings, when disclosure and informed consent are legally required, and so on. The debate is not limited, however, to questions about the necessity, appropriateness, or situational impracticability of informed consent. Rather, the debate goes beyond informed consent to include a number of other issues and concerns about human tissue research, some involving questions about law, most pertaining to research ethics, and all having to do with practices common to biomedical research in the era of genomic medicine.
Information
Authors: Mitchell Melanie 
Published: November 2023

Abstract
Complex systems are often said to be “self-organizing”: consider, for example, the strong, structured bridges made by army ants; the synchronous flashing of fireflies; the mutually sustaining markets of an economy; and the development of specialized organs by stem cells—all are examples of self-organization. Order is created out of disorder, upending the usual turn of events in which order decays and disorder (or entropy) wins out. A complete account of how such entropy-defying self-organization takes place is the holy grail of complex systems science. But before this can be tackled, we need to understand what is meant by “order” and “disorder” and how people have thought about measuring such abstract qualities.
Computation
Authors: Mitchell Melanie 
Published: November 2023

Abstract
People usually think of computation as the thing that a computer does, such as calculations in spreadsheets, word processing, e-mail, and the like. And they usually think of a computer as the machine on one’s desk (or lap) that has electronic circuits inside, and usually a color monitor and a mouse, and that in the distant past used old-fashioned technology such as vacuum tubes. We also have a vague idea that our brains themselves are roughly like computers, with logic, memory, input, and output.
Evolution, Complexified
Authors: Mitchell Melanie 
Published: November 2023

Abstract
In chapter 1 I asked, “How did evolution produce creatures with such an enormous contrast between their individual simplicity and their collective sophistication?” Indeed, as illustrated by the examples we’ve seen in this book, the closer one looks at living systems, the more astonishing it seems that such intricate complexity could have been formed by the gradual accumulation of favorable mutations or the whims of historical accident. This very argument has been used from Darwin’s time to the present by believers in divine creation or other supernatural means of “intelligent design.” The questions of how, why, and even if evolution creates complexity, and how complexity in biology might be characterized and measured, are still very much open. One of the most important contributions of complex systems research over the last few decades has been to demonstrate new ways to approach these age-old questions. In this chapter I describe some of the recent discoveries in genetics and the dynamics of genetic regulation that are giving us surprising new insights into the evolution of complex systems.
The Past and Future of the Sciences of Complexity
Authors: Mitchell Melanie 
Published: November 2023

Abstract
In 1995, the science journalist John Horgan published an article in Scientific American, arguably the world’s leading popular science magazine, attacking the field of complex systems in general and the Santa Fe Institute in particular. His article was advertised on the magazine’s cover under the label “Is Complexity a Sham?” (figure 19.1).
New York Roots: Black Broadway, James Reese Europe, Early Pianists
Authors: Riis Thomas L 
Published: November 2023

Abstract
New York’s significance for jazz history lies in its open embrace of all things theatrical and seemingly all life forms with a dramatic or dramatizable element. Because the city possesses a long history of hospitality to the marginalized of the world-not merely twentieth-century immigrants arriving at Ellis Island, but Dutch sailors in the seventeenth century, English loyalists during the American Revolution, Atlantic pirates in search of safe haven, and all manner of scoundrels, scalawags, traders, and freebooters over the last several hundred years-its openness to unusual custom, indeed its flamboyant penchant for self-promotion, has conduced to the process of creating characters in costume, storytellers, and other citizens who work at being visible, striking, and larger than life.
Of course there was black music and drama in New York long before jazz. Musical interpolations were part and parcel of the African Grove Theatre productions in Five Points dating as far back as 1821. In the same decade free blacks “danced for eels” in Catherine Market. At the nearby Chatham Theatre such dance customs were immortalized in the landmark play New York as It Is twenty years later.
Bix Beiderbecke
Authors: Fairweather Digby 
Published: November 2023

Abstract
As the twenty-first century approaches, the days of the individual voice in jazz are largely gone. Players today draw luxuriously from the collected innovations of previous generations to produce highly trained, musically efficient composites which seldom sound truly new. But it wasn’t always so. Back in the formative years of the music, styles were hewn in magnificence from the unshaped stone of jazz. And with Louis Armstrong, Bix Beiderbecke was the most striking of jazz’s cornet (and, of course, trumpet) fathers; a player who first captivated his 1920s generation and after his premature death, founded a dynasty of distinguished followers beginning with Jimmy McPartland and moving on down from there.
Beyond his musical legacy, Beiderbecke became the first high-profile romantic hero of jazz music. He was the first “young man with a horn”; the prototype artist whose creative flair shone more brightly because of its premature self-destruction. The concept of selfabnegation for art’s sake is a seductive one, and, just seven years after his death in 1931, Beiderbecke was the inspiration for Dorothy Baker’s romanticized fantasy Young Man With a Hom (1938), filmed by Warner Bros.
Streamlining Jazz: Major Soloists of the 1930s and 1940s
Authors: McDonough John 
Published: November 2023

Abstract
In the ‘30s and ‘40s streamlining became the essence of a modern sensibility that found many expressions. It was a beauty born out of motion, not emotion. And because jazz itself was an expression of motion in rhythmic terms, it inevitably felt its influence. This essay is about that confluence and the work of a second generation of soloists who got jazz moving in the form of swing.
Ever since Louis Armstrong’s lionhearted cadenza at the top of “West End Blues” or his three-chorus aria on “Tight Like This” (Okeh/Columbia) first sounded the call, the hero-soloist has been the spiritual essence of jazz: manifestly original, defiant, and the supreme symbol of the primacy of the individual over the group.
But heroes must have limits to conquer. Jazz in the ‘30s and ‘40s was a music challenging the limits of its origins. In its early days passion was inclined to count more than polish, and no one judged another’s often self-taught intonation or attack too severely if the feeling was there. What changed in the ‘30s was that important soloists came to judge these matters very seriously indeed.
Jazz Singing: Between Blues and Bebop
Authors: Siegel Joel E 
Published: November 2023

Abstract
Debates about what constitutes jazz singing, and which vocalists should be embraced by or excluded from the jazz community, have raged for decades. Earlier in the century such definitions and discriminations were of less consequence. From the mid-’20s through World
War II, American music evolved and flourished in a myriad of over-lapping styles-folk, gospel, blues, jazz, musical theater, swing, and Tin Pan Alley ballads and novelties. These two decades of artistic ferment and fusion were, arguably, the most fertile epoch in the development of our national popular music. In such a fecund era, there was little need or time for categories.
If Al Jolson, who derived his style from vaudeville and minstrel shows, could be celebrated as “the jazz singer,” it’s evident that the term has never been precisely defined. Some singers (Ethel Waters, Bing Crosby) began performing and recording with jazz accompaniment, then expanded their horizons (and downplayed the jazz elements) to conquer Broadway, Hollywood, and the Hit Parade. Others (Annette Hanshaw, Lee Wiley) grew increasingly influenced by jazz musicians as their careers evolved.
Jazz and the American Song
Authors: Lees Gene 
Published: November 2023

Abstract
John Lewis, the composer, pianist, and music director of the Modern Jazz Quartet, has noted-indeed emphasized-that jazz evolved in a symbiotic relationship with the American popular song: “Jazz developed while the great popular music was being turned out. It was a golden age for songs. They had a classic quality in length and shape and form and flexibility of harmony. The jazz musicians were drawn to this music as a source of material. It gave an opportunity to players.”
The New Orleans Revival
Authors: Hadlock Richard 
Published: November 2023

Abstract
The revival of New Orleans jazz probably began in 1917, when the first Victor records by the Original Dixieland Jazz Band, led by cornetist Nick LaRocca, were issued. As representatives of New Orleans polyphony-spontaneous improvised part-playing-the ODJB had profound influence, for several years, upon coming-of-age musicians. Clarinetist Benny Goodman and cornetist Bix Beiderbecke were but two youngsters who memorized entire passages recorded by LaRocca’s quintet of seemingly “illiterate” instrumentalists. (Actually, trombonist Eddie Edwards could read music quite well.)
The ODJB enjoyed success in Chicago, New York, and London, inspiring countless new dixieland bands, all attempting to play improvised counterpoint according to New Orleans rules. “Original Fives” (not always very original) or “Hot Fives” (some not so hot) turned up on recordings frequently until 1928 or so. After that time dance orchestras prevailed, with radio broadcasts from ballrooms replacing records in many Depression-struck homes. Due in part to the brilliance of New Orleans trumpeter Louis Armstrong, jazz after the late twenties became a soloist’s art, generally supported by sympathetic orchestral arrangers.
Jazz Repertory
Authors: Sultanof Jeffrey 
Published: November 2023

Abstract
The phrase jazz repertory has many definitions and dimensions. Perhaps the most basic definition is: the study, preservation, and performance of the many diverse musical styles in jazz. In recent years, the phrase most often applies to big bands and jazz ensembles performing classic and new music written for reeds, brass, and rhythm section in various sizes and combinations.
In a sense, the small-group jazz repertoire movement began in the late 1930s. There had always been a core of traditional jazz fans and artists during the big band era, but a national focus on older styles was evident from new recordings made in the late ‘30s by Jelly Roll Morton, the Original Dixieland Jazz Band, Sidney Bechet, et al. The rediscovery of trumpeter Bunk Johnson prompted new activity in older styles by such ensembles as those led by Lu Watters and Turk Murphy. Younger musicians such as Bob Wilber and Kenny Davern felt more sympathy with the music of an earlier era. Wilber even studied with his hero, Sidney Bechet, and became his protege.
Further interest in older styles of jazz was prompted by the publication of They All Played Ragtime, written by Rudi Blesh and Harriet Janis. Blesh’s own record label, Circle, concentrated on ragtime and older jazz styles.
Jazz in Japan
Authors: Koyama Kiyoshi 
Published: November 2023

Abstract
The history of jazz in Japan has an age of imitation in its beginning. The oldest jazz record in Japan, “Walla Walla” (Nitto/King), was recorded in 1925 by the Nitto Jazz Band, whose members are now unknown. From this incunabulum to “Blues Suite No. 3” (Victor), recorded in
1962 by the Hideo Shiraki Quintet, almost all of the jazz in Japan was more or less imitative of the jazz heard on records. The performance of the Nitto Jazz Band was clearly a copy of the idea heard in “Livery Stable Blues” by the Original Dixieland Jazz Band, featuring mimics of animal bleats. “Blues Suite No. 3” was nothing more than another version of “Senor Blues,” recorded by Horace Silver in the 1950s.
In the 1950s, two exceptions to this rule of imitation were two very talented pianists, Shotaro Moriyasu and Toshiko Akiyoshi. Moriyasu was one of the pioneers of modern jazz in Japan; he interpreted the concept of bebop and put it into practice. With his rich knowledge of music, utmost skill, and natural but still perfect talent, Moriyasu had a great impact on the younger generation, but tragically, he killed himself at the age of thirty-one in September 1955, a few months after his idol Charlie Parker died.
Jazz in Canada and Australia
Authors: Martin Terry 
Published: November 2023

Abstract
So near, so far”-or is it rather “Too near, too far”: the polar situations of would-be jazz musicians in Canada and Australia. In considering their situations we immediately face the question of individual voice versus local dialect. Can we speak of shared musical attributes that could define a Canadian or Australian jazz sound? And how can the individual voices that will generate the dialect form in the first place?
Canadian jazz historian Mark Miller poses the “so near” syndrome. Not only is the north-of-border jazzman likely to be well informed of the latest developments to the south by the availability of recordings and by the relative ease of experiencing the U.S. jazz scene in the flesh. Canada is also only a slight northerly swing in any tour of the States. A successful Canadian musician is likely to be subsumed readily into the American or international jazz network, ceasing to be generally recognized as Canadian; witness the notable examples of composer-arranger Gil Evans, pianists Oscar Peterson and Paul Bley, and trumpeters Maynard Ferguson and Kenny Wheeler. That the emigration of future jazzmen of note from Canada began early is illustrated by the example of pianist Tiny Parham, who recorded in Chicago in the 1920s.
The Saxophone in Jazz
Authors: Heckman Don 
Published: November 2023

Abstract
Adolphe Sax was, by every indication, a dreamer. And an ambitious one, at that. But it’s doubtful that the Belgian musician-inventor, even in his most visionary fantasies, ever imagined the impact that his most successful invention-the saxophone-would have upon the world. Ironically, the instrument’s birth was almost accidental. It happened in 1841, when Sax was developing a family of valved brass that he called “Saxhorns”-similar to today’s tubas, flugelhorns, and baritone horns.
Sometime during the working process, Sax experimentally attached a bass clarinet mouthpiece (and reed) to an ophicleide, a brass instrument with keys instead of valves. Intrigued by the results, he explored further and, in 1842, produced a bass saxophone in the key of C. On February 3, 1844, it was heard for the first time in concert in a demonstration with a chamber wind ensemble. The performer was Sax, and the performance was impressive.
He patented his invention and quickly signed an exclusive contract with the French army to supply saxhorns and saxophones for their various bands. By 1846 he had produced an entire family of saxophones-seven in F and C, and seven in E flat and B flat.
The Trombone in Jazz
Authors: Schuller Gunther 
Published: November 2023

Abstract
The trombone is the only instrument in the Western music tradition that is virtually unchanged in its basic construction (shape and size) and technical function since its first appearance in the late fifteenth century. All other instruments-whether the violin, the organ, or even the trumpet-have experienced important changes or physical additions (such as valves on trumpets). Although a valve trombone was developed eventually in the early nineteenth century, it never replaced in classical music or in jazz the so-called slide trombone, the instrument with which this article will be primarily concerned.
Thus, given the trombone’s stable and venerable history, it is some-what ironic that it was originally developed as an offshoot of the Renaissance slide trumpet, in use in late medieval music, extending the brass family’s registral range to the tenor and baritone regions. Moreover, from its very beginnings the trombone, with its inherent agility of movement and potential freedom from fixed pitches (a limitation, for example, for valved or keyed instruments), was considered no less versatile than a violin or cornetto. This goes a long way toward explaining the instrument’s central and consistent place in the music literature of the last five hundred years.