bluuebunny/crossref_metadata_2025_split huggingface dataset:
Testing “Criminological” Risk Factors
Authors: Monahan John , Steadman Henry J , Appelbaum Eric Silver Paul S , Robbins Pamela Clark , Mulvey Edward P , Roth Loren H , Grisso Thomas , Banks Steven 
Published: November 2023

Abstract
To date, guidance for clinicians as to how to assess violence risk among people with mental disorders has largely taken the form of highlighting a number of “key” risk factors to which clinicians should attend. Monahan (1981), for example, identified 10 risk factors for violence that were claimed to have clinical relevance. More recently, Webster et al. (1995) have com piled a list of 20 risk factors that they believe contribute to a comprehensive clinical risk assessment.
Combining Customized Risk Assessments To Produce The Best Estimate Of Risk
Authors: Monahan John , Steadman Henry J , Appelbaum Eric Silver Paul S , Robbins Pamela Clark , Mulvey Edward P , Roth Loren H , Grisso Thomas , Banks Steven 
Published: November 2023

Abstract
In the previous chapter, we described how a new methodological approach to actuarial violence risk assessment, the iterative classification tree (ICT), produced results superior in a number of ways to those generated by more traditional, main-effects regression methods. We illustrated the ICT method by generating two different risk assessment models from the data collected in the MacArthur Violence Risk Assessment Study-one model that was unrestricted in terms of eligible risk factors and one model that restricted eligible risk factors to those commonly available in hospital records or capable of being routinely assessed in clinical practice.
Philosophical Perspectives on Research
Authors: Elliott David J 
Published: November 2023

Abstract
Philosophy is the sustained, systematic and critical examination of belief. This chapter offers a critical examination of the beliefs underlying several types of research employed by music educators past and present. (Note: This chapter does not provide a philosophy of research; it offers a critique or meta-analysis of the assumptions anchoring various modes of “research.”) The rationale for doing so is that to ignore the foundations of a given research framework is to risk applying it (or teaching it) inappropriately and narrowly, as a simplistic exercise in methods, procedures, or technologies. Put another way, a full understanding of “research” includes understanding the why of each form of inquiry as well as its what and how.
Teaching as a Profession Two Variations on a Theme
Authors: Pembrook Randall , Craig Cheryl 
Published: November 2023

Abstract
Teachers stand at the center of an insistent and polyphonic conversation about educational change. Teaching, by its very nature, is characterized by periods of stasis and flux, but teachers find that expectations for the rate, degree, and effects of educational change have intensified during this current era of school reform. Voices within elementary and secondary schools, as well as the voices of those who stand outside of schools altogether, have joined the chorus to call for changes in teaching practices, in the ways schools are organized, and in the relationship of teachers to the students and communities they serve. This complex and shifting landscape of reform poses a particular challenge to teacher educators who must prepare beginning teachers to take their places alongside their more experienced colleagues who are concurrently transforming their practices within continually evolving school structures. Inclusive and comprehensive notions of what teachers do in those contexts-how they initiate and respond to change-can inform the restructuring of teacher education programs.
Research in Music Student Teaching
Authors: Rideout Roger , Feldman Allan 
Published: November 2023

Abstract
The term student teaching refers to a specified time period when music education students are placed in an elementary or secondary school setting to work with a music teacher who helps them create and implement lesson plans, assess student learning, and master the administrative tasks that accompany being a music teacher. The time period usually falls in the senior year of undergraduate study after all professional course work and mandatory early field experiences are completed. Each state sets the length of time that student teachers must work in school settings. According to Arends (1991), a single student-teaching placement averages 480 clock hours and most students are assigned to a specific site for 12 weeks. Yet these numbers are not supported by other surveys. Andrews (1999) notes that only four states specify hours of work and the range is from 150 to 300 clock hours. Other states define placements as full-time weeks of direct student contact that range from 1 to 18. Patrick and Schleuter (1999) determined that music placements last anywhere from 10 to 34 weeks, with no mention of clock hours. McClellan (1995), in surveying Missouri college and university music departments, found the range from 1 to 18 weeks. Patrick and Schleuter along with McClellan report that most music students are placed in two different settings in order to meet K-12 instructional demands mandated by state laws.
Musicians’ Health
Authors: Chesky Kris , Kondraske George , Henoch Miriam , Hipple John , Rubin Bernard 
Published: November 2023

Abstract
A dedicated group of physicians, audiologists, psychologists, and other healthcare professionals are seeking solutions to a variety of physical, psychological, and behavioral problems among musicians that can cause extreme hardship to the afflicted. The Performing Arts Medicine Association is recognized as the leader in this effort (see chap. 53). However, these dedicated healthcare professionals face obstacles when attempting to research musicians or to implement preventive education-based strategies because they primarily work in clinical settings. A major need exists within music education to acknowledge that these problems exist and to become involved in the development and implementation of music education-based prevention programs. Currently, there is little evidence that the field of music education acknowledges the medical risks involved with learning and performing music or that the field has defined an active role for music educators in efforts to prevent such problems. Not only are these actions necessary as a potentially effective preventative measure, the need for such actions is increased because the new 2001-2002 National Association of Schools of Music Handbook recommends, as a general standard for undergraduate and graduate programs in music, that institutions should assist students to acquire knowledge from qualified professionals regarding the prevention of performance injuries (NASM, 2001).
The Great Plains
Authors: Pritzker Barry M 
Published: November 2023

Abstract
Indians living on the Great Plains shared both a physical environment and, to a large degree, a lifestyle. Their natural resources changed relatively little from thousands of years ago until the late nineteenth century, when the great buffalo herds were destroyed. Wanton elimination of the roughly 30 million buffalo, in addition to millions more deer, antelope, and other game, brought an end to the Plains lifestyle as well, centered as it was, particularly after the various bands and tribes acquired horses, around the great, shaggy beasts.
The Arctic
Authors: Pritzker Barry M 
Published: November 2023

Abstract
For people who have never lived there (and for some who have), the word “Arctic” conjures up a landscape almost incredibly forbidding. The Inuit, however, over the course of thousands of years, learned to live successfully in that cold, rugged country. Inuit (plural of Inuk) means “People” in the native language. In recent years, and especially in Canada and Greenland, it has replaced Eskimo, an Algonquian word meaning “eaters of raw meat” and one that many Inuit find offensive. The Unangan, or Aleut, are also generally considered to be Arctic, rather than Subarctic, residents.
Music Printing As An Enterprise In London Before 1588
Authors: Smith Jeremy L 
Published: November 2023

Abstract
Music printing seems to have been introduced in Europe in the last quarter of the fiftenth the century, and its incunabula period could perhaps be seen to linger on into the late 1520s. Among the earliest examples were sumptuous two-color folios of fifteenth century chant; a splendid series of part-books issued by Ottaviano dei Petrucci; and the equally stunning woodcut quarto and folio editions of Petrucci’s competitor Andrea Antico (the latter two printers worked in the first decades of the sixteenth cen-tury).1 For aesthetic as well as historical reasons, such examples remain among the most treasured of printed music books. Despite these lofty achievements, however, a more comprehensive view of the field suggests that music printing was often hampered by technological limitations in the early years.
Saving the City from Corruption: The Eagle Launches a Campaign
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
On February 14, 1889, Ida Hunt, the twenty-six-year-old wife of a printer, checked herself into the Woman’s Hospital of Brooklyn for the removal of a tumor. According to the account published in the Brooklyn Eagle, Ida was robust and physically fit. L. P. Grover, a physician who had treated her since childhood, found her ‘‘beautiful and healthy” when he had examined her six months before. Though he admitted to noting a sensitive and “slightly irritated” organ “on the left side,’’ he assured her that she suffered a minor reflex irritation that would readily yield to bromides. When Ida asked whether she needed an operation, he “strongly advised against it.”
Gynecology Becomes a Specialty
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
Readers familiar with the struggle of women to enter the professions at the end of the nineteenth century may find remarkable the very existence of a nationally and internationally known female ovariotomist. By 1900, fewer than a handful of women physicians had achieved comparable status. Dixon Jones negotiated her professional identity over a period of thirty years in the practice of medicine, at a time when boundaries, behaviors, techniques, and ideologies of practice were in flux. But resistance to women doctors was heated at times, and even successful practitioners faced chronic discrimination. Signs of hostility are present in various and subtle forms throughout the unfolding of her case. For example, the presiding judge at the manslaughter trial was chagrined by how long it took to gather a jury—most of the men interviewed disapproved of female physicians. But if discrimination were the primary precipitating factor in this tale, it would not be worth telling. What is more intriguing about Mary Dixon Jones’s difficulties with the Brooklyn Eagle is that they were linked as much to her penchant for gynecological surgery as to her sex. What was the cultural meaning of the normalization of such operations in late nineteenthcentury Brooklyn? How did Dixon Jones come to support such radical treatment procedures, defending her surgery even against the assaults of other women physicians? What led her to become embroiled in a public battle over medical therapeutics with the Brooklyn Eagle? We can begin to understand why female surgery raised eyebrows not only in the public arena, but among physicians themselves only by returning to the eighteenth century, when science and medicine altered its traditional conceptions of the human body.
The Relevance of the Philosophy of Psychology to a Science of Psychology
Authors: Harre Rom 
Published: November 2023

Abstract
Taking the question “What is psychology?” very broadly, we could say that psychology is the study of people thinking, acting, seeing, hearing, touching, and feeling. So the field of study for the many versions, variations, and subdisciplines that make up psychology includes such activities as solving problems, resolving disputes, making friends, remembering one’s mother’s birthday, playing cards, watching baseball games, listening to music, picking out the smoothest stone, being in pain, being sad, imagining winning the lottery, and so on. This is a very diverse group of activities, states, and processes.
Introduction
Authors: Johnson David Martel 
Published: November 2023

Abstract
Those people we refer to as eliminative materialists maintain that the world is thoroughly material in nature, and, furthermore, that this implies that the informal theory about human beings’ outer behavior and inner mental workings commonly called folk psychology must be wrong. To be more specific, these thinkers claim it follows from the facts that the world is material, and that material things behave and interact in certain ways, that there are not, never were, and never could be any such items as the beliefs, desires, emotions, sensations, moods, acts of choosing, and so on that ordinary people, some philosophers, and some philosophically inclined scientists think of as constituting the human mind.
Commonsense Refutations of Eliminativism
Authors: Marras Ausonio 
Published: November 2023

Abstract
Like William Lycan, I too believe that eliminative materialism, in any of its chief varieties, is a false doctrine, but I am skeptical that it is open to a direct, Moorean refutation, as Lycan supposes. Here are the reasons for my skepticism.1. Eliminativism in regard to the propositional attitudes is, in Lycan’s words, “materialism plus the claim that no creature has ever had a belief, desire, intention, hope, wish, or the like. “ This startling doctrine, endorsed by Churchland, (1981) Stich, (1983) and others as a plausible conjecture, is putatively established by its proponents by a number of arguments such as the ones that Lycan enumerates (El-E6).
The Significance of Ape Language Research
Authors: Shanker Stuart G , Taylor Talbot J 
Published: November 2023

Abstract
No supposition seems to me more natural than that certain kinds of plants multiply by seed, so that a seed always produces a plant of the same kind as that from which it was produced, but nothing in the seed corresponds to the plant which comes from it; so that it is impossible to infer the properties or structure of the plant from those of the seed that comes out of it; this can only be done from the history of the seed. So an organism might come into being even out of something quite amorphous, as it were causelessly; and there is no reason why this should not really hold for our thoughts, and hence for our speaking and writing.
“Roll Over Beethoven, Tell Tchaikovsky The News”
Authors: Altschuler Glenn C 
Published: November 2023

Abstract
You know my temperature’s rising, / the juke box is blowing a fuse,” Chuck Berry proclaimed. “My heart’s beating rhythm / and my soul keeps singing the blues. / Roll over Beethoven, / tell Tchaikovsky the news.” The news, of course, was that rock ’n’ roll was a “national pastime,” a powerhouse in American popular culture. “Maybe politically and socially you were a little shaky,” Cash Box crowed in 1957, “but man the whole music business rises, takes off its hat and salutes you.”
Introduction
Authors: Block Geoffrey 
Published: November 2023

Abstract
Richard Rodgers (1902-1979) was one of the most successful popular composers of his era and arguably the most successful, productive, diverse, and influential American composer for the musical stage of the twentieth century. As a songwriter, Rodgers was about as popular as a popular song composer can be. In fact, no fewer than nine Rodgers songs are featured among Variety’s Golden 100 songs of Tin Pan Alley (reprinted in Charles Hamm’s Yesterdays), a figure that equals the great Irving Berlin among all the songs copyrighted between 1918 and 19 56.’’ Rodgers’s songs are universally praised for their versatility, craft, and memorability as well as their emotional and dramatic qualities. In his influential survey of Rodgers songs in American Popular Song: The Great Innovators-1900-1950 (portions of which are excerpted in The Richard Rodgers Reader), Alec Wilder introduces his subject with unequivocal ardor: “Of all the writers whose songs are considered and examined in this book, those of Rodgers show the highest degree of consistent excellence, inventiveness, and sophistication.” Although most of the shows with Lorenz Hart (1895-1943) are remembered primarily for the songs, it needs to be said that from the earliest stages of his career Rodgers was concerned with their careful dramatic placement in his shows and films. More consistently than other outstanding songwriting composers of his era, including Berlin, Jerome Kern, George Gershwin, Cole Porter, and Harold Arlen, Rodgers, especially in his collaboration with Oscar Hammerstein (1895-1960), created a repertory of songs that have retained a credible attachment to their staged origins.
“Words and Music: Rodgers and Hart”
Authors: Block Geoffrey 
Published: November 2023

Abstract
Margaret Case Harriman’s two-part New Yorker profile, originally published in 1938, appears here as it was modestly updated in Take Them Up Tenderly, a collection of Harriman’s essays published several months after the death of Hart. Harriman offers the most substantial contemporary introduction to Rodgers and Hart, already “regarded in their profession as musical dramatists rather than as songwriters: Like most writing on Broadway songwriters, then and now, technical discussion is reserved for Hart’s lyrics, including brief explanations of such matters as exterior (male), interior (female) rhymes, and dummy lyrics. Little is said about Rodgers’s music other than a remark about an alleged resemblance between “Here in My Arms” and the African-American spiritual “Nobody Knows the Trouble I’ve Seen.” Harriman emphasizes Rodgers and Hart’s “belief that a musical comedy should be as well constructed as a straight drama’’ and notes their recently successful integration of songs into stories in On Your Toes and Babes in Arms. Rodgers himself remarked on several occasions in Musical Stages that his concern with, and sensitivity to, dramatic action did not begin with Oklahoma! Harriman also introduces several anecdotes that remain in wide circulation, for example, the story of how “Blue Moon” belatedly evolved into its present title and lyric to take its place among popular song perennials.
“Rodgers Without Hammerstein”
Authors: Block Geoffrey 
Published: November 2023

Abstract
For nearly eighteen years Rodgers and Hammerstein enjoyed perhaps the most fruitful collaboration in the history of the American musical, and Hammerstein’s death in 1960 was an incalculable personal and professional loss. Five years earlier Rodgers himself endured an operation in which cancerous portions of his jaw, tongue, and lymph nodes were removed (see Rodgers’s “Cancer? I’ve Had It!” in Part IV}, but at fifty-eight he remained in relatively good health and clearly possessed the will and need to keep working. Along with other journalists, Arthur and Barbara Gelb announced a.
“Cancer? I’ve Had It!”
Authors: Block Geoffrey 
Published: November 2023

Abstract
In “Cancer? I’ve Had It!” Rodgers encourages millions of This Week readers that detection can often lead to a full cure. Rodgers relates how a pain in his jaw led to tests and the removal of a portion of one jaw and numerous lymph nodes, and how with mild medication he was able to appear on television, rehearse and write additional material for a new show (Pipe Dream), fly to California to attend “a lot of very fine parties; and visit his daughter Linda had no physical difficulties to overcome in doing a job for which a much younger man should have gone into training; nor were there any aftereffects except a feeling of great exhilaration and accomplishment. Though we recognize our attitude is illogical, many of us are reluctant to admit that we have had cancer, even if there has been a complete cure. Most of us seem to feel that there is some sort of stigma attached to the disorder, almost as though it were a so-called social disease. Why this should be, no one seems to know and the doctors themselves seem baffled by what can only be called a phenomenon of unreason. Reason or no, the net result is that we hear very little from the patient or his family about the cure and only learn of the disaster. The “net-net” result is more fear and less chance of cure. Frankness on a social level could be enormously helpful, and publications, such as this one, could aid greatly by demonstrating that the opposite side of the coin need not always be black. I am not fatuous enough to believe that everyone who develops cancer can be as fortunate as I have been, but it cannot be denied that my expirience stands for what it is-far from happy but far from terrible. I went to a small party this Sunday. Four people there had been successfully treated for cancer. I shall feel deeply rewarded if, having read this, some of you who have signs of this kind of trouble will go for early help-not through terror but through hope.
“The Broadway Audience Is Still There, Waiting for More Good Shows”
Authors: Block Geoffrey 
Published: November 2023

Abstract
During the run of Two by Two Rodgers discussed “the state of the theater” in an interview in Dramatists Guild Quarterly. At the outset, Rodgers states categorically that the problems with Broadway can be attributed to the absence of first-rate new material. He then offers his opinions on the current scene, expresses his antipathy to rock (which he calls hard rock and devoid of melody and harmony), and his appreciation of the sole nonrock component of Burt Bacharach’s Promises, Promises, the song “I’ll Never Fall in Love Again:’ Acknowledging the difficulties he had over an extended period of forced amateur labor from 1920 to 1925 and the resulting desperation that placed him on the verge of abandoning the theater (to sell underwear), Rodgers offers encouragement and advice to those who dream of a profesional career: get your work performed anywhere and by anybody. As Rodgers put it, “If I were starting out and the Astor Hotel [home of Columbia’s Varsity Show of 1920, Fly With Me] was still in existence, I would be satisfied to have my stuff shown in its men’s room. Any place:’ The following is an edited transcript of a recent question-and-answer session with Richard Rodgers about the state of the theater, held at the request of the Dramatists Guild Quarterly, expressly for publication in these pages. We are grateful to Mr. Rodgers for his generous cooperation in this project, whose questioners were the Quarterly’s editor and reporter. [Tagline by Dramatists Guild Quarterly editor. Q: You have just celebrated fifty years in show business by doing a new show and it, like most of your others, is a resounding success. How does bringing in a show differ from when you first began? RODGERS: Two by Two was fun in spots and murder in others. Q: Was it more of a chore-more murder-than it would have been ten years ago? RODGERS: I don’t think so. Your trouble in producing any show arises out of the confrontations with the people you are working with. You have your difficulties with writers and actors as people rather than as craftsmen or performers. This is where you have your trouble, just as you do in a club you belong to or a bar you go to. It’s the guy on the stool next to you who’s almost as neurotic as you are.