bluuebunny/crossref_metadata_2025_split huggingface dataset:
Biological Basis of Infectious Disease Epidemiology
Authors: Weber David J , Rutala william A 
Published: November 2023

Abstract
An understanding of infectious disease epidemiology cannot be distilled to a discussion of an infectious agent inflicting disease on susceptible human hosts. Although understanding infectious pathogens is important, other factors involving the host and the environment contribute to the transmission of infectious agents, disease production, and the outcome of an infection. Infection represents a complex interplay between host factors, characteristics of the infectious agent, and environmental influences. This complex interaction has been modeled as a triangle (Jackson 1996) (Fig. 1-1), a wheel (Fig. 1-2, Jackson 1996), a tetrahedron (Fig. 1-3) (Rothenberg 1990), or a chain (Fig. 1-4) (Jackson 1996). Regardless of which model one uses to describe the interaction of humans with infectious agents and their environment, a person’s state of health represents a dynamic equilibrium-a balance of forces.
Psychiatric and Psychological Aspects
Authors: Hunt Ann 
Published: November 2023

Abstract
Tuberous sclerosis complex (TSC) is one of the most common genetic conditions and one associated with some of the most problematic behaviors in children, in that both autism and hyperactivity can occur against a back ground of mental handicap and intractable epilepsy. Adults also are known to develop hallucinations and delusions, high levels of anxiety, and obsessive behaviors, although there is no reported evidence for dementia occurring without seizures. Mental handicap has been found in prevalence studies to affect less than 50% of those with tuberous sclerosis.
Renal Manifestations
Authors: Björnsson Johannes , Henske Elizabeth Petri , Bernstein Jay 
Published: November 2023

Abstract
Most patients with tuberous sclerosis complex (TSC) develop morphologic abnormalities in their kidneys. These lesions include angiomyolipomas (AMLs), cysts, and renal cell carcinomas (RCCs). Eventually, more than 80% of patients will be found to have renal abnormalities. Only the central nervous system is more frequently afflicted than the kidneys. Two lesions, AMLs and renal cysts, are strongly associated with TSC. Anecdotal evidence also suggests that the association between TSC and RCC is greater than that predicted by chance alone, especially since TSC-associated RCCs tend to manifest differently from sporadic ones.
Liver, Digestive Tract, Spleen, Arteries, Thymus, and Lymphatics
Authors: Gómez Manuel Rodríguez 
Published: November 2023

Abstract
Little is known about hepatic hamartomas; more is known about renal hamartomas. Patients with tuberous sclerosis complex (TSC) may harbor one or several hamartomas, specifically angiomyolipomas (AMLs), in the kidneys, the liver, or both. However, patients without TSC may also develop AMLs in the kidneys or liver. Although not completely studied, it seems that multiple AMLs occur more often and at a younger age in patients with TSC than in those without TSC.
Avian Migration
Authors: Clark Colin W , Mangel Marc 
Published: November 2023

Abstract
The migration of birds is a complex form of behavior, affected by many environmental factors, such as spatial and temporal variations in food availability, predators, temperature, winds, and breeding opportunities (Ens et al. 1994). Until recently, most optimization models of migration have dealt with isolated aspects like optimal migration speed (Alerstam 1979; Liechti 1995; Hedenstrom and Alerstam 1995) or optimal fuel loads (Weber et al. 1994). The dynamic state variable approach allows one to include many factors in a single model (Weber and Houston 1997; Weber et al. 1998; Farmer and Wiens 1998, 1999; Clark and Butler 1999).
Family Ties
Authors: Karp David A 
Published: November 2023

Abstract
To reveal the character of moral obligations, I often ask the students in my Introduction to Sociology class, “What do you owe your parents?” After the initial silence such a question normally produces, someone eventually offers the opinion, “I owe my parents everything.” Student might elaborate by describing their good home life and upbringing, adding that their parents did, after all, bring them into the world. Students also typically talk about the opportunities they have been given for a good education, stressing the sacrifices made by their parents for them. After a few declarations of this sort, I then ask just what they mean by “owing them everything.” Does it mean that such important life decisions as choice of work, whom to marry, where to live, and the timing of children will be premised on their parents’ wishes? “Well, no,” the students are then likely to say. After a series of such questions, “owing them everything” becomes more cloudy and there is consensus only that they love their parents, want their respect, and have a generalized expectation that they will “be there for them” if mom and dad ever need help.
Unprecedented Cases, Debatable Changes, and New Challenges
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
The conjunction of remarkable advancements in electronic information technology and basic biomedical research, especially in molecular genetics and genomics ... augers profound changes in the way that society will deal with the fundamental issues of health and disease in coming years. The changes, on balance, offer great promise of enhancing understanding, diagnosis, treatment and prevention of human diseases At the same time, however, the changes are generating deep public concerns that arise in part from philosophical and ethical considerations of individual autonomy and privacy and, in part, from pragmatic concerns about the security and confidentiality of sensitive, personally identifiable medical information, which, in the hands of insurers, employers and others, could be harmful to individuals and their families.
The NBAC Report: Recommendations and Limitations
Authors: Weir Robert F , Olick Robert S , Murray Jeffrey C 
Published: November 2023

Abstract
Chapter 5 discussed a number of international documents, including comprehensive reports and recommendations developed by multidisciplinary committees in the Netherlands, England, and Canada. Here we discuss a report on research with stored tissues by the National Bioethics Advisory Commission (NBAC), a multi-disciplinary committee established by executive order of President Clinton in October 1995. This chapter describes the goals of the NBAC report, analyzes its recommendations, assesses its strengths and weaknesses, and compares some of its recommendations and themes with those of the non-U.S. committees. We do not always agree with the NBAC report, but we applaud its important contribution to the ongoing debate about research with stored tissues.
The Quest for Environmental Integrity: Ecological Interdependence across Species
Authors: Thiele Leslie Paul 
Published: November 2023

Abstract
Environmentalists’ affirmation of temporal and spatial interdependence expands the horizon of human caring. Efforts to protect the environment are carried out not only for the benefit of the near and dear, but for fellow humans in future generations and other lands. This expansive concern for human welfare is the primary motivation for most environmentalists. But it is far from the only motivation. Environmentalists protect the environment not only for the benefit it accords human beings in the here and now or across time and space but also for the sake of other species and the habitats that sustain them. Environmental care is actuated by concern for the welfare of the plants and animals that share the earth with us. The struggle to protect this interconnected web of life is best characterized as a quest for environmental integrity.
Defining and Measuring Complexity
Authors: Mitchell Melanie 
Published: November 2023

Abstract
This book is about complexity, but so far I haven’t defined this term rigorously or given any clear way to answer questions such as these: Is a human brain more complex than an ant brain? Is the human genome more complex than the genome of yeast? Did complexity in biological organisms increase over the last four billion years of evolution? Intuitively, the answer to these questions would seem to be “of course.” However, it has been surprisingly difficult to come up with a universally accepted definition of complexity that can help answer these kinds of questions.
How to Make Analogies (if You Are a Computer)
Authors: Mitchell Melanie 
Published: November 2023

Abstract
The other day I said to my eight-year-old son, “Jake, please put your socks on.” He responded by putting them on his head. “See, I put my socks on!” He thought this was hilarious. I, on the other hand, realized that his antics illustrated a deep truth about the difference between humans and computers.
Schlegel’s Fragments and Schumann’s Cycles
Authors: Ferris David 
Published: November 2023

Abstract
The organicist model of musical form is ultimately inadequate for explaining Schumann’s song cycles. This failure is ironic, given that the metaphorical use of organic unity as a standard of aesthetic value is one of the greatest legacies of Romanticism and is, in fact, a standard that was embraced enthusiastically by Schumann himself in his musical criticism. It is perhaps for this latter reason that theorists and musicologists continue to operate on the premise that this is the most appropriate model for the song cycle, despite the difficulties that have been encountered in applying it. There is some question, however, as to whether the self-representations of Romantic artists such as Schumann should be privileged in this way. In recent years, scholars of literature and music have described Romanticism as an ideology that continues to dominate and shape the criticism and analysis of Romantic works of art and have argued that the tenacity of this ideology has resulted in a lack of critical distance.
The Song Cycle as a Literary Work
Authors: Ferris David 
Published: November 2023

Abstract
It is clear from the song reviews that were published in the NeueZeitschrift für Musik during Schumann’s tenure as editor that he and his colleagues considered the expression of the emotional truth of the text to be the most important aspect of lieder composition. Schumann states this quite plainly in an 1840 article titled “Drei gute Liederhefte” when he writes of W. H. Veit, a contemporary lied composer, that he “is as faithful as possible in rendering the truth of the words through musical expression. This praise is higher than any other.” Earlier in the same article, Schumann employs far more ornate rhetoric, complete with a biblical allusion, to make a similar point. The song under discussion is “Hoffnungslos,” by Norbert Burgmüller, whom Schumann considered to be one of the most talented composers of his generation:
Excerpt from The Electric Kool-Aid Acid Test
Authors: Wolf Tom 
Published: November 2023

Abstract
Kesey had hooked up with a rock ‘n’ roll band, The Grateful Dead. led by Jerry Garcia. the same dead-end kid who used to ; live in the Chateau in Palo Alto with Page Browning and other seeming no-counts. lumpenbeatniks. and you had to throw them out when they came over and tried to crash the parties on Perry Lane. Garcia remembered-how they came down and used to get booted out “by Kesey and the wine drinkers. The wine drinkers-the middle-class bohemians of Perry Lane. They both. Kesey and Garcia. ‘ had been heading into the pudding. from different directions. all that time. and now Garcia was a. yes. beautiful person. quiet. into the pudding. and a great guitar player. Garcia had first named his group The Warlocks. meaning sorcerers or wizards. and they had been eking by playing for the beer drinkers. at jazz joints and the like around Palo Alto. To the Warlocks. the beer drinker music. even when called jazz. was just square hip. They were on to that distinction. too. For Kesey they could just play. do their thing.
William J. Craddock’s novel Be Not Content: ,4 Subterranean Joumal. published by Doubleday in 1970. achieves the very psychedelic feeling he was chronicling-something only a few writers have been able to do. This excerpt from the book describes an adventurous outing to an Acid Test-held December 18.1965. at Muir Beach lodge, in Muir Beach, California. an event that followed shortly on the heels of the first Acid Test. Craddock also wrote Twilight Candelabra, published by Doubleday in1972.
Jerry Garcia’S Death And The End Of The Grateful Dead, 1995-1996
Authors: Espeo Hal 
Published: November 2023

Abstract
Is word of the death of Jerry Garcia spread last Wednesday. via news reports and phone calls and E-mail. the scale of the reaction and the depth of the response quickly surpassed what any one might have expected. It was suddenly obvious that Garcia had become. against all odds. an American icon: by Thursday morning. the avuncular old reprobate had smuggled his way onto the front pages of , newspapers around the world. That his battered. ruined body had finally given out was somehow less surprising than the abrupt recognition of how much he had meant to so many. He was eulogized as a rock star and as a guitar god. of course: he was praised as a businessman who marketed his mystique both shrewdly and generously: and. in the obituaries that recounted the intermittent struggles with addiction that preceded his demise. at the age of fifty-three. in a Marin County drug-rehabilitation center. he was inevitably. and with some justice. pronounced a casualty of drug abuse. But Jerry Garcia was a more graceful and complicated figure than those categories can encom jerry. my friend. you’ve done it again. even in your silence the familiar pressure comes to bear. demanding I pull words from the air with only this morning and part of the afternoon to compose an ode worthy of one so particular about every turn of phrase.
Pianists of the 1920s and 1930s
Authors: Martin Henry 
Published: November 2023

Abstract
In New York, the jazz pianist of the early 1920s was called a “tickler”-as in “tickle the ivories.” Since jazz was part of popular culture, the audience expected to hear the hit songs of the day, stylized and personalized by their favorite players.
Often hired to provide merriment as a one-man band, the tickler was a much-honored figure of the era. He was wary of departing too often or too radically from the melody, since this could alienate listeners. As recordings were relatively rare and not especially lifelike, the piano was the principal source of inexpensive fun-a self-contained party package for living rooms, restaurants, bars, and brothels.
The ticklers exploited the orchestral potential of the piano with call-and-response patterns between registers and a left-hand “rhythm section” consisting of bass notes alternating with midrange chords. This “striding” left hand lent its name to “stride piano,” the principal style of the 1920s.
Ella Fitzgerald, Sarah Vaughan, and Billie Holiday
Authors: Willard Patricia 
Published: November 2023

Abstract
Artistry should not be regarded comparatively. Ideally, each artist should be enjoyed on her own merits. Because they were contemporaries, Ella Fitzgerald, Sarah Vaughan, and Billie Holiday rarely escaped comparison. Periodicals pitted them against one another in polls.
Critics and fans gulped the bait. Seemingly above the clamor yet energized by both the promotion and the adulation, these three African-American women dedicated their unparalleled talents to exploring and interpreting American music.
“Uses her voice like an instrument” emerges in written assessments all too frequently, neglecting or negating acceptance of the human voice as the original, organic musical device. Ella, Sarah, and Billie firmly established equalities in a genre historically dominated by a nonsinging brotherhood.
Each had unique, instantly recognizable gifts. All were jazz singers. They could hear and create their own rhythmic and melodic innovations. Each also chose, usually encouraged by managers and producers, to cross over into more financially rewarding popular music. Each, to varying degrees, realized commercial success.
The Advent of Bebop
Authors: DeVeaux Scott 
Published: November 2023

Abstract
Within a few years, however, it had become synonymous with a revolutionary new way of playing jazz associated with Dizzy Gillespie, Charlie Parker, and Thelonious Monk. Bebop was a brief, explosive moment in American culture, greeted in the mid- to late 1940s by as much controversy and misunderstanding as genuine acceptance. Only much later would it be clear how profoundly and irrevocably bebop had transformed the art of jazz improvisation. Indeed, it is safe to say that jazz as we know it today is shaped in bebop’s image.
Charlie Parker
Authors: Patrick James 
Published: November 2023

Abstract
As if by immaculate conception, the first wave of modern jazz recordings appeared in late 1945 and early 1946. Granted the wisdom of hindsight, we know this startling music had been taking shape over the previous six or seven years, but much of its development had been hidden from the music public. In a dispute between the American Federation of Musicians and the three “majors” of the recording industry (Columbia, Decca, and Victor), most commercial recording was silenced from August 1942 to November 1944. Various wartime measures-the drafting of musicians, a shortage of shellac needed for the manufacture of phonograph discs, gasoline rationing, and transportation restrictions-further reduced opportunities for exposing new music. It should not be surprising, then, that when many people first heard bebop it sounded like a blurred image of the jazz past or, worse, seemed disturbingly disconnected to earlier jazz traditions. Woody Herman’s drummer Dave Tough was no exception:
As we walked in, see, these cats snatched up their horns and blew crazy stuff. One would stop all of a sudden and another would start for no reason at all.
Hard Bop
Authors: Seymour Gene 
Published: November 2023

Abstract
“I loved bebop for taking jazz further along. But as hip and as great as it was, there was a period when musicians had kinda ... not totally, but somewhat ... eliminated the blues, you know? They got so sophisticated that it seemed like they were afraid to play the blues, like it was demeaning to be funky. And I tried to bring that. I didn’t do it consciously at first. But it started to happen.”
... Horace Silver, author’s interview, 1993
The late David H. Rosenthal, in his 1992 history Hard Bop: Jazz and Black Music, 1955-1965, advanced the idea of hard bop as being far more than just a subgenre of jazz. He characterized it as a “new mainstream,” able to absorb the accessible and exuberant sounds associated with black popular music while providing its more adventurous practitioners with a foundation for experiments. Instead of grasping for greater complexity, hard bop provided jazz music with an innovative way of keeping things simple. And of making simple things sound extraordinary.
Big Bands and Jazz Composing and Arranging After World War II
Authors: Ramsey Doug 
Published: November 2023

Abstract
When American servicemen left to fight World War II, the swing era was full of vigor. When they came home, it was dying. Jazz was no longer the nation’s popular music, no longer mainly for dancing. Bebop was beginning to inform the music even of leaders who predated it. Yes, the swing era-that unprecedented congruence of quality and popularity-died a slow postwar death, but the big bands did not die with it.
Except for those maintained as museum pieces, big bands changed. The intricacies, rhythmic urgencies, and humor of bop were in the air. Even before the war ended, they insinuated themselves into the bands of Earl Hines, Cootie Williams, and Billy Eckstine. Soon, swing leaders like Benny Goodman, Duke Ellington, Harry James, Artie Shaw, Boyd Raeburn, Ray McKinley, Stan Kenton, Charlie Barnet, Woody Herman, and Count Basie found themselves hosts to an infectious new strain of jazz. Some embraced it, at least briefly (Herman, Raeburn, Shaw, McKinley, Kenton). Some absorbed and transformed it (Ellington, James, Barnet). Goodman tried bebop for a while and dropped it. Basie tolerated it. The tendency was away from dancers and toward listeners.
The Avant-Garde, 1949-196?
Authors: Kart Lawrence 
Published: November 2023

Abstract
Reacting to the music of alto saxophonist Ornette Coleman, who had arrived on the national scene less than a year before, composer George Russell explained in the course of a June 1960 dialogue with critic Martin Williams that “if there weren’t new things happening in jazz since Charlie Parker, jazz wouldn’t be ready to accept Ornette.
. . . The way has been paved and the ear prepared by rather startling, though isolated, developments in jazz since the forties.”
Russell knew what he was talking about, for he himself had created some of those pre-Coleman “new things.” And when he went on to say that he believed jazz was “ready to accept other innovators as convincing as [Coleman],” he knew that at least two of them, pianist Cecil Taylor and alto saxophonist-bass clarinetist-flautist Eric Dolphy, were already hard at work.
Pianists of the 1960s and 1970s
Authors: Blumenthal Bob 
Published: November 2023

Abstract
Boundaries can be deceptive things, especially when it comes to a topic as rich as “jazz pianists of the sixties and seventies.” The borders of our subject are marked off clearly enough, yet they take in many more players than one might intially imagine. After all, the entire history of jazz piano was still being practiced by its originators during the twenty years in question, often in close proximity to each other. I recall hearing Willie “the Lion” Smith and Jaki Byard at the same club within a week in 1971 and considering the juxtaposition atypical yet hardly unique. When festival producer George Wein organized a concert for the White House in 1978, he was able to include Rubie Blake, Teddy Wilson, Mary Lou Williams, Dick Hyman, McCoy Tyner, Herbie Hancock, Chick Corea, and Cecil Taylor on the same bill. There is probably no other score of years during which the complete evolution of a single instrument has been displayed as comprehensively or as well.
Jazz and Dance
Authors: Crease Robert P 
Published: November 2023

Abstract
In the beginning, the word jazz was not a noun naming a musical genre but probably an adjective describing a certain quality of movement and behavior: spirited, improvised, often sensual, and with a quirky rhythm. By the end of the second decade of this century the term was applied to both a kind of music and a kind of dancing. In the supplements to the Oxford English Dictionary (in the 1970s, when jazz and other slang terms were first admitted), the first definition of jazz is “a kind of ragtime dance.” Jazz dance and music are so intertwined that the origins and early history of each would be unthinkable without the other. How did they evolve together, foster each other, and even depend on each other for several decades? Why did the music and the dance eventually go separate ways? What are the long-range effects and implications of these developments?
Jazz dance referred initially to several mostly syncopated popular dances, influenced by African-American traditions, which had originated in the southern United States.
Introduction
Authors: Hemphill C Dallett 
Published: November 2023

Abstract
One night about 150 years ago, my great-great-grandfather decided to read an etiquette book. He was worried about his awkward bows and thought the manual might help. I was struck by this decision when I came across it in his diary. Why did he care so much about his bow? Why did he turn to a book to deal with his awkwardness? We rarely bow any more; this made me wonder how manners have changed over time and whether changes could tell us anything about the larger society. In short, reading about his decision prompted me to investigate what manners could teach us about early American history.