bluuebunny/crossref_metadata_2025_split huggingface dataset:
God Does Not Go Forth with Our Armies
Authors: Tuininga Matthew J. 
Published: January 2025

Abstract
This chapter describes how the expansion of the war and repeated defeats led the colonies to become increasingly hostile toward Indians. Governor Winslow was forced to request a meeting of the United Colonies. An attempt to coerce the Norwottucks into supporting the English alienated them and led to a series of bitter defeats. Plymouth sold Wampanoags into slavery in the Carribean, Massachusetts restricted Indian freedoms, and Christian Indians were harassed and arrested and had their towns and fields destroyed. A number of Puritans protested these developments on Christian grounds, including John Eliot and Daniel Gookin, which provoked hostility against them as well. As defeats continued, the United Colonies mobilized for a bigger war, and Massachusetts called its people to prayer and fasting to seek God’s favor.
No Indians Can Be Trusted
Authors: Tuininga Matthew J. 
Published: January 2025

Abstract
This chapter describes the intensification of colonial mistrust against all Indians and the dispersal or internment of Massachusetts’s praying Indians. Colonists were shocked when neutral Agawam Indians launched a devastating surprise attack on Springfield. While Increase Mather lobbied for reformation as a means of seeking God’s favor, the Massachusetts government considered various proposals for how to deal with the praying Indians. Many praying Indians were interned on Deer Island. The Wamesits were briefly imprisoned, and when they were released, one was brutally murdered by a colonial soldier. As colonial troops returned home for the winter and Massachusetts finally passed legislation seeking reformation, Nipmucs seized the Christian Indians from Hassanamesit, and the Wamesits fled to the wilderness for safety.
Turning Point
Authors: Tuininga Matthew J. 
Published: January 2025

Abstract
This chapter describes how negotiations were shattered by a devastating colonial offensive, leading to a stunning collapse of Algonquian fortunes throughout New England. Massachusetts was relaxing its policy toward praying Indians, moving them from Deer Island back to the mainland, and it was making progress in its negotiations with the sachems. Then Massachusetts forces led by William Turner launched a surprise attack on Indians at Peskeompscut Falls in the Connecticut Valley. Soon after, Mohawks from New York launched further attacks on the Algonquians. Algonquian resistance in western Massachusetts collapsed, and Indians scattered throughout New England, many attempting to surrender. Other Connecticut forces dealt crushing defeats to the Narragansetts in Rhode Island, while Plymouth forces and their Indian allies dealt defeats to the Wampanoags in Plymouth colony.
Tala as Phrase Meter
Authors: Mukherji Somangshu 
Published: January 2025

Abstract
One of the central concepts of Indian music theory is that of “tala.” Often translated as “meter” in Western music scholarship, tala is, however, different from Western meter in certain respects. The study of tala consequently provides a window into some of the peculiarities of rhythm and metrical organization in the music of South Asia. As this essay will argue, however, tala does seem to bear striking resemblances to one aspect of Western meter—namely, that of phrase meter, which is the metrical organization of phrase rhythm in Western music, seen at the level of multi-bar phrasal groups (as opposed to within individual bars, and as exemplified by the notated simple and compound meters of Western music). This essay reveals this connection between tala and Western phrase meter, first by defining the latter term—as one that is separate not only from simple and compound bar-level meters, but also from hypermeter—and then by analyzing examples of tala structure in actual Indian musical performances that appear to have distinct phrase-metrical qualities. The essay concludes by arguing that not recognizing this phrase-metrical basis for Indian tala has led to certain misconceptions about tala in contemporary musical scholarship, including the belief that tala constitutes a kind of “additive” rhythmic-metrical phenomenon.
Prolongation in Turkish Classical Music
Authors: Birson Adem Merter 
Published: January 2025

Abstract
Theories on the structural properties of scales have predominated studies of Western art music, yet little is known about how scales function in the context of non-Western music. Such knowledge would help broaden our understanding of scales as a somewhat universal organizing principle, as well as provide insight into appreciation of musical cultures otherwise thought to be too “exotic.” This paper focuses on Turkish classical music, the musical structure of which is based on makam, or modes. As in Western tonality, Turkish makam involves defining a particular pitch of a scale as tonic and then completing a process of concluding on that pitch by means of stepwise scalar descent. While scalar stepwise melodies may occur in the more local contexts of musical phrases, this structural stepwise descent occurs over the course of entire pieces, logically connecting the music of one section of a composition to another. Along the way, pitches of the structural makam scale may be subjected to prolongation, during the course of which expressive formal techniques—such as brief modulations to other makam—may occur. The approach in this paper is inspired by the treatises of the Ottoman Turkish theorists, composers, and performers Dmitrie Cantemir (1673–1723) and Abdul-Baki Nasr Dede (1765–1820).
“A Blueprint for Dancers”
Authors: Turci-Escobar John 
Published: January 2025

Abstract
One night in 1897, in a swanky libertine Buenos Aires night spot, house pianist Rosendo Mendizábal premiered his new tango, “El Entrerriano,” to great success. The composition would achieve immortality as the first representative of the incipient genre known as “tangos criollos” in what became the tango songbook. Generations of tango musicians performed and recorded this standard, including the premier orchestras of the genre’s golden age. The questions that guide this essay’s analysis of “El Entrerriano” are grounded in the context in which this tango was composed, performed, and received. Thus, as the title of this essay hints, it frames its discussion in terms of the tango’s original function: stimulating reveling dancers in nocturnal environments. The essay analyzes the form of the tango as presented in sheet music and elaborated in thirty recordings by celebrated tango ensembles. Its analysis then shifts to a close reading of the A section, focusing on motivic, harmonic, and rhythmic features. Finally, and circling back to the choreographic motivation of this tango, it analyzes how celebrated dancers interpret these musical features in a scene from a historic film.
Comparing the Choreomusical Styles of Marius Petipa and George Balanchine in the Berceuse of Harlequinade
Authors: Leaman Kara Yoo 
Published: January 2025

Abstract
Marius Petipa and George Balanchine each held reputations for being among the most significant and most musical ballet choreographers of their eras. This essay shows how the choreomusical styles of these choreographers can be compared by examining how they set patterns in music to patterns in their dances. The “Berceuse, a variation for Columbine,” from Act II of Riccardo Drigo’s Harlequinade (1900), offers a special instance in which Petipa and Balanchine choreographed to the same score, Petipa for the original production and Balanchine for a new production sixty-five years later. An exceptionally detailed Stepanov-notation dance score preserves Petipa’s choreography for modern-day reconstruction. The essay’s analysis takes advantage of a recording of the performance staged by Doug Fullington at the Guggenheim Museum in 2015. Focusing on the opening eight-measure period of the Berceuse, it examines patterns of movement as they relate to patterns of melody, harmony, and phrase. The analysis shows how Petipa set close-range musical repetitions to choreographic repetitions, while Balanchine set select elements of music to select aspects of movement. The different choreographies visually highlight different facets of the music, creating unique audiovisual experiences for the viewer. The essay’s close reading of the music and two settings in dance demonstrates for students how to apply music-analytic tools to the study of musical multimedia, especially dance. Furthermore, annotated video examples suggest ways students also might use video editing to clarify their arguments when writing about audiovisual art forms.
A Rhetorical Strategy to Subvert Artistic Suppression
Authors: Guerrero Jeannie Ma. 
Published: January 2025

Abstract
The “March of the Israelites” from R. Nathaniel Dett’s oratorio The Ordering of Moses (1937) depicts the flight of the Jews from Egypt through the Red Sea. It poses some baffling features that “regular” analysis cannot illuminate. For one, the orchestra suddenly evokes a strong sense of Ravel’s Bolero (1929), departing starkly from the remainder of the work. Additionally, it is not danceable for reasons that are not immediately apparent. Further, the chorus sings only on one syllable, “Ah.” The essay demonstrates how investigations of pitch, meter, and other structures serve as initial steps to unlock artistic motives that were central to Dett’s objectives: illuminating the equal stature of spirituals with the European classical tradition. The essay demonstrates how to present arguments for the artistic decisions that composers make.
Reminiscences of the Past and Hybrid Traditions in Yoshinao Nakada’s Art Songs
Authors: Deguchi Tomoko 
Published: January 2025

Abstract
Yoshinao Nakada (1923–2000) is a popular and well-known composer of art songs and choral music in Japan. However, his music is not much known in the United States, and it has not been fully investigated. This essay examines his musical language in his art songs from the collection From the Poems of Matinée Poétique (1950) and also draws a few examples from Six Songs for Children (1947). In his songs, a Romantic harmonic idiom, a French impressionistic style, and an unmistakable Japanese melodic writing coexist, and together they interact and successfully establish an individual style that came to popularity. Nakada’s songs evoke nostalgia to pre–World War II Japan, which appealed to the Japanese affinity to the past.
The Restorative Obsession of Shostakovich’s Violin Concerto No. 2
Authors: Motazedian Táhirih 
Published: January 2025

Abstract
Shostakovich’s Violin Concerto No. 2 has never been among his popular works, perhaps in part because it does not exhibit the dazzling, extroverted virtuosity traditionally expected of concertos. It has been largely overlooked by scholars and listeners alike: there are no substantive analyses of this work, and there are roughly a third as many recordings of the Second Violin Concerto as there are of the First. However, despite its muted palette and introverted nature, exploring this work through the lenses of motivic, formal, tonal, and intertextual analysis will allow us to read a narrative of transcendent victory through obsessive perseverance.
Jesus Woodlą́ą́jí Sin
Authors: Yazzie Renata 
Published: January 2025

Abstract
This essay discusses three key difficulties of translating an English hymn into the Navajo language within the musical context of Navajo Christianity in the 1970s on the Navajo Nation. The singability of Navajo hymns is largely affected by three aspects: semantics, syllabic structure of the text, and sonority. The syllabic structure must remain as close to the original hymn as possible, the meaning of a song must not be compromised, and a unique challenge to Navajo translation of songs, is ensuring that easily sung syllables are prioritized. In 1979, the author’s maternal grandfather, Rev. Dr. Paul Redhouse, led a group of Navajo translators in the publishing of Jesus Woodlą́ą́jí Sin: Navajo Hymns of Faith, and this essay examines their work.
Motivic Development and Transformation in Tōru Takemitsu’s Itinerant (1989)
Authors: Hasegawa Robert 
Published: January 2025

Abstract
Tōru Takemitsu’s 1989 flute solo Itinerant, “composed to mourn the death of the composer’s friend Isamu Noguchi, a sculptor,” illustrates his fascination with the combination of Western and traditional Japanese elements. Many of the gestures of the work are inspired by traditional shakuhachi music—for example, pitch bends and variations in tone color, often indicated in the score by specific fingering instructions. The Western elements of the music are most apparent in the pitch organization—particularly the frequent use of octatonic and whole-tone scales (and their characteristic subsets) in a manner comparable to that of Debussy and Messiaen. This essay explores the development of a handful of octatonic and whole-tone motives, tracing the role of scales and recurring set classes in determining the piece’s unusual and idiosyncratic form. The conclusion contextualizes this set-class analysis in relation to other musical parameters and considers the broader ramifications of Takemitsu and Noguchi’s intercultural artistic practices.
The Sonic Imagery of Chen Yi’s Bright Moonlight
Authors: Rao Nancy Yunhwa 
Published: January 2025

Abstract
Chen Yi composed both the lyrics and music for Bright Moonlight (2001) for mezzo-soprano and piano. She drew inspiration from a poem written by the Song-dynasty poet Li Qingzhao (1084–1151), who was famous for her literary talent in her own lifetime, nine centuries ago, and has remained so up to the present day. Bright Moonlight evokes the mood of tranquil moonlight. But the serenity gives way to sections that are highly emotive, expressing feelings of nostalgia and homesickness, as well as yearning for reconciliation and a peaceful future. This essay discusses how the work brings together the poetic genre, melodic style characteristic of the vocal delivery in Peking Opera, effective piano writing, and the use of seven-note ostinato to express the famous poem.
The Duality of Drums
Authors: Garza Jr. Jose Manuel 
Published: January 2025

Abstract
The increased use of timpani in chamber and soloistic works in the latter half of the twentieth century caused composers to consider not only its rhythmic capabilities but its melodic possibilities. This essay explores the ways in which these characteristics manifest in Eric Rodis’s concerto for timpani, Colossus. To show the interaction between these aspects, it traces the development of two motives, representative of melody and rhythm, respectively. By the end of the piece, these motives undergo transformations in both the soloist’s and accompanists’ parts, symbolizing the timpani coming to terms with their dual nature.
Celebrating the Underdog
Authors: Peterson John 
Published: January 2025

Abstract
In his 2007 article “The Melodic-Harmonic Divorce in Rock,” David Temperley shows that many popular songs exhibit a degree of pitch independence between melody and accompaniment in the verse that is absent in the chorus. He calls this organization the loose-verse/tight-chorus (LVTC) model. Nicole Biamonte (2014) shows that the looseness of a verse can also be expressed when metric dissonance in a verse is resolved in a chorus. This essay examines Pink’s “Raise Your Glass” through the lens of the LVTC model established by Temperley and extended by Biamonte. Whereas in Biamonte’s examples, the grouping dissonances are indirect and “resolve” in favor of the more normative metrical groupings, in “Raise Your Glass,” the dissonances are both direct and indirect, with the former creating a kind of rhythmic independence similar to the pitch independence that Temperley identifies in his original formulation of the LVTC model. Additionally, rather than “resolving” in favor of the traditional metric grouping structure, the non-conforming grouping instead becomes more prominent than the normative grouping. This emphasis on the non-conforming grouping parallels the song’s message of celebrating a person’s uniqueness.
The Spiritual Pastoral in The Kansas Rapture for Saxophone Quartet by (Farhad) Forrest Pierce
Authors: Loeffert Kimberly Goddard 
Published: January 2025

Abstract
The Kansas Rapture for saxophone quartet (2015) by (Farhad) Forrest Pierce is permeated with allusions to American landscapes and religion that conveys topical pastoral allusions with spiritual grace. The opening movement, “Cantillation Fanfares,” includes horn calls and a “call to prayer,” and the second movement, “Cimarrón,” after the river, musically depicts water through babbling, polyrhythmic runs, both invoking a pastoral retreat elevated through religion to the spiritual pastoral. The third movement, “Bison Zikr,” imagines a bison herd engaging in a Sufi devotional, in community with prairie chickens and prairie dogs, and the final movement, “Wichita Vortex Sutra,” interprets “Allen Ginsberg [speaking] poetry into a Dictaphone in the back of a Greyhound somewhere near El Dorado [Kansas]” before circling back to previous themes in a “virtuosic, apocalyptic tour de force” that evokes a joyous social pastoral jamboree.
Harmonizing Uncertainty
Authors: Desinord Richard 
Published: January 2025

Abstract
In Summer Walker’s music, diminished sevenths and augmented triads are used frequently as diatonic dominant functioning chords and as applied dominants. However, the ambiguity created by the chords’ symmetrical makeup faces an added level of complexity through her occasional use of V7♭9 chords since it could be viewed as containing and expressing two dominant functioning chords: V7 and viio7. While both harmonies typically resolve to the tonic, the conception of the upper viio7 portion of the V7♭9means that it is possible to view this harmony as potentially enigmatic as well, specifically when inverted. This essay analyzes three songs by Walker to demonstrate how these wandering tonicizations serve to reinforce sentiments of woe and uncertainty expressed in the lyrics.
The Skeptical Roots of Critique
Authors: Anderson Abraham 
Published: January 2025

Abstract
Kant says that it was “the objection of David Hume that first . . . interrupted my dogmatic slumber”; he also says that “it was the fourfold Antinomy . . . that first woke me from dogmatic slumber.” But how can the Critique of Pure Reason be at once a response to Hume’s skepticism and the result of the Antinomy? The Skeptical Roots of Critique resolves this problem by showing that the Antinomy, like the Critique as a whole, stems from Hume’s attack on metaphysics. The Antinomy grew out of Hume’s challenge to the causal principle of rationalism and to the metaphysics founded on that principle.
Introduction
Authors: Anderson Abraham 
Published: January 2025

Abstract
The Introduction lays out the state of the question. Manfred Kuehn and Lothar Kreimendahl have tried to solve the apparent conflict between Kant’s two declarations but their proposals do not allow us to see how Hume inspired an Antinomy of pure reason, i.e., a conflict between laws of reason. Both Sadik Al-Azm and Omri Boehm have derived the Antinomy from conflicts involving such a law, the principle of sufficient reason; they do not, however, connect those conflicts with Hume. Michael Forster has proposed that Kant had two separate awakenings, the first by Pyrrhonian and the second by Humean skepticism about metaphysics. Brian Chance has argued, on the contrary, that Kant saw Hume as a Pyrrhonist.
Rousseau, Hume, and the Dreams of a Spirit-Seer
Authors: Anderson Abraham 
Published: January 2025

Abstract
Michael Forster has proposed that the Dreams of a Spirit-Seer represent Kant’s engagement with a Pyrrhonian skepticism about metaphysics, and correspond to the first awakening from dogmatic slumber which Kant attributes to the Antinomy. This chapter supports Forster’s proposal by considering a suggestion by Ezequiel de Olaso that the Antinomy was inspired by the Profession of Faith of the Savoyard Vicar in Rousseau’s Émile. For the Profession of Faith clearly inspired Kant’s Dreams, which can be seen as Kant’s first sketch of the antinomy of freedom. Forster denies that the Pyrrhonism of the Dreams was inspired by Hume, but the Pyrrhonian defense of freedom in the Dreams was inspired by Hume as well as by Rousseau—by Hume’s argument in Enquiry 7 that we are not entitled to the principle of sufficient reason.
Disease Elimination—Successes and Challenges
Authors: Aboe Agatha , Bougma Windtaré Roland , Isiyaku Sunday , Jones Iain , Ndongmo Patrick , Oye Joseph , Bartlett Sarah , White Finlay , Downs Phillip , Bush Simon , Molyneux David 
Published: January 2025

Abstract
This chapter details the unprecedented progress toward elimination of transmission or elimination as a public health problem of three neglected tropical diseases—onchocerciasis, lymphatic filariasis, and trachoma. The strategies used and the history of their development are documented, and endemic areas and regions are identified. A major component of the elimination strategy for the three diseases is annual preventive chemotherapy of donated drugs by mass drug administration, usually through a network of community-directed distributors. This is accompanied by morbidity management. The parameters for confirmation of progress and elimination, through standardized evaluation, are documented, as well as available diagnostic technologies. The chapter also looks at the economic aspects of the programs, focusing on the cost effectiveness of the interventions and the projected social and economic gains of elimination. It discusses neglected tropical disease programs in the context of the broader development agenda, as these interventions focus on the alleviation and prevention of disability and the treatment of the most vulnerable and difficult-to-access populations. Challenges to reach elimination are also discussed—including epidemiological challenges, the need to integrate programs into wider health systems, and the need for further national and cross-border coordination. Despite these challenges, the chapter makes a strong case that with the guidelines, partnerships, and structures in place today the ambitious elimination goals set out by the World Health Organization are in reach.
Surveillance for Eradication
Authors: Heymann David L. , Peeling Rosanna 
Published: January 2025

Abstract
High-tech communication and diagnostic innovations have the potential to radically change the approach to surveillance during eradication programs. Many of these innovations are being used in current eradication activities, and many more are under development. Their eventual maximal use in eradication efforts could decrease the time to detection and response, thus making eradication efforts more effective, less costly, and more sustainable. Taken to their full potential, these innovations could turn surveillance for eradication upside down by focusing on communities as the major source of real-time disease reporting and response, thus better engaging them in eradication efforts. Real-time reporting from individuals and communities, enhanced by point-of-care diagnostic testing and digital mapping, could provide the data needed for immediate local action. At the same time, real-time reporting upward to the public health team at the district or more centralized level could provide the data needed to more rapidly focus on needs that require more centralized support, including planning and logistics for distribution of equipment and supplies and for development of culturally and ethically sound national and global policies for eradication and data sharing, including preventing cross-border and international transmission.