bluuebunny/crossref_metadata_2025_split huggingface dataset:
John Corigliano
Authors: McCutchan Ann 
Published: November 2023

Abstract
John Corigliano comes from a musical family. His father was concert-master of the New York Philharmonic, and his mother was a pianist. Corigliano played the piano and composed from an early age and studat Columbia College with Otto Luening and at the Manhattan School of Music with Vittorio Giannini. He worked as a composer, arranger, and producer in radio and television for a number of years, and his score for Ken Russell’s film Altered States received an Academy Award nomination in 1981.
Joan Tower
Authors: McCutchan Ann 
Published: November 2023

Abstract
Joan Tower was born in New Rochelle, New York, spent her childhood in South America, and returned to the United States to study at Bennington College and Columbia University. In 1969 she founded the Da Capo amber Players, a new music ensemble that won the Naumburg Award for chamber music in 1973. Tower continued to perform as pianist with Da Capo until 1984, and many of her chamber works were written for members of the New York-based group, which continues to flourish.
John Adams
Authors: McCutchan Ann 
Published: November 2023

Abstract
John Adams grew up in Vermont and New Hampshire. As a student at Harvard University he was active as a conductor, clarinetist, and composer. His composition teachers included Leon Kirchner, David Del Tredici, and Roger Sessions. In 1971Adams left the East Coast to establish his professional career in the San Francisco area, teaching at the San Francisco Conservatory of Music and serving as new music adviser and composer-in-residence for the San Francisco Symphony. His output spans a wide range of media: orchestra, opera, video, film, and dance, as well as electronic and chamber music. Such pieces as Harmonium and Harmonielehre (written for the San Francisco Symphony) and The Chairman Dances (from his opera Nixon in China, commissioned by the Houston Grand Opera) are among the most frequently performed contemporary American works. In 1995, he received the Grawemeyer Award for his violin Concerto, commissioned by the Minnesota Orchestra. Although he is often termed a “minimalist;’ Adams feels that his music can’t be so exactly defined.
Dan Welcher
Authors: McCutchan Ann 
Published: November 2023

Abstract
Born and raised in Rochester, New York, Dan Welcher was trained at the Eastman School of Music and the Manhattan School of Music. His composition teachers included Samuel Adler, Warren Benson, and Ludmilla Ulehla. For six years he was principal bassoonist of the Louisville Orchestra, and from 1976 to 1990 he was a member of the artist faculty of the Aspen Music Festival, teaching bassoon and composition. Welcher was composer-in-residence with the Honolulu Symphony Orchestra from 1990 to 1993. He is professor of composition at the University of Texas, where he directs the New Music Ensemble.
Daniel S. Godfrey
Authors: McCutchan Ann 
Published: November 2023

Abstract
Daniel S. Godfrey grew up in Atlanta, Georgia; Ankara, Turkey; and Ardmore, Pennsylvania. His father is a sculptor, architect, and former university teacher and administrator, and his mother led a volunteer career in health-care administration. Godfrey earned two music degrees at Yale and completed a doctorate at the University of Iowa. He also traveled to Europe several times pursuing his interest in transcendental meditation. His composition teachers included Mario Davidovsky, Robert Morris, D. Martin Jenni, and Richard Hervig.
Lois V Vierk
Authors: McCutchan Ann 
Published: November 2023

Abstract
Lois V Vierk was born in Hammond, Indiana, and grew up in Lansing, Illinois, and Jenkintown, Pennsylvania. She attended Valparaiso University and studied composition at the California Institute of the Arts wi el owell, Leonard Stein, and Morton Subotnick. For twelve years she studied gagaku (Japanese court music) with Suenobu Togi in the United States and with Sukeyasu Shiba in Tokyo. Vierk has been commissioned by leading contemporary music performers, including the Kronos Quartet, pianists Ursula Oppens and Frederic Rzewski, Ensemble Modern, accordionist Guy Klucevsek, and the Bang on a Can Festival. In 1996 her new work for the Reigakusha ensemble of Tokyo was premiered at the Lincoln Center Festival. Her cocreations with tap choreographer Anita Feldman have been commissioned by the American Dance Festival, Mary Flagler Cary Charitable Trust, and Meet the Composer, among others. Some of Lois V Vierk’s pieces utilize principles she has developed of “Exponential Structure;’ in which, depending on the emotional content of the music, exponential factors are applied mathematically to such elements as time, rates of change, and pitch movement.
James Mobberley
Authors: McCutchan Ann 
Published: November 2023

Abstract
James Mobberley grew up in central Pennsylvania and spent his high school and college years in North Carolina. He credits his elementary school music teacher with instilling in him a great love of music. As a Child he took up the clarinet, then taught himself the guitar at age fourteen and, as he puts it,”hooked up with some other novice rockers in high school and college and nursed a band for seven years-all original stuff, mostly wacky songs about aliens and fast food and the Ayatollah Khomeini:’ Mobberley earned a bachelor’s degree in guitar and a master’s degree in composition at the University of North Carolina at Chapel Hill, and a doctorate at the Cleveland Institute. His teachers were Roger Hannay, Donald Erb, and Eugene O’Brien. His work, which often combines electronic and computer elements with live performance, spans many media, including film, video, theater, and dance. He has been commissioned by the St. Louis Symphony Chamber Series, the Nelson-Atkins Museum of Art, and the Cleveland Museum of Art, as well as individual performers. A CD of his orchestra music is in preparation for release in 2001.
Richard Danielpour
Authors: McCutchan Ann 
Published: November 2023

Abstract
Richard Danielpour was born in New York City and grew up in New York and West Palm Beach, Florida. He received his professional training at Oberlin College, the New England Conservatory of Music, a he Juilliard School. His composition teachers included Vincent Persichetti and Peter Mennin, and he studied piano with Lorin Hollander, Theodore Lettvin, and Gabriel Chodos. Danielpour also acknowledges the influence of Leonard Bernstein on his music and his outlook on musical life.
Sebastian Currier
Authors: McCutchan Ann 
Published: November 2023

Abstract
Sebastian Currier grew up in Rhode Island in a musical family and studied the violin, which he later forsook for the guitar. He wrote his first compositions for a rock band he and his brother Nathan played in as Teenagers, but he continued to study classical music. “A lot of instrumentalists aren’t free to improvise because they’re taught to play only what’s written, and that forms a certain mind frame;’ he says. “I’m happy I had the experience of playing rock music, because it opened me up:’ Currier attended the Manhattan School of Music and earned a doctorate in composition at the Juilliard School.
Aaron Jay Kernis
Authors: McCutchan Ann 
Published: November 2023

Abstract
Aaron Jay Kernis grew up in Philadelphia. He studied the violin as a child, began teaching himself the piano at age twelve, and went on to receive his formal training at the San Francisco Conservatory of Music, the Manhattan School of Music, and the Yale School of Music, working with composers as diverse as John Adams, Charles Wuorinen, and Jacob Druckman. Kernis first gained national attention when his Dream of the Morning Sky was premiered by the New York Philharmonic at the 1983 Horizons Festival. In 1998, he was awarded the Pulitzer Prize in music for his String Quartet no. 2, musica instrumentalis,written for the Lark Quartet.
Race and the Schools Before Brown
Authors: Patterson James T 
Published: November 2023

Abstract
Listening to black people who dared publicly to challenge racism—and to optimistic white liberals—in the 1940s and early 1950s, we can sec how they imagined the approach of a new, more egalitarian world of race relations in the United States: A black American corporal,1945: “I spent four years in the Army to free a bunch of Dutchmen and Frenchmen, and I’m hanged if I’m going to lee the Alabama version of the Germans kick me around when I get home. No sirreee-bob! I went into the Army a nigger; I’m comin’ out a man”.
Southern Whites Fight Back
Authors: Patterson James T 
Published: November 2023

Abstract
Not long after the Court issued Brown II,a founeen-year-old black youth, Emmett Till, left his home in Chicago for a vacation with relatives in Tallahatchie Country, Mississippi. Till did not understand the racial mores of the South. He bragged to acquaintances in Mississippi that he had had sex with white women in Chicago. He also entered a store and, it was alleged, whistled at the cashier, a young white woman. The woman’s husband and his brother-in-law went to the cabin where Till was staying with his great-uncle, Moses Wright, and dragged him away. Three days later Till’s mangled body was discovered in the Tallahatchie River. He had been shot in the head and tied to a heavy fan that had dragged him into the depths. His mother had his body returned to Chicago and displayed it in an open casket for four days. Thousand of people paid their respects. The media gave the story wide coverage and graphic photography.
The Politics of Health, Identity, and Culture
Authors: Lock Margaret 
Published: November 2023

Abstract
Anthropologists are trained to be inherently skeptical of generalizations; to be alert to boundaries, margins, and difference. Most, but not all of us, are “splitters” in Tambiah ‘s idiom (1990, p. 15); that is, we seek to relativize knowledge by situating it in context. Moreover, for virtually all anthropologists, the relevant context is a culture. However, these days we must start out by specifying what we mean by culture; not only has this category become extremely problematic, some anthropologists wonder if it continues to be useful at all. Second, the majority of researchers insist that all knowledge and practices, including scientific knowledge, together with its associated ethical commentary, must in tum be contextualized, for science too is historically and culturally produced. Furthermore, accounts of actual practices and not theoretical abstractions should provide the starting point for specifying context. The goal then becomes establishing the effect of knowledge at local sites, the legitimacy of competing knowledge claims, and, above all, the impact on the lives of those people most directly affected by the resultant practices.
The Relationship between Personality and Health: What Self and Identity Have to Do with It
Authors: Ouellette Suzanne C 
Published: November 2023

Abstract
How and why might personality be linked to changes in health? The aim of this chapter is to show that compelling and useful responses to this question hinge on researchers ‘ broad complex thinking about personality, including specifically an appreciation of personality ‘s complicated structures and processes of self and identity. The chapter is intended as an antidote to trivial depictions of personality in discussions of health. Oversimplifications may be found in only part of the formal personality and health research literature, but they permeate the popular representations of that literature (e.g., Dreher, 1995). From these sources, readers might get the impression that researchers investigating the link between personality and health study personality only in the form of simple traits.1 Readers might be misled to think that personality is something fixed, caught in a ready label such as a “hostile personality” or “introverted personality,” and that personality consists of no more than particular isolated dimensions of behavior on which individuals are said to differ from one another, as in the view of personality in a phrase such as “those subjects who scored higher on neuroticism were twice as likely to get sick as those who scored low on neuroticism.” On the contrary, there has long been, and there still is, good reason to think that personality
Prelude
Authors: Lee Antoinette J 
Published: November 2023

Abstract
When this prophecy was written in 1887, comparing the succession of supervising architects with that of the kings of England, the “Government Architects” were those who headed the Office of the Supervising Architect of the U.S. Treasury Department. The prophecy was not borne out and only a few of the fifteen supervising architects are remembered: Ammi B. Young, Alfred B. Mullett, William A. Potter, James G. Hill, and James Knox Taylor are the most prominent. The names of Mifflin E. Bell, Jeremiah O’Rourke, and Oscar Wenderoth are obscure at best, even in the relatively restricted field of architectural history. The Supervising Architect’s Office was a bureau located within the U.S. Treasury Department, which for nearly a century designed custom houses, courthouses, post offices, and other buildings that housed federal government functions. Established in 1852, the Office blossomed at a time when the U.S. Congress appropriated funds to design and construct a large group of federal buildings in communities east of the Mississippi River and in the South.
The Bureau of Construction and the Corps of Engineers 1852–1865
Authors: Lee Antoinette J 
Published: November 2023

Abstract
The 1850s witnessed a tremendous growth in the nation’s cities and governmental institutions. Thriving urban settlements located along 1najor water routes becan1e centers of revenue collection, postal distribution, judicial proceedings, and other federal functions. The scope and scale of these activities required physical accommodations beyond rented or adapted buildings. The expansion of the national building program provided an opportunity for the federal government to provide more than mere shelter. The federal government’s limited experience with public building construction prior to 1850, plus the growth of the architectural profession, contributed to the development of a public architecture replete in symbols of nationalism. The national building program of the 1850s, as administered under a newly centralized governmental bureau, produced buildings that were highly standardized and consistent in their architectural language. This unity of federal government architecture from one city to another appeared to contradict other national forces of the decade that led to disunion and the Civil War.
The Supervising Architect ‘ Office In The Gilded Age 1875—1894
Authors: Lee Antoinette J 
Published: November 2023

Abstract
The financial panic of 1873 and the subsequent depression lasted for nearly a decade and influenced the course of the federal architecture program. Mullett’s Second Empire building designs seemed incompatible with the economic times. The national mood and taste swung to a more spartan style that bespoke economy and efficiency. Coincidentally, the federal buildings designed during this period, for the most pan, were located in smaller cities, as the large urban centers had already been provided with structures from Mullen’s administration. Economic considerations as well as locational factors called for federal buildings that differed dramatically from those that had preceded them. The federal architecture program, as well as state and local public architecture, fell under the spell of the national architectural trend that favored first the Gothic and then the Romanesque styles. Dissemination of John Ruskin’s writings and information on the architectural works of Viollet-le-Ouc popularized the Gothic style in the United States. Later, the works of Henry Hobson Richardson were to exert a strong influence in shaping public architecture around adaptations of his Romanesque style.
Ethical Conflict in Correctional Health Services
Authors: Kipnis Kenneth 
Published: November 2023

Abstract
Ethics may have the most to learn at societal interfaces. When differing cultural values and social practices brush up against each other in ways that force accommodation, the collision of normative systems can sometimes provide the ethics theorist with fascinating data even as it affords the ethics practitioner an opportunity to participate creatively in a process of principled reconciliation. Such an interface can be found at the boundaries of medicine and corrections. For health care professionals who work in prison settings-nurses and psychologists as well as doctors-and for the corrections personnel who sometimes work alongside them, there can be a sense of working at the margin. It is the purpose of this chapter to characterize the types of normative conflict that arise for correctional health care professionals (CHCPs) and to set out some strategies for engaging them. In the process, I make some observations about how to understand the generic nature of these insufficiently studied ethical issues.
Knowledge
Authors: Kellogg Ronald T 
Published: November 2023

Abstract
I tum now to a further treatment of the types of knowledge that writers possess and to empirical studies of how knowledge affects process and performance. I focus on studies that add flesh to the theoretical skeleton of the opening chapters. First, I examine further the knowledge typology introduced in the previous chapter in light of research showing how each type of knowledge relates to writing performance. Next, I consider the issue of knowledge availability by asking how one educates and prepares a writer. Knowledge availability influences writing even when the writer is unaware of the knowledge, the third topic considered here. Fourth, I tum to studies that document how knowledge restructures the process of writing. Finally I consider the distinction between amplification and automatization.
Personality
Authors: Kellogg Ronald T 
Published: November 2023

Abstract
I use the term personality to refer to the personality dimensions that theoretically mediate thinking and writing skills. I seek to understand how these personality dimensions affect the availability, accessibility, and creative application of knowledge in intellectual tasks. Personality, as I use the term here, serves as both a resource for and a constraint on meaning-making activities. Perkins’s (1987) notion of raw intellectual power is certainly one such personal resource, and I will review it here under the heading of componential intelligence. Three other categories seem essential as well: motivation, cognitive style, and anxiety. These factors either facilitate or inhibit a writer’s ability to retrieve and creatively apply knowledge. They differentiate both how writers go about their work and how well they succeed.
Work Environments, Schedules, and Rituals
Authors: Kellogg Ronald T 
Published: November 2023

Abstract
The study of where, when, and how writers engage in their craft invites the discovery of individual differences. It is difficult to imagine that a particular set of conditions is necessary for all writers for the successful retrieval and application of knowledge relevant to the task of writing. Thornton Wilder’s method (see Simon, 1979) is surely but one of many idiosyncratic approaches to writing.
The Psychology of Symbol Creation
Authors: Kellogg Ronald T 
Published: November 2023

Abstract
I defined thinking as the creation and manipulation of personal symbols that provide an internal model of our world. Meaning-making is a significant form of thinking that entails work not only in the private domain of mental experience but also in the public domain of shared discourse. We render experience meaningful by creating consensual symbols that refer to objects and events, beliefs and intentions, memories and fantasies. Acts of meaning, to use Bruner’s (1990) phrase, define the scope of human behavior and culture. We take the experiences encountered in life and imbue them with significance. We achieve this by creating consensual symbol systems that express the personal symbols of thoughts, feelings, recollections, fantasies, and dreams. Through these consensual symbol systems, we communicate with one another about the significance of our experience. Through these systems, we develop both shared and conflicting beliefs and goals that take us beyond the private, isolated world of our own personal symbols.
Introduction
Authors: Miller Richard 
Published: November 2023

Abstract
Teachers of singing often confess that it is easiest to instruct a student of one’s own voice type. There are more sopranos than singers of all other voice categories combined. Inasmuch as most singing teachers are themselves sopranos, it might be presumed there is little need for a special volume devoted to the training of soprano voices. Further, it would seem that principles of good voice production apply to all voices. Sopranos, together with contraltos, mezzo-sopranos, tenors, baritones, bass-baritones, and basses, are subject to laws of physiology and acoustics equally applicable to all singers. Why then a separate volume on training soprano voices?
Registration Events in Female Voices
Authors: Miller Richard 
Published: November 2023

Abstract
Vocal registration is not the locus at which to begin actively building systematic vocal technique: studies in registration skill belong to advanced technical work. Basic breath management, phonetic articulation, and resonance balancing must be established before a singer turns extensive attention to the registers of the singing voice. However, an awareness of the events of registration is essential to the achievement of equalization for all regions of the soprano vocal scale, espcially extreme lower- and upper-range extensions. (See chapter 10 for specific exercises that deal with registration and scale equalization in all registers of soprano voices.)
Making a Beginning
Authors: Miller Richard 
Published: November 2023

Abstract
When should individual voice instruction begin? as soon as there is an interest in singing. The larynx undergoes changes at puberty. It might seem logical to delay singing instruction until after that event. However, if a child wishes to sing, that child will sing. At any age, no matter how young, she can be helped to better voice production if breath management is efficient, vowels are clearly defined, and laryngeal tensions are eliminated.
Nasal Continuants as Assists in Resonance Balancing
Authors: Miller Richard 
Published: November 2023

Abstract
Although the words vowelization and vocalization share a common semantic origin that testifies to the centrality of the vowel in the production of vocal sound, it is the consonant that brings language intelligibility to both speech and song. No matter how accurate vowel tracking is during singing, good diction is impossible without clean, precise consonants.
Nonnasal Consonants as Assists in Adjustment of the Resonator Tract
Authors: Miller Richard 
Published: November 2023

Abstract
A singer who is unaware of the phonetic formations of non-nasal consonants is denied a rich source of practical assistance. Just as nasal continuants can be useful as pilot consonants for adjusting the resonator tract, so can nonnasal consonants. Formation of nonnasal consonant pairs was discussed in chapter 6. This chapter considers how nonnasal consonants can bear on balancing resonance in the singing voice.
A Monument For Barre Memory in a Massachusetts Town
Authors: Breen T H 
Published: November 2023

Abstract
The physical face of Barre betrays uncertainty rather than indifference about more than two centuries of local history. A maze of highways crisscrosses the Common at the center of the village, creating curious grass fractals bounded by asphalt. One road leads to Worcester, some twenty-two miles to the east. Others connect Barre to small neighboring communities in central Massachusetts, obscure farming towns founded long ago, which now increasingly attract those who have the resources to sustain a rural retreat.