bluuebunny/crossref_metadata_2025_split huggingface dataset:
Found and Lost (Terence Blanchard)
Authors: Giddins Gary 
Published: November 2023

Abstract
Terence Blanchard’s reach and tone have broadened just about equally in the 15 years since he graduated from Art Blakey’s Jazz Messengers. He has tested his skills as trumpeter, composer, and bandleader in a variety of overlapping projects: the quintet with Donald Harrison, formalized during a sabbatical from Blakey and continued through 1989; several film scores, most for Spike Lee; on-and-off-again groups, in recent years framed around his collaboration with pianist Edward Simon; and 11 Columbia or Sony Classical discs, each a defined project, lending a meticulous drama to his recordings. His latest, Let’s Get Lost, differs from the rest yet remains true to a cycle that alternates originals (as on its predecessor, Wandering Moon) with classic songs—this time a salute to Jimmy McHugh, abetted by the three most fashionable under-50 jazz singers (Cassandra Wilson, Dianne Reeves, and Diana Krall) and one who wants to join them (Jane Monheit). It should be more fun than it is. McHugh is an ideal choice for a jazz survey.
Out of the Territories (Steven Bernstein)
Authors: Giddins Gary 
Published: November 2023

Abstract
Steven Bernstein has been so much a part of the downtown cultural exchange, through which the usual suspects are transmitted from one band to another in an endless game of musical chairs where the last man standing has to get a real job, it was surprising to learn that his earlyJanuary appearance at the Jazz Standard was his first in an upscale joint midtown—that is, north of Houston. Leading his nine-piece Millennial Territory Orchestra, he noted, repeatedly, what a novelty it was to work in a place with heat. Sporting earrings, a loopy smile, and lavender trousers, he relished the role of refugee at the ball, mocking midtown manners. Management made its customary request for minimal conversation, to which Bernstein remonstrated that conversation was encouraged: “If you’re on a date it could be important; if you’re married, talk loud, ‘cause she isn’t listening.” Funnier was the way he used boho irascibility to sell an honorable dose of jazz repertory.
Flee as a Bird (Weather Bird)
Authors: Giddins Gary 
Published: November 2023

Abstract
As Groucho Marx used to sing, “Hello, I must be going.” It’s time to move on when you begin to calculate a job’s duration the way children do their ages. Whereas I used to think in round numbers, lately I found myself muttering, “29 and a half years,” “30 years, two months,” “30 years, seven months, two weeks, five days”—which is correct as of today. Or am I confusing children with convicts? This was the hardest decision I’ve ever made, and like Artie Shaw, who has a different answer every time he’s asked about quitting clarinet, I’m not sure why—except that I want to focus on books, I dislike writing short to suit a new layout, and it is time. In jazz, time is all. Shortly after I joined the Voice, Martin Williams swore off criticism for a long spell (and produced a series of albums for the Smithsonian that forever altered jazz education). When I asked him why, he answered, “I’ve said everything I had to say.” Tough-minded fellow. I don’t feel that way at all. I’m as besotted with jazz as ever and expect to write about it till last call, albeit in other formats. Indeed, much in the way being hanged is said to focus attention, this finale makes me conscious of the columns I never wrote.
How Come Jazz Isn’t Dead? (Music’s Four Stations)
Authors: Giddins Gary 
Published: November 2023

Abstract
The question is facetious, though not entirely. At times even dedicated boosters like me begin to wonder if jazz isn’t edging into the museum’s marble tomb. In a 1968 recording, “Jazz Death?” the then-little-known Lester Bowie posed effetely as a Jism magazine critic to inquire, “Isn’t jazz, as we know it, dead yet?” After an unaccompanied trumpet solo, he answered, in his own mocking voice, “Well, that all depends on what you know.” Bowie was responding to debates that were rife during the summer and winter of love. Miles Davis had said that calling him a jazz musician was no different than calling him “nigger”; jazz journals were filled with barbarians-at-the-gates prognoses. One authority confidently proclaimed that so long as Louis Armstrong lived, jazz lived, settling the matter in his mind until July 6, 1971, by which time—or shortly after— the arrival of dozens of gifted musicians like Bowie made it irrelevant. Today, “Jazz Death?” is more frequently accessed for backup than music—a smirking rejoinder to those who believe that jazz is moribund, and an inadvertent example of the defensiveness that is a certain sign of bad times. We do well to remember that jazz coroners have been hanging crepe since the 1930s.
Black Culture and Black Consciousness
Authors: Levine Lawrence W 
Published: November 2023

Abstract
When Black Culture and Black Consciousness first appeared thirty years ago, it marked a revolution in our understanding of African American history. Contrary to prevailing ideas at the time, which held that African culture disappeared quickly under slavery and that black Americans had little group pride, history, or cohesiveness, Levine uncovered a cultural treasure trove, illuminating a rich and complex African American oral tradition, including songs, proverbs, jokes, folktales, and long narrative poems called toasts--work that dated from before and after emancipation. The fact that these ideas and sources seem so commonplace now is in large part due this book and the scholarship that followed in its wake. A landmark work that was part of the "cultural turn" in American history, Black Culture and Black Consciousness profoundly influenced an entire generation of historians and continues to be read and taught. For this anniversary reissue, Levine wrote a new preface reflecting on the writing of the book and its place within intellectual trends in African American and American cultural history.
Arcady Revisited: Americans In Italy
Authors: Novak Barbara 
Published: November 2023

Abstract
After he had returned to Rome for the third time, in December 1856, William Wetmore Story wrote: “To whatever the hand of man builds, the hand of Time adds a grace, and nothing is so prosaic as the rawly new” (fig. 9.1). Later his biographer, Henry James, wondered: “How can one hope to find the right word for the sense of rest and leisure that must in olden summers have awaited here the consenting victims of Italy, among ancient things all made sweet by their age, and with Nature helping Time very much as a tender, unwearied, ingenious sister waits upon a brother, heavy of limb and dim of sight, who sits with his back against a sun-warmed wall.”
In William Wetmore Story and His Friends James found the proper words to retrieve for the reader the sense of “irrecoverable presences and aspects, the conscious, shiny, mocking void, sad somehow with excess of serenity” that concerned him. For James himself had breathed “the golden air” of Italy soon enough after Story to share and understand his experience.“There was,” he wrote, “half a century ago, in the American world in general, much less to give up, for ‘Europe,’ than there is today, but, such as it was, Story gave it up all.
America And Europe: Influence and Affinity
Authors: Novak Barbara 
Published: November 2023

Abstract
When Worthington Whittredge returned from Europe in 1859 he succinctly posed the problem of the American artist. European models were in his mind’s eye; if emulated, they would stamp his landscapes with the imprimatur of the great traditions. But only something “new,” inspired by “home surroundings,” would meet his needs and those of his American colleagues: “We are looking and hoping for something distinctive to the art of our country, something which shall receive a new tinge from our peculiar form of Government, from our position on the globe, or something peculiar to our people, to distinguish it from the art of the other nations and to enable us to pronounce without shame the oft repeated phrase, ‘American Art.’”
At this crucial moment in the formation of American culture, the art of Europe—of the Western world of which America was a distant but integral part—exerted its authoritative pull. The dilemma was there from the outset. Provincialism was tempted to call on Europe for its artistic credentials. And yet, as Henry James pointed out: “The apple of ‘America’ is a totally different apple. . . . The American who had bitten deep into the apple of Europe had to reconcile himself to a different taste.
Lohengrin
Authors: Millington Barry 
Published: November 2023

Abstract
By 3 August of that year a prose scenario had been outlined and by 27 November the versification completed. Wagner then made his first complete draft, on two staves (completed 30 July 1846), followed by the second draft with elaboration of instrumental and choral parts. Various changes were made to the poem during composition, especially in Act 3. Probably for this reason the second complete draft for Act 3 was made before those for Acts 1 and 2, but there is no evidence to suggest that the acts were originally composed in anything other than the usual order. The full score was written out between 1 January and 28 April 1848. Wagner, by 1850 in exile in Switzerland, was not present at the first performance. The work was received well in Germany, but Wagner was unable to hear it until 1861, when it was given in Vienna. The first performance in Bayreuth did not take place until 1894, when Mottl conducted a cast including Ernest van Dyck and Lillian Nordica. The performances at Bologna in 1871 were the first of any Wagner opera to be given in Italy and it was premiered in the United States, at the Stradttheater in New York, the same year.
Tristan und Isolde
Authors: Millington Barry 
Published: November 2023

Abstract
Handlung (drama) in three acts set to Wagner’s own libretto; first performed in Munich, at the Königliches Hofund Nationaltheater, on 10 June 1865. The conductor at the première was Hans von Bülow; Isolde was sung by Malvina Schnorr von Carolsfeld, and Tristan by her husband Ludwig Schnorr von Carolsfeld, who died only three weeks after the final performance. The cast also included Anna Deinet (Brangäne), Ludwig Zottmayr (King Mark), and Anton Mitterwurzer (Kurwenal).
Die Meistersinger von Nürnberg
Authors: Millington Barry 
Published: November 2023

Abstract
Wagner conceived Die Meistersinger in 1845 as a comic appendage to Tannhäuser, in the same way that a satyr play followed a Greek tragedy. His first prose draft for the work was written in Marienbad in July that year, using Georg Gottfried Gervinus’s Geschichte der poetischen National-Literatur der Deutschen of 1835-42 for historical background. Other relevant volumes in Wagner’s Dresden library include Jacob Grimm’s Überden altdeutschen Meistergesang (1811), J. G. Büsching’s edition of Hans Sachs’s plays (1816-19) and Friedrich Furchau’s life of Sachs (1820). The second and third prose drafts date from November 1861 (the former probably 14-16 November, the latter, containing minor revisions, prepared on 18 November for Schott). At this point, Wagner found J. C. Wagenseil’s Nuremberg Chronicle of 1697 a particularly rich source of information on the ancient crafts and guilds and on other aspects of Nuremberg. Also evident are motifs from such contemporary stories as E. T. A. Hoffmann’s Meister Martin der Küfner und seine Gesellen, which is set in 16th-century Nuremberg.
Siegfried
Authors: Millington Barry 
Published: November 2023

Abstract
The first sketches for Jung-Siegfried (the opera’s original title, subsequently changed to Der junge Siegfried) date probably from 3–24 May 1851. The prose draft followed between 24 May and 1 June, and two days later Wagner began the versification, ending at midday on 24 June. Following the writing of the poems for Die Walküre and Das Rheingold, Wagner subjected his texts for Der junge Siegfried and Siegfrieds Tod (later Götterdämmerung) to revision (Nov–Dec 1852). The final poem was incorporated into the private printing of the entire Ring text in February 1853. Der junge Siegfried and Siegfrieds Tod were definitively named Siegfried and Götterdämmerung in 1856.
Götterdämmerung
Authors: Millington Barry 
Published: November 2023

Abstract
Third day of Der Ring des Nibelungen in a prologue and three acts set to Wagner’s own libretto; first performed in Bayreuth, at the Festspielhaus, on 17 August 1876. For the original cast see Der Ring des Nibelungen. The first draft of Siegfrieds Tod (originally spelt Siegfried’s Tod and later renamed Götterdämmerung) is dated (at the end) 20 October 1848. This draft begins in the hall of the Gibichungs, but having been persuaded that too much background knowledge to the story was presupposed, Wagner added a prologue some time before 12 November.
Beyond the Dopamine Theory
Authors: Freedman Robert 
Published: November 2023

Abstract
The dopamine theory of schizophrenia grew out of the profound effects of the neuroleptic drugs, and it has had the predictive value of guiding the design of ever more potent drugs. Chlorpromazine required a mean daily dose of 400 to 800 mg. Haloperidol, the most potent of the D2 dopamine receptor antagonists, was equally as effective in doses of 1 to 5 mg. There have been many attempts to find definitive biological evidence that there is increase in dopamine transmission by some mechanism in schizophrenia. Increased dopamine metabolism, altered dopamine receptors, and genetic deficits in any molecule related to dopamine have been difficult to substantiate by any technique of molecular biology or brain imaging. This lack of evidence fits with the clinical observation that schizophrenia is not cured by these drugs.
Seizing The Dance An Apprenticeship in Elanga’s Camp
Authors: Kisliuk Michelle 
Published: November 2023

Abstract
When we returned to Bagandou from the Congo in October 1988, we learned that a group of BaAka from Ndanga- the Bongboku clan - had arrived unexpectedly near the village. They had set up a temporary camp along the Bodikala path (the one that leads to Ndanga), only a fifteen-minute walk from Bagandou center through fields and overgrowth. Since here the forest has been cut back by generations of farmers, BaAka camp sites near the village usually end up in these overgrown fields.
Within the next few months, many BaAka, including the others from Ndanga, would congregate near the village because their bilo had asked them to come help with the coffee harvest. A pattern for many BaAka of the region is to come to the village every other year, during the harvest, to provide labor. Until this dry season of 1988-89, however, those of Ndanga had not made camp near Bagandou for several years, preferring to avoid the village. But this season the families of Elanga and Sandimba had to come early, because Elanga’s second wife, Ngola, was very ill, and the cause was apparently sorcery. The story was that several months earlier, Ngola had stolen some yams from a milo’s field at Ndanga, not knowing that the owner had set protective charms there to bring illness upon any thief. Learning of these charms, the family had come to Bagandou to seek a remedy, but discovered that the curse was irreversible. Sadly, Ngola died in Bagandou a week before our arrival.
The Orchestration
Authors: Steven Suskin 
Published: November 2023

Abstract
The art of theatrical orchestration is a cumbersome subject, in part because the techniques—as well as the needs and the possibilities—are limitless. The first thing that should be said is that, in theatrical presentations, even musical comedies or musical dramas, music is only one of many contributing elements. The music of the composer, as well as the work of the orchestrator, must almost always share the stage with other elements (although I can think of some composers who might well dispute this). This is not the case in the symphonic world, and opera has customarily bowed low to the all-powerful fellow who writes the tunes. But, as Walker took pains to point out, the first function of music in the theatre must be to “aid and enrich what is happening on the stage.” The aim of any theatrical production is to attract and hold the interest of the audience. Music is a main ingredient, yes, and sometimes the main ingredient, but if the story and characters don’t grab the theatregoer, the production is unlikely to succeed.
Beyond War
Authors: Fry Douglas P 
Published: November 2023

Abstract
The classic opening scene of 2001, A Space Odyssey shows an ape-man wreaking havoc with humanity’s first invention--a bone used as a weapon to kill a rival. It’s an image that fits well with popular notions of our species as inherently violent, with the idea that humans are--and always have been--warlike by nature. But as Douglas P. Fry convincingly argues in Beyond War, the facts show that our ancient ancestors were not innately warlike--and neither are we. Fry points out that, for perhaps ninety-nine percent of our history, for well over a million years, humans lived in nomadic hunter-and-gatherer groups, egalitarian bands where generosity was highly valued and warfare was a rarity. Drawing on archaeology and fascinating fieldwork on hunter-gatherer bands from around the world, Fry debunks the idea that war is ancient and inevitable. For instance, among Aboriginal Australians--who numbered some 750,000 individuals before the arrival of Europeans, all living in hunter-gathering groups--warfare was an extreme anomaly. There was individual violence and aggression, of course, but the Aborigines had sophisticated methods of resolving disputes, controlling individual outbursts, and preventing loss of life. Fry shows that, far from being natural, warfare actually appeared quite recently along with changes in social organization and especially the rise of states. But Fry also points out that even today, when war seems ever present (at least on television), the vast majority of us live peaceful, nonviolent lives. We are not as warlike as it might seem, and if we can learn from our ancestors, we may be able to move beyond war to provide real justice and security for the people of the world. A profoundly heartening view of human nature, Beyond War offers a hopeful perspective on our species and a positive prognosis for a future without war.
Charting a New Direction
Authors: Fry Douglas P 
Published: November 2023

Abstract
This book takes the road less traveled. It examines how cultural beliefs about war bias scientific interpretations, affect perceptions of human nature, and may even close our minds to the possibility of developing alternatives to armed conflict. The book reexamines existing interpretations against the actual evidence in an attempt to untangle fact from fantasy. As we will discover, there is a lot of fantasy floating around out there. A thorough review of the evidence leads, first, to a critique of the status quo picture of war and human nature-here dubbed the “man the warrior” perspective -and, second, to the construction of a new interpretation of human aggression.
Do Nonwarring Societies Actually Exist?
Authors: Fry Douglas P 
Published: November 2023

Abstract
A batch of recent books from archaeology, primatology, and psychology echo a Hobbesian theme: Humans are warlike by nature. The Dark Side of Man melodramatically asserts: “We live in a world in which cheaters, robbers, rapists, murderers, and warmongers lurk in every human landscape.” An evolutionary psychology textbook explains that “human recorded history, including hundreds of ethnographies of tribal cultures around the globe, reveals male coalitional warfare to be pervasive across cultures worldwide.” Demonic Males argues that human warfare has ancient evolutionary roots: “Chimpanzee-like violence preceded and paved the way for human war, making modern humans the dazed survivors of a continuous, 5-million-year habit of lethal aggression.”
“A Competent Force”
Authors: Symonds Craig L 
Published: November 2023

Abstract
An Hour Before Midnight on May 10, two days short of a month after Fox first appeared off Charleston in the Baltic, the screw steamer USS Niagara arrived off that city to inaugurate a naval blockade. The Niagara was an imposing vessel. Newer, larger, and more heavily armed than the Powhatan, whose absence had so infuriated Fox a month earlier, it displaced more than 5,500 tons and boasted a dozen giant eleven-inch smoothbore Dahlgren guns, each weighing eight tons and capable of hurling either a 165-pound iron bolt or an eleven-inch explosive shell more than a mile.
“I Shall Have to Cut This Knot”
Authors: Symonds Craig L 
Published: November 2023

Abstract
It Was Not All Bad News. Though the reports from the Army of the Potomac were devastating, those from the West were more positive, even electrifying. After his capture of Grand Gulf, Grant marched inland, brushed aside a rebel force under Joseph E. Johnston, and captured the Mississippi state capital, Jackson, on May 14. He then turned west toward Vicksburg’s back door, defeating the main Confederate army of John C. Pemberton at Champion Hill on May 16, and soon his forces were closing in on the city.
Keyboards and a Summary of Early-Rock Instrumentation
Authors: Everett Walter 
Published: November 2023

Abstract
If the best-known guitarists of the 1950s and ‘60s were not the most popular artists of that era, pianists and organists received even less recognition. True, rock ‘n’ roll began to make noise under the fingers of Little Richard, Fats Domino, and Jerry Lee Lewis at a time when other pianists like Nat King Cole, Ray Charles, Dave Brubeck, Roger Williams, and Henry Mancini were top-drawer attractions. But how many keyboardists rose to a similar stature before Elton John, Carole King, Stevie Wonder, Rick Wakeman, Keith Emerson, and Billy Joel did in the 1970s? Most toiled in obscurity through the 1960s—Ian Stewart was a full member of the Rolling Stones in all but publicity; session players such as Floyd Cramer, Nicky Hopkins, Larry Knechtel, Al Kooper, Leon Russell, and John Paul Jones were only sometimes credited on the records on which they contributed key parts. It is little known that Aretha Franklin played many of her own keyboard parts, and the group keyboardists who were most indelibly linked to their instruments, principally among them Felix Cavaliere of the Rascals and Rod Argent of the Zombies, were never household names. Keyboardists rarely enjoyed front-line status on stage; their instruments often kept them behind
Sweetening with Band, Orchestral, and Other Instruments
Authors: Everett Walter 
Published: November 2023

Abstract
The instruments covered thus far are basic to all rock and most pop music. But every instrument common to the wind band and the orchestra, and many from folk usage are heard in the pop-rock literature as well. At times, an orchestra or band of any size appears as a whole and on its own; at others, a record producer will book expert performers—session musicians—to add soloists, small groupings, or large sections of instruments to a rock group for just the right touch of sweetening. We’ll discuss and provide examples of each member of the woodwind, brass, percussion, and string sections, so you’ll be able to recognize all of their colors and understand a bit about how they’re used. Along the way, we’ll take note of several other less formal instruments that don’t have orchestral roles but have found their way into our repertoire nevertheless.