bluuebunny/crossref_metadata_2025_split huggingface dataset:
The High Noon
Authors: Budden Julian 
Published: November 2023

Abstract
from the third act of luisa miller to rigoletto, the first full flowering of Verdi’s genius, seems but a short step. Both proceed by a swift succession of short, simple ideas spontaneously generated one from another. In between, however, Verdi found time to write a work of an entirely different character. Stiffelio concerns the minister of a Protestant sect who returns from his travels to find that his wife has committed adultery and whose feelings therefore impel him to a course of action which his cloth forbids. He is thwarted by his father-in-law, Stankar, not from any motives of Christian forbearance but because Stankar himself wishes to take vengeance in secret on his daughter’s seducer and eventually succeeds in so doing. Stiffelio’s conscience is embodied in the old minister Jorg, who, after the rather undistinguished overture, sets the tone of the opera with a magnificent recitative, pregnant with the suggestion of liturgical chant:
The Final Masterpieces
Authors: Budden Julian 
Published: November 2023

Abstract
from aida to otello is a huge step, even if certain pages of the Requiem and the revised Simon Boccanegra have prepared us for it. The intervening years had seen a gradual change of taste among Italian audiences. Wagner was no longer a stranger, though his mature works had yet to be appreciated. Lohengrin had become an honorary Italian opera. The reform of the conservatories in 1870 was now bearing fruit in a revival of interest in instrumental music under the leadership of Martucci and Sgambati, so that even in opera a more symphonic approach was expected. Acts proceeded from beginning to end without interruption, unless there was a change of scene. The ideals preached by Boito in the 1860s in vague, rhapsodic fashion were now beginning fitfully to be realised, partly under his own guidance, not as composer or propagandist, but rather as poet.
A Nominalist Theory of Musical Works
Authors: Goehr Lydia 
Published: November 2023

Abstract
‘The idea that music is exemplified in works …is far from self-evident.’ This statement, made by Carl Dahlhaus, is correct.1 Musical practice can be, but need not be, governed by the work-concept, and it is at most historically contingent whether or not it is. That a concept arises contingently out of a set of historical circumstances does not make it merely ephemeral, however. On the contrary, a concept can become so entrenched within a practice that it gradually takes on all the airs and graces of necessity. Thus it has become extraordinarily difficult for us nowadays to think about music—especially so-called classical music—in terms other than those associated with the work-concept. Yet for most of its history the tradition of ‘serious’ music was not thought about in these terms.
Musical Production without the Work-Concept
Authors: Goehr Lydia 
Published: November 2023

Abstract
This chapter and the following one are devoted to contrasting early with modern musical practice—roughly before and after 1800—to show that the work-concept had regulative force in the latter but not in the former. The concept acquired this force as part and parcel of the emancipation of the musical world and the emergence of that world as one concerned with the production of fine art. Historical inquiry reveals that no force for this concept would have been visible or effective had the concept not been delimited, articulated, and specified from every conceivable point of interest. Such points of interest extended well beyond musical and aesthetic theory. They extended far into the depths of musical practice.
Postmodernism, Narrativity, and the Art of Memory
Authors: Pasler Jann 
Published: November 2023

Abstract
In Sabra Teshigawara’s ‘‘Blue Meteorite’’ (Air Insect), a man is caught between, on the right, an enormous wall of large glass panes representing the past and, on the left, a sheet of blue suggesting the future. His dilemma, as the Japanese dance company Kara’s presented it at the Los Angeles Festival in September 1990, is not unlike our own. ‘‘Standing before the huge present time, what can I do?’’ writes the choreographer and soloist; ‘‘I dance Dancing is the present, come out and go away in each moment. The eternal present, that’s my sense of time—sense of beauty.’’
3. Resituating the Spectral Revolution French Antecedents
Authors: Pasler Jann 
Published: November 2023

Abstract
Situating the dialectic between discontinuity and continuity in twentieth-century music primarily with Germans from Wagner through Schonberg to Darmstadt composers is an error. Certainly Parsifal opened new horizons with its unusual silences and its composition in blocks. But so did François Joseph Gosse a hundred years earlier with his famous Marche luggable, a work revived and often performed in popular contexts at the fin de siècle, and Stravinsky in many of his early works. Yes, serial and post serial music prioritized the discontinuous over the continuous. However, there were also precedents to this in France, and a French response well before spectral compo- sition of the 1970s. In this article, I place the achievements of spectral music as part of a cumulative development, but one rooted in the French interest in perception and continuous with French values, especially the philosopher Henri Bergson’s notion of ‘‘duration.’’
Race, Orientalism, and Distinction in the Wake of the ‘‘Yellow Peril’’
Authors: Pasler Jann 
Published: November 2023

Abstract
By 1904, the French began to understand the Orient as some- thing other than a vague, mostly passive other, seductive as it might be, that served in the arts as the pretext for Western dreaming, escape, and an opportunity to foreground self-assertion. A fear of ‘‘the yellow peril’’ (le pen´rill jaunt) set fire in French imagination when, after agreeing in 1902 to side with the Russians in their Far Eastern imperialism, the French watched in horror as the Japanese unexpectedly took on their ally, the beginning of a ‘‘war about race.’’ ‘‘It’s the yellow race threatening the white race for the first time since Genghis Khan and his band of Tartars,’’ a French critic wrote. If the Chinese should join the Japanese, as some predicted, their power would be ‘‘colossal,’’ a ‘‘threat to the rest of the universe.’’
Material Culture and Postmodern Positivism Rethinking the ‘‘Popular’’ in Late Nineteenth-Century French Music
Authors: Pasler Jann 
Published: November 2023

Abstract
Recently we have come to think of the proliferation of ‘‘pop music’’ and its implications as products of the twentieth century. But a preoccupation with ‘‘popular’’ culture also drove much of the musical world of late nineteenth-century Paris. This period saw the rise of music-hall entertainment and big exotic spectacles, as well as more intimate cafe´-concerts and cabaret. The former dazzled audiences with their endless variety; the latter offered simpler escapism and sometimes social critique.
What’s the Difference? : Reflections on Gender and Research in Village India
Authors: Babiracki Carol M 
Published: November 2023

Abstract
In 1974, coincidently about a year before I first heard of a field called ethnomusicology, Edward Ives wrote the following in a manual on field research. About setting up the initial interview, he said, “There are two questions that students often ask at about this point. The first, and by far the more common, frequently comes out something like this: ‘Do you think it’s going to make a difference that I’m a girl when I go talk to Mr. Bilodeau about lumbering?’ My answer is usually, ‘Of course it’s going to make a difference, but I can’t tell you what kind of difference.”’ Ives goes on to say a bit later, “Just about every time I have predicted how the man/woman of it would work out in some particular case, I have been wrong, which means that I have stopped predicting” (1980:37). This may be the wisest statement that I’ve come across concerning the difference that gender makes in field research, although it probably wasn’t the answer the student was looking for.
Beckett’s Posture in the French Literary Field
Authors: Siess Jürgen 
Published: November 2023

Abstract
From the beginning of his literary career in France, Samuel Beckett wanted to distinguish himself from other writers, James Joyce on the one hand, Jean-Paul Sartre and the committed writers on the other. In avoiding the mainstream, he set out to find his own solitary path. He could have made the motto of the Sturm und Drang poet and dramatist Jakob Michael Lenz his own: “Ich aber werde dunkel sein and gehe meinen Weg allein” (I however will be dark, by myself I make my way).
Beckett—Feldman—Johns
Authors: Laws Catherine 
Published: November 2023

Abstract
A Number Of MortoN Feldman’s late works (Elemental Procedures,Neither, Words and Music, and For Samuel Beckett) draw on the work of Samuel Beckett, and the text of Neither was written by him at Feldman’s request. Much of Feldman’s late work is also strongly influenced by the crosshatch paintings of Jasper Johns, and crosshatching first appeared in one section of Johns’s Untitled, 1972, which subsequently formed the basis of his contribution to Foirades/Fizzles, a joint venture with Beckett.
Overview of Diagnosis and Classification
Authors: Lipton Richard B , Silberstein, Stephen D , Dodick David 
Published: November 2023

Abstract
Headache is a leading reason for medical consultation and particularly for neurological consultation (Linet et al., 1991; Pascual et al., 1995). A tremendous range of disorders can present with headache. A systematic approach to headache classification and diagnosis is therefore essential both for clinical management and research. It is useful to distinguish headache classification from headache diagnosis. Classification refers to the orderly arrangement of various headache disorders and their diagnostic criteria. Diagnosis refers to the application of these criteria to individual patients. The International Classification of Headache Disorders-1 (ICHD-1), brought out in 1988 by the International Headache Society (IHS) (Headache Classification Committee of the International Headache Society, 1988), created the accepted standard for headache diagnosis, establishing both uniform terminology and consistent operational diagnostic criteria for the entire range of headache disorders.
Emergency Headaches, Including Thunderclap Headache
Authors: Dodick David W , Wijdicks, Eelco F M , Ducros Anne 
Published: November 2023

Abstract
Each minute, approximately six patients visit an emergency department (ED) in the United States with a chief complaint of headache. This results in approximately 300,000 visits annually and makes headache the fifth most common complaint seen in US EDs (American College of Emergency Physicians, 2002). The minority of these patients have a secondary cause for headache, and an even smaller number have a grave and potentially catastrophic cause for headache, such as meningitis or subarachnoid hemorrhage (SAH). The majority of patients presenting to the ED have a primary headache disorder, such as migraine, and while only 10% of those presenting to the ED with headache are “repeat customers,” more than 50% of headache visits to the ED are comprised of patients who seek care for headache in the ED on a repeated basis (Blumenthal et al., 2003).
Turning Treatment Failure into Treatment Success
Authors: Lipton Richard B , Saper, Joel R , Silberstein Stephen D 
Published: November 2023

Abstract
Although headache disorders are very common, managing headache patients, particularly those with chronic daily headaches, can be difficult (Mathew, 1982, 1991; Pascual et al., 1995; Lipton et al., 2003). Most patients respond well to treatment, but some patients seem intractable, and a smaller group truly are intractable. Patients who do not respond as expected, or announce at their first visit that nothing will work, can be challenging. It is important to identify the reason or reasons why these patients have not responded to treatment. Herein, we summarize some common reasons for headache-treatment failure, grouping them into five broad categories (Table 33–1). When evaluating treatment-refractory patients, we find it helpful to consider the following categories: the diagnosis is incomplete or incorrect, exacerbating factors have been missed, pharmacotherapy is in-adequate, nonpharmacologic treatment is inadequate, and other factors resulting in treatment failure.
The Text Of Sappho’S Poems
Authors: Powell Jim 
Published: November 2023

Abstract
We do not know how Sappho put her poems into circulation. Echoes of her phrases in Pindar, Aeschylus, and others show that her poetry was widely recognized and admired. Ten generations after her death two of the great scholars of Alexandria in the third and second centuries b.c., Aristophanes of Byzantium and Aristarchus of Samothrace, collected and edited her poems in nine books arranged according to meter. The first book (scroll, that is), assembling poems in her eponymous sapphic stanza (e.g., LP 1), contained 1,320 verses; others were probably shorter, but still it is apparent that originally the corpus of her poetry was fairly substantial. By way of comparison this translation, comprising all the surviving fragments of her work that make consecutive sense, however brief, torn, or abruptly interrupted, contains around 500 verses.
śāntaraks.ita’s “Neither-One-Nor-Many” Argument from Madhyamakālam. kāra (The Ornament of the Middle Way): A Classical Buddhist Argument on the Ontological Status of Phenomena
Authors: Blumenthal James 
Published: November 2023

Abstract
The central tenet of the Madhyamaka School of Mahāyāna Buddhist thought is that all phenomena are empty of any essential unchanging nature. The term “emptiness” is said to properly describe the ontological character of all things. One of the classical arguments used by philosophers of the Madhyamaka School to demonstrate this emptiness, this lack of any essence, any intrinsic nature, any enduring fixed identity, or any absolute mode of being in persons or phenomena whatsoever is the “neither-one-nor-many” argument. Though it has been utilized in slightly varying forms by a number of great Madhyamaka thinkers, including śrigupta, and Atiśa, the quintessential exposition of the neither-one-nor-many argument is found in The Ornament of the Middle Way (Madhyamakālam. kāra), a text by the late period Indian Buddhist philosopher śāntaraks.ita (725–788).
Mipam Namgyel The Lion’s Roar Affirming Extrinsic Emptiness
Authors: Kapstein Matthew T 
Published: November 2023

Abstract
Fourteenth-century Tibet witnessed a remarkable upsurge of interest in philosophical speculations concerning the nature of mind, and its relationship to ultimate reality and to the Buddhist goal of enlightenment. A major inspiration was found in the scriptures belonging to the so-called third turn of the doctrinal wheel, among the teachings attributed to the Buddha. In contrast with the “first wheel,” which included those scriptures emphasizing the impermanence and unsatisfactoriness of mundane phenomena, and the “second wheel,” which focused on their emptiness, the “third wheel” was thought to consist of the Buddha’s discourses concerning “Buddhanature,” or the “nucleus of the tathāgata” (tathā gatagarbha), the potential for awakening with which all beings are imbued.
Nishitani Keiji’s “The Standpoint of Zen: Directly Pointing to the Mind”
Authors: Davis Bret W 
Published: November 2023

Abstract
Nishitani Keiji (1900–1990) is arguably the most famous and most significant modern “philosopher of Zen.” There are of course many renowned modern Zen masters, and a number of famous modern Japanese philosophers—beginning with Nishida Kitarō, the founder of the Kyoto School, of which Nishitani is the central figure of the second generation. Yet Nishitani stands out for being a first-rate philosopher who also thoroughly practiced and reflected on Zen Buddhism.
Beyond Awareness Tōrei Enji’s Understanding of Realization in the Treatise on the Inexhaustible Lamp of Zen, Chapter 6
Authors: Mohr Michel 
Published: November 2023

Abstract
The Treatise on the Inexhaustible Lamp of Zen (Shū mon mujintō ron) is one of the few manuals describing the core of meditation in the Rinzai tradition. The author of this treatise, Tōrei Enji (1721–1792), was a disciple of the more famous Hakuin Ekaku (1686–1769) who contributed to the Rinzai revival of the eighteenth century. According to tradition, Tōrei wrote his treatise in 1751 as a spiritual testament when he believed himself to be fatally ill. He survived, however, and revised the work for forty years; it was not published until after his death.
Classification of Nonauthoritative Cognitive Processes (tshad min) in the Ngog and Sakya Traditions
Authors: Kuijp Leonard W J van der 
Published: November 2023

Abstract
When Buddhism came to Tibet in the eighth century, Tibetan Buddhist philosophers continued the epistemological programs of Dignāga (sixth century) and Dharmakīrti (seventh century). Dharmakīrti’s Pramā avā rttika and his later Pramā aviniścaya attracted particular exegetical and philosophical attention. The great translator Ngog Lotsawa Loden sherab (Rngog Lo tsā ba Blo ldan shes rab) (1059?–1109?), was among the first Tibetan philosophers fully to come to terms with Dharmakīrti’s writings and a good number of his major Indian commentaries, especially those by Dharmottara (c. 740–800) and Prajñākaragupta (c. 800). Ngog Lotsawa, then, became the fountainhead of subsequent Tibetan studies in Buddhist logic and epistemology.
Understanding the Two Truths Tsongkhapa’s Ocean of Reasoning: A Great Commentary on Nāgārjuna’s “Mūlamadhyamakakārikā”
Authors: Garfield Jay L 
Published: November 2023

Abstract
Tsongkhapa (1357–1419) is without a doubt the most influential philosopher in Tibet’s rich philosophical history. His extensive corpus includes commentaries on important Indian philosophical texts (including the text from which this selection is drawn), an encyclopedic treatise on the Buddhist path to awakening, a text on tantra, and one on Buddhist hermeneutics. Tsongkhapa founded the Gelukpa (dGe lugs pa) school of Tibetan Buddhism and its first principal monastic university, Ganden (dGa ldan), and established the monastic curriculum in which so many important, subsequent Tibetan philosophers were educated.
The Deluded Mind as World and Truth Epistemological Implications of Tiantai Doctrine and Praxis in Jingxi Zhanran’s Jingangpi and Zhiguan yili
Authors: Ziporyn Brook 
Published: November 2023

Abstract
Tiantai Buddhist theory, as developed by its de facto founder Zhiyi (538– 597),rests on two intimately related foundations: the doctrine of the Three Truths and the doctrine of “opening the provisional to reveal the real” (kaiquan xianshi). The first of these is an expansion of the Indian Madhyamaka distinction between ultimate truth—the inconceivable experience of liberation beyond all predicable views—and conventional truth—commonly accepted ordinary speech (e.g., self, other, cause, effect), plus Buddhist terminologies (e.g., nonself, impermanence, karma, emptiness), all of which are seen as aids to the realization of ultimate truth. Tiantai alters this picture by speaking of not two but three types of truth, which are further said to be “interfused.”
Pudgalavāda Doctrines of the Person
Authors: Lusthaus Dan 
Published: November 2023

Abstract
No Buddhist school has been more vilified by its Buddhist peers or misunderstood by modern scholars than the so-called pudgalavādaschool. Other Buddhists accused them of violating the fundamental Buddhist tenet of no-self (anātman) by holding the view that a real ontological self exists that, their accusers argued, pudgalavādins try to camouflage by calling it pudgala (person) rather than ātman (self ). Modern scholars, forming opinions largely based on or influenced by the hostile polemical literature of the pudgalavādins’ opponents, reiterate that accusation.In addition, until recently scholars considered pudgalavādins to be a marginal sect, of minor historical and doctrinal influence, significant only for playing the role of reviled heretics. Even the term pudgalavāda, which scholars continue to use, appears to be a disparaging label foisted on them by their opponents, not a term they used to characterize themselves. However, both accusations—of promoting the idea of an ontological self and of being marginal—are directly contradicted by the surviving examples of the pudgalavādins’ own literature and by a more judicious examination of the historical record.
śāntaraks.ita’s Tattvasam. Graha A Buddhist Critique of the Nyāya View of the Self
Authors: Kapstein Matthew T 
Published: November 2023

Abstract
Despite current uncertainties among scholars concerning the “original doctrines” of Buddhism, some of the most ancient among the discourses attributed to the Buddha unmistakably call into question the notion that each one of us possesses a unique and persisting self, or ātman in Sanskrit. In developing this idea, the early Buddhist thinkers who composed the several versions of the Abhidharma (the “metadoctrine”) held living beings to be aggregations of primitive, unitary substances, that is, material atoms and substantial, but momentary, psychic and physical phenomena (dharma).Thus, when we speak of minds, we speak only of collections of discrete mental events, or acts of consciousness.
Buddhist Feminist Reflections
Authors: Tsomo Karma Lekshe 
Published: November 2023

Abstract
The origins of Buddhist feminist awareness date to the time of the Buddha himself, around the fifth century B.C.E. The Vinaya (monastic discipline) texts record the story of Mahāpajāpatī Gotamī, the Buddha’s stepmother and aunt, who asked to join the monastic order (Sangha).After some initial reluctance, through the advocacy of his attendant monk Ā nanda, the Buddha affirmed that women have the potential to achieve the fruits of the path to liberation and agreed to Mahāpajāpatī’s request. Thus began the Bhikkhunī Sangha, the order of fully ordained Buddhist nuns. In these accounts, the Buddha’s assent was qualified by a number of specific conditions, however, which are known as the eight “weighty” rules (garudhammas). The Buddha is said to have predicted that the admission of women to the Sangha would precipitate the premature demise of his teachings. As history has shown, the admission of women to the Sangha did not destroy the Buddhist teachings, which have survived and continue to flourish. The Bhikkhunī Sangha continued in India and Sri Lanka until around the eleventh century and even today, twenty-five hundred years after the Buddha, still thrives in Korea, Taiwan, and Vietnam. Efforts are afoot to establish or revive the order in other countries around the world.
Flute
Authors: Ely Mark C , Van Deuren Amy E 
Published: November 2023

Abstract
Acoustical Properties: The acoustical and physical tonal characteristics of an instrument that affect its sound quality. Although the head joint is slightly conical, the flute is essentially a cylindrical tube that is open on both ends. Sound is produced when air is blown against the sharp edge of the embouchure hole, causing the air column inside the instrument to vibrate. Players can produce different octaves or partials by changing air speed and direction. Harmonically speaking, the flute produces the purest tone of any wind instrument; that is, the sound wave is almost sinusoidal at times. The flute’s tone quality blends well with other instruments; however, it is also easily masked by the complex tones (i.e., tones that contain many partials) produced by other wind instruments. Modern flutes are most commonly made of nickel silver (also called German silver, an alloy consisting of copper, zinc, and nickel), silver plate, or solid silver. Many professional flute makers use a wide variety of metal and wood in their flutes, including yellow gold, rose gold, platinum, and grenadilla wood. These materials offer players the option of choosing an instrument that inherently produces a particular quality of sound.