bluuebunny/crossref_metadata_2025_split huggingface dataset:
Social Psychology and Music Education
Authors: North Adrian C , Hargreaves David J , Tarrant Mark 
Published: November 2023

Abstract
Music is an inherently social phenomenon: the patterns and regularities that exist in physical sounds only take on musical meaning when they are interpreted as such by groups of people. This is not a particularly surprising or radical view, of course: Many authors have pointed out that music and other artistic stimuli do not exist in a “social vacuum” (e.g., Arnheim, 1952; Konecni, 1982; Munro, 1963) and that this social and cultural context must be addressed by research. Indeed, Farnsworth’s (1969) textbook attempted to explicitly address social and cultural influences on musical behavior. The research literature in music psychology and music education has nevertheless continued to neglect the social dimension to a surprising degree, and this encouraged us to explore the contemporary implications of this view in The Social Psychology of Music (Hargreaves & North, 1997). Individuals’ musical development and learning is a central part of this, of course, so that its explanation must inevitably involve a detailed account of the “musical environment.” This environment varies considerably in different countries around the world, each of which has its own historical background, cultural traditions, educational systems, and curricula. We have explored the ways these influences shape the nature of pupils’ musical development and learning in our book Musical Development and Learning: The International Perspective (Hargreaves and North, 2001a), which brings together expert authorities from all around the world.
Community Music Toward an International Overview
Authors: Olsson Kari Veblen Bengt 
Published: November 2023

Abstract
Music teaching and learning takes place in many different contexts, from formal to informal. There often is affiliation, reciprocity, overlap, or cross-fertilization between more structured and less structured settings. This chapter examines various facets of music in the community, as distinct from music education in K-12, or higher education frameworks. Because of its inclusive nature, this subject naturally overlaps with chapters 10, 11, and 16 (early childhood and adult education, technology); chapters 44 and 45 {teaching in urban and rural environments, in community settings); and chapter 47 (initiatives of community music and cultural organizations with schools). We focus on the contexts of community music in an international perspective and seek to provide complementary research to these other, more specific treatments.
Policy Issues in Connecting Music Education with Arts Education
Authors: Myers David E , Brooks Arthur C 
Published: November 2023

Abstract
In 1976 Charles Fowler wrote in the College Music Symposium of several national trends in arts education. Indicative of what Fowler called a new arts education, the trends included increased cooperation among arts disciplines, infusion of the arts into academic subjects, and broader representation of all the arts in the curriculum. His thesis was that changes in the field of arts education properly challenged music educators to “broaden our bases, to burst our narrow specialties, to seek a multi-dimensional focus.” In support, he identified two specific programs funded by the National Endowment for the Arts (NEA) and the United States Office of Education (USOE): the Artists-in-Schools (AIS) Program, and Interdisciplinary Model Programs in the Arts for Children and Teachers (IMPACT). Characterizing these efforts as a “developing phenomenon,” Fowler suggested that the policy direction they represented would require of music educators “a new process of transaction-with the other arts, with artists, ... and with the entire community” (p. 24). The purpose of this chapter is to review arts education policy developments over the past 35 years, including the trends Fowler identified, and to consider issues that have affected the relationship between music education and the larger policy arena of arts education. Arts and Humanities Program of the U.S. Office of Education (1965-1974) Federal support for arts education found its first home in the Cultural Affairs Branch of the Division of Library Services and Continuing Education of the USOE. The Cultural Affairs Branch, established in 1962, was later renamed the Arts and Humanities Branch. In 1965 it became the Arts and Humanities Program (AHP). Until its demise in 1974, AHP served as the primary administrative venue for federal support of arts education. Kathryn Bloom, AHP’s director until 1968, also functioned as special adviser on the arts and humanities for the commissioner of education, Francis Keppel.
The Evaluation of Arts Partnerships and Learning in and Through the Arts
Authors: Abeles Hal , Hafeli Mary , Horowitz Robert , Burton Judith 
Published: November 2023

Abstract
Arts Partnerships This chapter focuses on arts partnerships, that is, ways in which community-based arts organizations such as orchestras, museums, and other arts groups become involved with schools. Some arts partnerships provide enrichment opportunities that offer students a onetime experience with a community-based group, such as a trip to a museum or string quartet performance in the school auditorium. Our focus, however, is on comprehensive partnerships that may include a written curriculum, teacher development workshops, periodic visits to the school by “presenters” from the organization, resource materials provided to each teacher (e.g., compact discs, world instruments, photographs), and culminating activities such as attending a performance of an orchestra at the symphony hall. Specifically, this chapter focuses on partnerships in which arts instruction provided by a community-based arts group is used as a means to promote learning in the arts as well as in subject areas outside of the arts. This chapter addresses four areas. First, it provides a background for arts partnerships that focus on learning through the arts. Second, the theoretical literature on transfer is presented, along with research on links between arts learning and learning in other subject areas. In this section, issues of establishing causal relationships and building confidence in the findings of research and evaluations are addressed. The third section of the chapter discusses these research design issues as they apply to examining student learning outcomes in the evaluation of arts partnership programs. The fourth section of the chapter presents practical issues related to evaluating these partnerships.
The Southwest
Authors: Pritzker Barry M 
Published: November 2023

Abstract
The southwestern United States, site of the continent’s longest continuous human habitation outside of Mesoamerica, is also its most environmentally diverse region. Roughly including the states of Arizona and New Mexico, extreme southwest Colorado, extreme southern Utah and Nevada, and extreme southeast California, the region contains three major river basins: the Rio Grande, Colorado, and San Juan. It features colorful canyons, mesas, buttes, deserts, bluffs, rock formations, caves, plateaus, forests, and some of the highest mountains in the United States. Although some parts receive regular rainfall, the Southwest as a whole is distinguished by its aridity.
The Subarctic
Authors: Pritzker Barry M 
Published: November 2023

Abstract
The vast Subarctic region stretches from the Atlantic Ocean in the east to the Rocky Mountains and the Alaska coast in the west and from the northern Great Lakes region and Great Plains to the tundra. Over two million square miles in area, the Subarctic is commonly divided into different geological zones, such as Canadian Shield (Hudson Bay and Mackenzie River lowlands), Cordillera (northern Rocky Mountain region), Alaska Plateau (central interior Alaska, including major river drainages), and Alaska Coast (primarily Cook Inlet and Copper River).
East’s Last Years, His Legacy, And The Two Music Patents Of The Early Stuart Era (1603-16n)
Authors: Smith Jeremy L 
Published: November 2023

Abstract
The accession of James VI of Scotland to the throne of England in 1603 brought with it new prospects for East’s firm. It is well known that one of the greatest achievements of the early reign of James I was the abolition of many of the most abhorred monopolies established by his predecessors. For East, however, what was more significant were the opportunities opened to him not by the abolition of monopolies but by shifts in power in the music patents that controlled his trade. The Stationers’ Company established a publishing corporation called the English Stock that assumed the ownership of the patent for the psalter with music and significantly altered the publishing conditions for that class of books. At nearly the same time, there were new developments in the general music monopoly after the death of Morley in 1602 that turned out to have a lasting effect on the relative strength of this grant.
Psychology as Engineering
Authors: Hardy Leahey Thomas 
Published: November 2023

Abstract
In treating the history of mind as a scientific object in chapter 2, I mentioned various objections to the idea that psychology can and/or should aspire to be a science. In this chapter, I consider some of the objections more fully as philosophical arguments and find them persuasive, if not decisive.1 I then discuss an alternative conception of psychology as a form of engineering, a view recently advanced by Daniel Dennett (1995) and Steven Pinker (1997) and put into practice by the new field of evolutionary psychology (e.g., Barkow, Cosmides, and Tooby, 1992). I try to correct misunderstandings about engineering and try to show that thinking of psychology as engineering allows us to retain the rigor and empirical quality of science while forcefully and sympathetically addressing the concerns of critics who claim that psychology cannot be a science.
Ignace Meyerson and Cultural Psychology
Authors: Bruner Jerome 
Published: November 2023

Abstract
Mainstream psychology is just at the close of its first century of scientific “respectability. “ Respectability, even scientific respectability, always comes at a price, and so it is with psychology’s new academic respectability. To qualify, the new discipline was to conduct itself with all the decorum and the caution befitting a nineteenth-century positivist science. It was to be factual and objective, and it was to eschew the subjective and insubstantial. How people interpreted the world, how they made sense of it, and how they constructed meanings were not fit topics for the new science unless they could be reduced to manageable centimeters, grams, seconds, and probabilities.
Introduction
Authors: Erneling Christina E 
Published: November 2023

Abstract
Although the authors in this part focus on different aspects of rationality (beliefs, the development of reason in children, the law of contradiction, and scientific rationality), they all stress the complexity and diversity of what people commonly refer to as a paradigmatic case of individual mental activity. In particular, they argue that the social and normative aspects of rationality are crucial, and that this implies that understanding rationality involves more than understanding how individual brains and cognitive processes work. The authors all go beyond the atomistic or individualistic assumptions of the Cartesian framework as discussed in the introductions to parts IV and V.
Pal Joey: Drawing “Sweet Water from a Foul Well”
Authors: Block Geoffrey 
Published: November 2023

Abstract
From The Girl Friend (1926) to Pal Joey (1940} drama critic Brooks Atkinson (1894-1984} was the man who introduced New York Times readers to the originality and pleasures of Rodgers and Hart shows. Atkinson consistently gave these shows high marks. Even when “in one of their workmanlike moods” (Atkinson’s characterization of Higher and Higher), a Rodgers and Hart musical gave their New York Times critic enough to encourage theatergoers to attend. One rare exception was Chee-Chee, which Atkinson indicted as “their most pretentious production and the least entertaining:’ Due to his service as a war correspondent from 1941 to 1946, Atkinson missed the premiere of By Jupiter, the revival of A Connecticut Yankee, and the debuts of Oklahoma! and Carousel, but between his return as a drama critic and his retirement in 1960 he reviewed Rodgers and Hammerstein’s final seven shows and a return engagement of Oklahomaf’s national touring company. In reviewing Pal Joey Atkinson praises the production as “well-staged” and “expertly done,” lauds Gene Kelly’s “triumphant” debut performance as an actor and a dancer in a musical, and singles out “Bewitched” as “one of Richard Rodgers’s most haunting tunes” in a score filled with “wit and skill:’ But for a reviewer who the previous year found the good-natured Too Many Girls “humorous, fresh and exhilarating,” the “high class” Pal Joey is undermined by its “ugly” topic, a “joyless” book, and depraved characters, and “offers everything but a good time.”
“The American Musical”
Authors: Block Geoffrey 
Published: November 2023

Abstract
Not everyone approved of the Rodgers and Hammerstein model of a modern major musical. One eminent drama critic and theorist, Eric Bentley (1916-), emphatically rejected the lofty ambitions of musical and dramatic integration. For Bentley, “the last scene of Carousel is an impertinence” and in The King and I it was the king’s “duty to stay alive and amuse us.” In contrast to Brooks Atkinson’s born-again impatience with old-fashioned musicals prior to Pal Joey, Bentley laments the loss of the “cocky, souls. I regard such a gaffe simply as an opportunity to get out of the theatre before the crowd. I deplore the death of the king in The King and I; it was definitely his duty to stay alive and amuse us. But On Your Toes is true musical comedy, ending in a bracing “Slaughter on Tenth Avenue” in which no one is really slaughtered. The new show is not beyond reproach. There are some quite loathsome fruityspangly costumes by Irene Sharaff; and the delicate Vera Zorina is badly miscast as a sort of Tallulah of the dance. But George Abbott cannot only get along without stars; he can get along with stars who don’t quite fit. On Your Toes is not a setting for a leading lady, it is an ensemble show in which the two great motive-forces are Abbott and Balanchine. I sometimes think the classic choreographers do better work for Broadway than for City Center or the Metropolitan. Jerome Robbins, for example, is a much freer spirit when he is frivolous than when he is trying to interpret W. H. Auden. And I intend no slur on Balanchine’s past when I say that his presence on Broadway is no anticlimax. How the “serious” theater would come alive if anything ever happened there like that lovely moving pattern of limbs and umbrellas in fading light which is the dance in the rain from On Your Toes!
Anatomy of a Flop: Pipe Dream, Do I Hear a Waltz?, Rex, and I Remember Mama
Authors: Block Geoffrey 
Published: November 2023

Abstract
Although today mainly remembered for their rich song legacies rather than as integral dramatic works, remarkably few among Rodgers’s twenty-nine staged shows with Hart were unsuccessful in their day. True, not even Irving Berlin’s interpolated hit, “Blue Skies,” could extend Betsy (1926), Florenz Ziegfeld’s star vehicle for Belle Baker, beyond thirty-nine performances, and the “castration” musical Chee-Chee quickly closed after thirty-one performances in 1928 (see the readings on Chee-Chee in Part 1). After Jumbo (1935), however, which lost money for Billy Rose and Jock Whitney, only one of Rodgers and Hart’s final ten shows, Higher and Higher, was less than a critical and financial winner. Even taking into account relatively disappointing runs for their “original” musicals, Allegro and Me and Juliet, Rodgers and Hammerstein musicals had an even higher batting average. In fact, only one show with Hammerstein, Pipe Dream, an adaptation of John Steinbeck’s Sweet Thursday, lost money and is usually regarded, including by the composer, as a lesser effort artistically. After Hammerstein’s death Rodgers would enjoy one hit with himself as lyricist, No Strings, before enduring a “missed opportunity” with Stephen Sondheim, Do I Hear a Waltz?, and a modest commercial success aided by the star power of Danny Kaye, Two By Two. Sadly, Rodgers closed his long and brilliant career with two commercial and critical failures, Rex and/ Remember Mama. Ken Mandelbaum offers a thoughtful assessment of the reasons behind Rodgers’s uncharacteristic flops from Pipe Dream to / Remember Mama. In each case he asks the telling questions that address fundamental problems such as, RE: Rex, “How does one make sympathetic a man like Henry VIII who kills his wives because they give birth to daughters rather than sons?” In contrast to many theater historians and critics who dismiss much of Rodgers’s work after No Strings, including Do I Hear a Waltz?, in only once instance, I Remember Mama, does Mandelbaum blame the music for the failure of a Rodgers show. In fact, he characterizes the score of Pipe Dream as “generally fascinating,” Rex as “very attractive;’ and Do I Hear a Waltz? as “excellent, with Rodgers in generally fine form and Sondheim in altogether superb form:’
“How to Write Music in No Easy Lessons: A Self Interview” [1939]
Authors: Block Geoffrey 
Published: November 2023

Abstract
In Rodgers’s “Self Interview; the “alleged” composer responds to frequently posed questions, including the inevitable “Which comes first-the words or the music?” As he would for nearly the next forty years, Rodgers emphasizes that he is inspired only by specific dramatic situations and that his usual compositional procedure with Hart was to create the tune or title first. He also explains why he leaves the orchestration of his “complicated” scores to someone else, espouses the importance of making sure that each song in a show “bear[s] a family resemblance to the other material;’ and praises critics for their eminent fairness and appreciation of novelty, despite their lack of musical knowledge. It is also in this early “self interview” that Rodgers, after briefly describing his historic first meeting, at the age of sixteen, with Hart, then twenty-three, first quipped that he “left Hart’s house having acquired in one afternoon a career, a partner, a best friend, and a source of permanent irritation:’ After this selection appeared in Theatre Arts, Rodgers may have felt he had answered enough questions for a while. In any event, readers would not hear much from Rodgers either as a writer or interviewee for more than a decade. As an alleged composer I am asked certain questions with regularity. It appears that the average person considers musical composition either one of the darkest of the black arts or the result of heaven-sent compulsion. There is never any between ground. Resorting to analogy for answers doesn’t help much, but I try it. I say: “Look, you have to write a letter to your Aunt Tessie, a rich old gal who will eventually die. You’d like the letter to be a good one. You have certain equipment at your disposal, such as pen, ink, paper and, most important of all, your knowledge of the language. You’re on your own, and the quality of your letter will depend largely on how well you are able to use your equipment. My problem is the same, only related into terms of music. Aunt Tessie is the public or, frequently, my own satisfaction. My equipment consists of paper, pencil, piano, the ability to hum, whistle or sing (horribly) and a knowledge of musical language acquired in the theatres, on the streets and in serious study.” I lean back with a glow of self-admiration, having
“Opera and Broadway”
Authors: Block Geoffrey 
Published: November 2023

Abstract
In this article, targeted to opera-loving Opera News readers, Rodgers anticipates Lehman Engel’s thesis (see “The Art of Adaptation” in Part 11) when he writes that “musical comedies of our Broadway theater might be called, without apology or self-consciousness, American opera.” Without disparaging European traditions or the mature song-writing craftsmanship of earlier musicals, Rodgers’s view of history favors the evolution toward “perfectly integrated;’ “unmistakably American;’ and innovative musicals like Oklahoma! in which “songs and dances flowed naturally out of the story while remaining natural to the personalities of our characters.” In advocating a musical theater that rejects “pat formula” and welcomes “new subjects and ideas;’ Rodgers demonstrates an awareness of “serious” composers who have explored American themes (e.g., Marc Blitzstein’s Regina, Carlisle Floyd’s Susannah, Douglas Moore’s The Ballad of Baby Doe, and Aaron Copland’s The Tender Land, an opera that Rodgers himself generously funded). According to Rodgers, these works, though “operatic in concept” are “completely American in their working out” and “would be as much at home in the theater as in the opera house, as would many of our Broadway musicals:’
America in Black and Green
Authors: Steinberg Ted 
Published: November 2023

Abstract
Compared to Henry Ford, Thomas Edison, and the other heroes of American consumerism, the name Thomas Midgley rings few, if any, bells. And yet despite his relative obscurity, Midgley, a research chemist born in 1889 who died, according to one obituary, by accidentally strangling himself with “a self-devised harness for getting in and out of bed,” played a fundamental role in some of the consumer age’s most celebrated products.
Parasitic Disease
Authors: Fossel Michael B 
Published: November 2023

Abstract
Save cancer, most diseases discussed in this text are those in which senescing cells result in human age-related pathology. Parasitic disease, however, results from cells that maintain telomeres and avoid senescence. Here, alone among all others discussed, the cells involved are not human, but invaders. The parallel with cancer remains valid, the more so in sharing a potential intervention: telomerase inhibition.
Kidneys
Authors: Fossel Michael B 
Published: November 2023

Abstract
The primary function of the kidney is, simplistically, filtration of blood and maintenance of serum electrolyte homeostasis (sodium, potassium, chloride, magnesium, etc). An accurate but insufficient appraisal, the kidneys are also instrumental in modulating blood pressure (via renin secretion and its effects on the renin-angiotensin system), signaling the marrow to increase erythrocyte production (via erythropoetin secretion), activating vitamin D (with consequent effects on calcium and phosphorus metabolism), and filtration of molecules other than the standard electrolytes, such as creatinine, metabolic wastes, endogenous and exogenous toxins, and excess serum glucose.
Gastrointestinal System
Authors: Fossel Michael B 
Published: November 2023

Abstract
The gastrointestinal tract comprises a long tube with associated organs, including the liver and pancreas. Although the tract commonly achieves more interest, the bulk of this chapter will slight the gastrointestinal tract and concern itself with the liver. The gastrointestinal tract will, however, be considered, largely because there is a growing body of research focusing on cell senescence in the esophagus and intestines.
Towards Therapy
Authors: Fossel Michael B 
Published: November 2023

Abstract
No model of disease has value beyond its ability to improve lives. Despite strident claims, there are no currently effective clinical interventions for human aging. There are interventions that affect a number of biomarkers (e.g., free radicals), superficial cosmetic changes (e.g., retinoic acid), physiological correlates (e.g., hormones), mean lifespan (seatbelts), and age-associated disease mortality (e.g., medications lowering cardiovascular mortality). None of these are clinically effective in altering aging (Butler et al., 2002).