bluuebunny/crossref_metadata_2025_split huggingface dataset:
Spreading Wings (1926-1928)
Authors: Fay Laurel E 
Published: November 2023

Abstract
Shostakovich was both exhilarated and exhausted after all the anticipation and anxiety of the months preceding the premiere of his First Symphony. In the weeks following the debut, he was at loose ends; he longed to go south to Anapa for the summer to rest but griped that the Conservatory was only giving him eighty rubles for the trip, scarcely enough to cover the cost of “papirosï” (the distinctive Russian cardboard-tipped cigarettes he smoked), and counted instead on the advance promised for the publication of his symphony. He started to write a piano concerto but abandoned it in disgust: “I am waiting for inspiration from above.” The fickleness of his muse was a source of ongoing concern to him.
Tragedy-Satire (1932-1936)
Authors: Fay Laurel E 
Published: November 2023

Abstract
when Shostakovich took on the status quo in the Soviet musical theater in late 1931 with his “Declaration of a Composer’s Duties” and swore off theatrical commissions for five years, what he had not yet acknowledged publicly was that he was already hard at work on a new opera, Lady Macbeth of the Mtsensk District, a project undertaken independent of any commission or planned production. With what was by now wide-ranging experience as a composer of music for film and theater, and with convictions honed by an arduous apprenticeship, Shostakovich was ready to reassert control over his creative destiny and try his hand at another opera.
The War Years (1941-1944)
Authors: Fay Laurel E 
Published: November 2023

Abstract
In the week that followed the declaration of war, activities at the Conservatory proceeded almost as if nothing had happened. Exams were completed, students were graduated, and stipend recipients for the next year were selected. Shostakovich had immediately volunteered for the army but was told, “We’ll call you when we need you.” Another application to join, dated 2 July 1941, also met with rejection. The impatient composer signed up with the Home Guard, then in the process of formation: “I am going to defend my country and am prepared, sparing neither life nor strength, to carry out any mission I am assigned.” Shostakovich spent the next few weeks— with a brigade of volunteers from the Conservatory—digging ditches and throwing up weapon emplacements and antitank barriers around Leningrad. Later in the month he was assigned to the firefighting brigade at the Conservatory to protect the roof against incendiary attacks. He never actually had occasion to extinguish an incendiary; Conservatory official Aron Ostrovsky confessed to him toward the end of the war that they had deliberately devised excuses to get him off the roof, especially when danger was imminent, exploiting the pressing need for musical arrangements for frontline performance.But posed photographs of the helmeted composer steadfastly standing guard on the roof of the Conservatory, shot on 29 July and disseminated around the globe, served as potent symbols of Leningraders’ heroic resistance.
The Thaw (1953-1958)
Authors: Fay Laurel E 
Published: November 2023

Abstract
In April 1953, Shostakovich traveled to a sanatorium in Kislovodsk in the foothills of the Caucasus for a month of rest and recuperation. His health had never been robust since childhood, and his letters chronicle a steady stream of afflictions and hospitalizations. On one occasion, after the whole family had been stricken with various illnesses, Shostakovich quipped that God must have allocated the good health and beauty to his in-laws. In early June 1953, Shostakovich was a member of a cultural delegation sent to Vienna and Graz. He attended a concert of music by Berg, Honegger, and Stravinsky and confided in a colleague that the Austrian composer who had exerted the most influence on him from his earliest years was Gustav Mahler. He surprised his travel companions with his impulsive insistence on riding a daredevil roller-coaster at the Prater. He returned exhilarated: “I love the madcap, it gave me great pleasure. You’ve undoubtedly forgotten that I am the author of the opera The Nose!” The composer rated the “hell-train,” on which he also took a spin, “cheap and primitive.”
Consolidation (1958-1961)
Authors: Fay Laurel E 
Published: November 2023

Abstract
n March 1957, the news that Shostakovich was at work on his first operetta, Moscow, Cheryomushki, dealing “with the life of young builders in Moscow” spread around the globe. From the composer’s standpoint, the announcement was probably premature. He had not yet completed his Eleventh Symphony. But the keen anticipation at the prospect of Russia’s preeminent composer of “serious” music crossing over into the popular theater could not be denied. It was a source of special pride for the Moscow Theater of Operetta, which recruited the composer with the help of chief conductor Grigoriy Stolyarov, whose association with Shostakovich stretched back a quarter century to the Moscow premiere of Katerina Izmailova. Another veteran of that Nemirovich-Danchenko Theater production, Vladimir Kandelaki (he created the role of Boris Timofeyevich), was also now associated with the Moscow Theater of Operetta. He undertook the direction of Shostakovich’s operetta.
The Cathedral and the Shrine
Authors: Kendrick Robert L 
Published: November 2023

Abstract
Most documentation and compositions of city musicians stem from figures working at a variety of ecclesiastical institutions. Four churches with citywide audiences maintained large permanent ensembles, and some twelve others, largely belonging to religious orders, had some kind of musical life, employing at least an organist and some singers. In addition, the governor’s court supported both instrumentalists and vocalists for the ducal palace and its chapel, San Gottardo in Palazzo.
Theory, Aesthetics, Devotion
Authors: Kendrick Robert L 
Published: November 2023

Abstract
To city dwellers, the concept of musica held variable meaning, ranging from the practice of reading, performing, and composing music, through the desirable qualities of such sound, to the more rarefied speculations of the philosophically oriented. This intellectual basis of the art was, at first glance, the element least specific to a given place, undergirded as it was by widespread strains of thought variable in their mixture of medieval and modem philosophy. The immediately theoretical works consisted of treatises on musica practica, while issues of musica speculativa arose in writings of Puteanus and in Federigo Borromeo’s own notes. A generation later, Teodoro Osio’s arithmetical speculations appeared as two published works, and several related manuscripts, on number, meter, and music.
Child Health and the Environment
Authors: Wigle Donald T 
Published: November 2023

Abstract
This is the first textbook to focus on environmental threats to child health. It will interest professionals and graduate students in public health, paediatrics, environmental health, epidemiology, and toxicology. The first three chapters provide overviews of key children’s environmental health issues as well as the role of environmental epidemiology and risk assessment in child health protection. Overarching themes are the susceptibility of the rapidly developing fetus and infant to environmental toxicants, the importance of modifying factors (e.g. poverty, genetic traits, nutrition), the role of health outcome and exposure monitoring, uncertainties surrounding environmental exposure limits, and the importance of timely intervention. Later chapters address the health effects of metals, PCBs, dioxins, pesticides, hormonally active agents, radiation, indoor and outdoor air pollution, and water contaminants. In analyzing potential environmental hazards, the book addresses both biologic and epidemiologic evidence, including the likelihood of causal relationships. Among the health outcomes he discusses are developmental, reproductive, and neurobehavioral effects, respiratory disease, cancer, and waterborne infectious diseases. These discussions cover environmental exposure sources/indicators, interventions, and standards, and conclude with a summary of calls for an improved science base to guide public health decisions and protect child health.
The Piano Compositions) 1834-39
Authors: Jensen Eric Frederick 
Published: November 2023

Abstract
To a pure mind, especially, the carnival appears like the return of man to primitive innocence and joy, like the realization of the loveliest legends from the time of the minnesingers and troubadours, or even like a new Paradise, vouchsafed to us for one week in every year. Then are laid aside all strict social forms, because the evil they are meant to restrain seems to have been banished from the earth.
The Years m Dresden
Authors: Jensen Eric Frederick 
Published: November 2023

Abstract
A poet, as he is to others of the highest wisdom, pleasure, virtue, and glory, so he ought personally to be the happiest, the best, the wisest, and the most illustrious of men ... the greatest poets have been of the most spotless virtue, of the most consummate prudence, and, if we could look into the interior of their lives, the most fortunate of men.
The Compositions, 1845-54
Authors: Jensen Eric Frederick 
Published: November 2023

Abstract
The difference, so far then, between sleeping and waking seems to be, that in the latter we have a greater range of conscious recollections, a larger discourse of reason, and associate ideas in longer trains and more as they are connected one with another in the order of nature; whereas in the former, any two impressions, that meet or are alike, join company, and then are parted again, without notice, like the froth from the wave. So in madness, there is, I should apprehend, the same tyranny of the imagination over the judgment; that is, the mind has slipped its cable, and single images meet, and jostle, and unite suddenly together, without any power to arrange or compare them with others with which they are connected in the world of reality. There is a continual phantasmagoria: whatever shapes and colours come together are by the heat and violence of the brain referred to external nature, without regard to the order of time, place, or circumstance.
The Future of the Past: The Restoration Struggle against the Enlightenment,
Authors: McMahon Darrin M 
Published: November 2023

Abstract
At 11:00 P.M. on February 13, 1820, the Duke of Berry, only son of the Count of Artois, nephew of Louis XVIII, and second in line to the French throne, was struck down as he left his box at the Paris opera. The assassin, Louis-Pierre Louvel, a journeyman saddler and fanatical devotee of Napoleon, readily admitted that he had acted to extinguish the Bourbon line. In this aim, he would be foiled, for although Berry was at the time the sole member of the dynasty who was capable of producing an heir, his wife gave birth to a son seven months later—an event that devout royalists quickly attributed to the hand of God. Divine intervention, they asserted widely, had facilitated the “immaculate conception” of this “miracle child.”
Toxicology of PCBs and Related Compounds
Authors: Giesy John P , Kannan K , Blankenship Alan L , Jones Paul D , Newsted J L 
Published: November 2023

Abstract
Polychlorinated biphenyls (PCBs) are among the most studied environmental contaminants. PCBs have the potential to modulate the endocrine system through a number of mechanisms and have been designated as endocrine-disrupting com pounds (EDCs) by a number of researchers and government agencies (Kendall et al., 1998; Knobil et al., 1999). Effects can be either direct or indirect. Here we present evidence that PCBs are EDCs.
Effects of Alkylphenolic Compounds on Wildlife
Authors: Kloas Werner 
Published: November 2023

Abstract
During the past few decades emerging evidence has demonstrated that environmental pollutants can interfere with the endocrine systems of wildlife and humans (Col born and Clement, 1992). These compounds are called endocrine disruptors, defined at the Wey bridge workshop in 1996 (European Com mission, 1996) as “an exogenous substance that causes adverse health effects in an intact organism, or its progeny, consequent to changes in endocrine function.”
To Sing or to Mourn? A Reappraisal of Simonides 22 W2
Authors: Yatromanolakis Dimitrios 
Published: November 2023

Abstract
Simonides fr. eleg. 22 W2, admirably edited by Peter Parsons in 1992, 1 has recently kindled the interest of scholars as to the reconstruction of its content and context. No doubt, the new fragment “intrigues and tantalizes“;2 all the more since the text as it has come down to us is badly preserved, and only broadly comprehensible. An attempt to recover the song’s content is clearly desirable, but, as is the case with other aspects of archaic Greek literature and culture, we should be attentive to the polyvalence of its fragmentation. 3 I shall here address the issue from a different vantage point and propose a new view of how this fragment may be “read.“
Introduction
Authors: Richmond John W 
Published: November 2023

Abstract
This opening part of our research Handbook deals with issues of policy and philosophy in the music education professions. It is hard to imagine a more appropriate way to begin a volume of this sort. Music education-especially as practiced in educational institutions-is entrenched deeply in traditions of activity. The pace of professional life for the music educator in the classroom/rehearsal hall can be frenetic and the opportunities for “reflective practice” are simply much too rare. The fields of music education policy and philosophy then become twin acolytes for the music educator in the field, helping him or her to scrutinize trends in the profession and practices in the classroom in the critical light of careful, deliberate analysis. Indeed, policy and philosophy can be understood as complementary systems of examining and directing our complex, multifaceted work from prekindergarten to postdoctoral study in music. Both systems of inquiry ponder core values and their manifestations in professional practice. Both systems explore the contexts in which these core values then are carried out. And, recently, both systems reflect real debate and even rancor as competing ideologies strive to gain primacy in the value systems of our field. If ever they were boring in the past, recent writings in the policy and philosophy of our field are anything but dull today.
Improvisation and Curriculum Reform
Authors: Sarath Edward 
Published: November 2023

Abstract
Despite appeals by NASM, MENC, and UNESCO’s International Music Council for greater diversity in musical study, strategies for reform remain elusive for many college and university music departments. Conventional curricular models filled to the brim with requirements in interpretive performance and analysis of European repertory leave little room for experiences in improvisation, composition, technology, and multiethnic musicianship-to list some of the areas most commonly cited to be lacking. As a result, many students graduate with little or no training in skill domains that will be important to their professional careers. If substantive strides toward reform are to be made, change must take place at the core level, where the seeds of diverse musicianship are planted early on in students’ development. In this chapter, I propose that improvisation, particularly when studied from what I call a trans-stylistic perspective, is uniquely equipped to address these needs and therefore warrants a significant place in the core music curriculum. The creative, integrative, eclectic, and handson qualities of improvisational experience promote the development of both conventional and contemporary skills, foster in students an all-important self-sufficiency, and also open up pathways to emerging educational areas such as consciousness and contemplative studies. Moreover, as these inherent qualities in improvisation point to new types of educational models, they also illuminate new reform strategies through which these models may be achieved.
Music and Early Childhood Education
Authors: Jordan-Decarbo Joyce , Nelson Jo Ann 
Published: November 2023

Abstract
This chapter is designed to provide current information regarding the philosophical and theoretical bases of the field of early childhood education that is most relevant to issues underpinning music education for children, from birth to age 8. In addition, it will summarize existing music research, as well as interdisciplinary research supporting the major issues in early childhood music education. The studies selected represent a body of research published in major journals and books from approximately the mid- to late 1980s to the present that provides the reader with some understanding of the emerging issues and questions about musical development in young children. Generally, efforts were made to focus only on the target ages, birth to 8. However, some studies incorporating a wider age span are cited if results related to the younger ages have been deemed important for inclusion. The organization of the chapter consists of four sections: research and theories on the development of young children, research on specific nonmusical and musical abilities, curricular practices in early childhood classrooms, and recommendations for research. The first section consists of research on development in early childhood education and music education, beginning with an overview of the conceptualizations of childhood in today’s society that have guided both researchers and practitioners in the field. Much emphasis is devoted in this section to cognitive development: the neurological findings resulting from brain research and their relevance to spatial ability and issues related to musical development are briefly highlighted. The second section includes research focused on musical abilities, including aural discrimination, vocal abilities and song acquisition, and movement and rhythmic skills. The third section includes a summary of various ideological positions governing current practice both in education and music education, as well as comparisons of specific models and approaches and the contributions they have made to the profession. The chapter concludes with directions for the future in terms of research and practice and recommendations for many of the unanswered questions that remain about how children learn, perform, and understand music.
Motivation and Achievement
Authors: Maehr Martin L , Pintrich Paul R , Linnenbrink Elizabeth A 
Published: November 2023

Abstract
What Is Motivation and Why Is It Important? Motivation has been and continues to be of interest to those who are concerned with teaching and learning. Although researchers and theorists differ dramatically in their views on how motivation emerges and is instantiated in academic settings, they tend to agree on certain types of “behavior” as signifiers of motivation. Thus, before reviewing and discussing personal and contextual factors that may influence “motivation,” it is necessary, first, to step back and consider the behavior that makes teachers, parents, and researchers conclude that individuals differ in “motivation.” Only then will the research, theory, and implications of this large body of literature be evident. Therefore, we begin this chapter by discussing a variety of actions, feelings, and thoughts that both teachers and researchers describe as indicators of “motivation.” In doing so, we hope to underline the importance of this topic for educators as well as researchers. A second purpose is to clarify what motivational researchers study when they study motivation, what they observe, how they measure, and ultimately what they are trying to predict and explain.
Introduction: Music Perception and Cognition
Authors: Lehmann Andreas C 
Published: November 2023

Abstract
Research in perception and cognition in music has seen tremendous growth over the last two decades (see Levitin, 1999). The reason for this expansion is not that music research has emerged only recently as a new discipline; instead, it appears that whoever had been interested in music years ago but did not dare to do music research can now freely admit to his or her “vice.” As a result, the field has become extremely diversified and includes psychologists, sociologists, and anthropologists as well as AI researchers, physiologists, and acousticians. Many of them are active musicians with varying degrees of firsthand experience, while other scientists simply think that music is a convenient domain for their purposes. Common to all is the desire to find out more about how our brain processes the auditory input we then experience as music. Unfortunately, the issues that entice researchers are not always identical to those that appeal to music educators, who, after successful mastery of the scientific jargon, are often disappointed to discover how difficult it is to apply the findings to the classroom. Admittedly, some research done today might only prove its usefulness many years from now.
Taking an Acquired Skills Perspective on Music Performance
Authors: Lehmann Andreas C , Davidson Jane W 
Published: November 2023

Abstract
Psychologists seem to agree that musical skills share many common features with skill-related phenomena in other areas outside of music, such as language, games, sports, science, and other domains. Music making entails perceptual skills (e.g., apprehending structural information as well as social information, including nonverbal cues exchanged between performer and audience), cognitive skills (e.g., memory, decision making, pattern recognition), and of course motor skills. These skills function, interact, and evolve in complex ways that we are slowly starting to understand. However, since each performer, be it the professional orchestra musician who earns his or her living playing an instrument or the amateur who plays solely for enjoyment, is a unique individual with his or her individual biography, there is no such thing as “the musical skill.” Instead, the ways in which the skill was developed as well as the final skill structure will necessarily differ from person to person as a result of individual learning histories. Each performer has artistic intentions, that is, a message to be conveyed. Some of these intentions are related to communicating information about the musical structure and expressive embellishments to it for aesthetically driven goals. For instance, slowing at a cadence point has become recognized generally in Western music as sounding “better” than not slowing. Other intentions are more emotionally directed, such as playing a piece “sorrowfully” or “happily.” Of course, music making does not happen in a vacuum; it most always involves other people, be they coperformers or members of the audience with whom the performer communicates. As a socially and culturally grounded skill, music making is one of the most important activities in all cultures. Attempting to understand musical skill is one way of paying tribute to the tremendous achievements of past and present musicians. At the same time, we may be able ultimately to derive suggestions for the improvement of music teaching and learning.