bluuebunny/crossref_metadata_2025_split huggingface dataset:
Arpeggio
Authors: Debost Michel 
Published: November 2023

Abstract
The fundamental note of an arpeggio needs to resonate: it is not in bad style, therefore, to hold it a little, and even to give it a little vibrato. Especially when it is slurred, an arpeggio should not be seen as a staircase whose steps would be pushed away one by one by jutting the chin (figure 1), but as a chain (figure 2) whose links would be the notes wrapping onto one another in a seamless stream of sound. The highest point always seems the hardest. This is purely psychological, for if this note were part of an arpeggio reaching higher, it would not be a problem. Three things must be kept in mind: The higher the note, the lower the center of gravity should be. As the arpeggio rises, you should feel that you are sinking into the floor. The power that you feel in your abdominal wall comes also from your legs, just as when you lift a heavy object. If you are sitting, your lower back contributes to the legs’ involvement.
Articulation
Authors: Debost Michel 
Published: November 2023

Abstract
Articulation implies the word article, a locution allowing the language to be clearer, more legible, more . . . articulate. Newspaper headlines use no articles: “Mother Robs Bank for Son’s Bail.” A whole story in six words, but hardly an example for musical interpretation. Each musical phrase can be taken as a spoken sentence, each element of this phrase as a word, and each note as a syllable. This, in turn, consists of consonants and vowels. The sound equivalent of any syllable is unique to each language. Consider the imaginary words tude and ture (for example, in latitude and miniature): it is difficult to compare the dryness of the French u, the guttural German ü or y, the velvet of the Italian and Spanish out, the wet English you. The wonder of sounds!. The consonant t is more or less dental; in the r, we hear all the different flavors: the rasp of the German and French and the roll of bel canto in Italian, Spanish, and the ancient French that can still be heard in some French-speaking provinces and lands (such as Canada and Lebanon). The brogues of Ireland and Scotland and the local tongues of England roll around like a mouthful of pearls. The r seems to be the stumbling block of Japan, where r and l are pronounced almost identically. Modern English speakers find it hard to deal with either the rolled or the guttural r. Learning a foreign tongue or two opens one’s mental scope; for a musician, and particularly for a flutist, it is a charming and helpful tool for articulation and for a natural phrasing.
Breathing2: Mechanics
Authors: Debost Michel 
Published: November 2023

Abstract
Pulling in the tummy during inhalation is the result of education and of attitude control that a screaming infant cares nothing about. This look is fine for fashion models, but for breathing it is hopeless. Standing at attention, tummy tucked in, chin up, and eyes to the horizon is superb for a Marine on the parade ground but is not a good idea while playing the flute. Here is a simple exercise to feel a true abdominal inhalation: sit with knees and feet joined; bring your elbows to your knees while exhaling. When you inhale, your torso cannot move and your breathing is really abdominal. Of course, it is not advisable to play in this position! Now lie on your back. In this position, you cannot raise your shoulders upon inhalation. However, you can raise your tummy freely. This is the most natural and the best breathing procedure. Duplicate it while standing. Try to avoid the impression of inflating your lung cavity. Atmospheric pressure does that by a bellows effect when you create a void inside your lungs. Nothing should stand in the way of fresh air. The bellows effect explains why our breath is shorter at high altitudes. Because of the lower atmospheric pressure, the same chest movement gives us less air. If you breathed with clenched teeth, you would do a very poor inhalation. You would be breathing with high shoulders. You would produce a strong hissing noise, perceptible from a distance and your teeth would feel cold. If you opened your jaws but left your tongue in the path of incoming air, you would get a slightly better inhalation (although it would still be placed in the upper part of your chest). You would feel the cool air inside your mouth, but you would still make this unpleasant sucking noise that flutists often produce. A sucking noise at air intake shows that your mouth and your throat are closed and that your tongue is in the way.
Bridge
Authors: Debost Michel 
Published: November 2023

Abstract
In the course of twenty-four hours in the life of a flutist, the break between low and medium ranges is breached hundreds of times. Yet it is still one of the critical points of instrumental playing, especially when it must be slurred slowly. It shows once more how deceptive is the assumption that “only fast is difficult.” After more than half a century of playing the flute, I still have to think ahead and work at making the bridge smooth and musical, but it brings rewards. The problem lies in the fact that we have to go from two handfuls of fingers (D2) to only one or two (C2) and back. To make matters worse, these happen to be our dear little devils no. 1 and no. 2. “The second octave C–D, for instance, requires an extremely complex coordination of seven fingers and a thumb (an exchange that can be simplified by anticipating the D with the second and third fingers of the right hand while playing the C and vice versa).” And, I may add, not using the right pinky.
Finger Antagonisms
Authors: Debost Michel 
Published: November 2023

Abstract
Often I feel that some of my fingers weigh a ton. This is especially obvious in trills that seem to always want to go their own way, out of context and beyond my will. Even in scale patterns and in simple arpeggios, difficulties arise when fingers work in different directions. Before being able to practice them, it is important to determine why certain patterns are more awkward than others. “Down” fingers, through gravity and natural reflex, move faster than “up” fingers. This is one more reason to avoid slam-and-squeeze: fast movement upward, gentle landing downward. Here is a small catalog of antagonistic finger movements, in order of decreasing ease. Black keys and levers indicate finger down; white keys and levers indicate finger up; up arrows show “off ” motion; and down arrows show “on” motion.
Focus
Authors: Debost Michel 
Published: November 2023

Abstract
I remember my childhood days when I started the flute. I loved to blow into it and the sound it made, but, however much I tried, I was always short of breath. It still happens sometimes. Then, teaching young players, I realized that the problem was not so much taking air in as managing its focus while blowing. The purpose of inhaling is to produce sound. “Play well (blow well) and you will breathe well.” The other way around is not always true. What is the use of breathing if the air is not focused and managed efficiently? I have seen many articles, even books, about breathing and its mechanics, poor guys with electrodes on their chest, their throat, their abdomen. Very few words about air management or rapid breathing. Even less about music. We are preoccupied by the mechanics of breathing and by the opinion of our flute colleagues. But the audience at large and other instrumentalists only listen to the music. Have you noticed how string players are always working on new bowings? We don’t even notice whether a phrase is upbow or downbow. The same applies to our breaths. If it is well placed and executed, a breath actually contributes to the music. Don’t think that an audience listens to you the way other flutists do. Don’t think, while you play: “What will they say if I breathe here or there?” They are going to be critical, whatever you do.
Hands
Authors: Debost Michel 
Published: November 2023

Abstract
Flute stability is the prerequisite of healthy and efficient instrumental playing. Stability helps tone as well as virtuosity, legato as well as articulation, high range as well as low, dynamic control as well as intonation. Primitive or sophisticated flutes of all ages and of all ethnic origins have one thing in common: they rest on the same point of the left hand— the first joint of the left forefinger,1 halfway between the embouchure plate2 and the right thumb.3 From my instrumental playing perspective, total solidarity between the lip plate and the chin results from the isometric balance of forces between these fulcrums. These forces apply not to holding up the flute vertically, but rather on a horizontal plane, perpendicular to the flute. The first teacher should be extremely patient and meticulous. Changing a faulty hand position after the first six months is very frustrating for student and professor. One of the assets of the French system (open keys) is that it guides a beginner to a healthy hand position. A French-system flute, if it can be found, is the ideal starting instrument. Once a good position is established, the French system does not matter much anymore. It’s a kind of fetish. If the offset G is more comfortable, is should be the right choice.
Hierarchy of Beats
Authors: Debost Michel 
Published: November 2023

Abstract
In 4/4 time, the first beat (downbeat) is usually the strongest. Then, in order of emphasis, comes the third beat, which is weaker than the first. The intermediate weak beat is the fourth, which serves as upbeat to the next phrase. The weakest is the second beat: it serves as release for the often-accentuated downbeat. Letters in the hierarchy of beats examples represent the following: DB = downbeat; RB = release (weakest) beat; SB = secondary beat; uB = upbeat (weak); dDB = displaced downbeat. In 3/4 time, it is more stylistically natural to erase somewhat the second beat instead of reinforcing the first:
Intervals
Authors: Debost Michel 
Published: November 2023

Abstract
I do not understand why tone is practiced as a separate entity any more than technique or tonguing. Instrumental playing is the sum of it all: listen to your sound in rapid passages, mind your intonation during staccato, smooth out your finger movements during phrasing, do not slam-and-squeeze in an interval (or anywhere else), and so on. The tension on the first note of an interval is like the action on a trigger: progressive and imperceptible. If the squeezing is too brutal, the rifle moves and the target is missed. The effort needed for an interval does not come on the change, but just before it. The actual interval is like a release. In my way of playing, intervals should be practiced without lipping. If you should indulge in jawboning during a performance, fine. Music is the issue. But in a practice situation, you are trying to educate the basic tone production and control. Since you are not going to have time to work your chin on every note of an arpeggio in Peter and the Wolf or Mozart concertos, or any fast movement, you might as well keep your basic mouthpiece position and support. This is what you practice on intervals.
Lips
Authors: Debost Michel 
Published: November 2023

Abstract
Lips are too often considered the most important part of flute playing, because it is at their level that air becomes musical sound. The lips are not the only element to produce the tone. It is the air brought by the air column breaking upon the outer edge of the embouchure hole that creates a sound. Many players think about their lips (their “chops,” in musicians’ jargon) and only that: they are forever touching them, looking at them, trying new head joints and warming up with long tones. They are like drivers who consider the steering wheel the most important part of an automobile. Actually, it provides essential direction, but no effort. The air column produces the energy of playing; the lips provide control and direction, but not force. There is no ideal lip position. Teachers who constantly try to change their students’ lip formation are actually doing them a disfavor. Symmetry has nothing to do with it, since the flute is played in an asymmetric position. Each lip morphology is unique in shape, thickness, size, and firmness. More important is the way the lips are used, as a guide. Comfort is the issue, within reasonable proportions. If it works, do it! The character of anybody’s tone is in what they hear and how the air column resonates inside and out of the flute player. “You can only reproduce the tone that you hear inside of yourself. Embouchure technique comes from what you want to hear, not the other way around.”
Pain And Pleasure
Authors: Debost Michel 
Published: November 2023

Abstract
If you hurt when you play (lips, jaws, arms, back, or heaven knows what), it is likely that you have not cultivated a good and comfortable relationship with instrumental playing. Sooner or later, the cause of these problems must be confronted. Flute playing is, or should be, a source of pleasure— for the listener, no doubt, but first of all for the flutist. “Charity well rendered starts with oneself.” It is not as selfish as it sounds. How can you help others when you cannot help yourself ? How can you bring enjoyment to your listeners when you hurt and suffer? How can you love anything when you hate yourself ? Practice is not so much a way to deal with our guilt feelings as a path to happiness and pleasure. This hedonistic philosophy might not be popular in the Puritan work ethic of “no pain, no gain.” However, pleasure in its deepest meaning requires sensitivity, patience, kindness, and self-knowledge, rather than greed.
Phrasing
Authors: Debost Michel 
Published: November 2023

Abstract
A musical phrase is similar to a spoken sentence. It is an attempt to organize sounds and syllables to give them a direction, a meaning that will make their intellectual, spiritual, and emotional content intelligible. Phrasing is a relationship between freedom and constraint, tension and release, intensity and repose— between time and space, and between sound and silence. It is impossible to load every single syllable of a speech with drama: it becomes quickly emphatic and boring. “The pursuit of the extraordinary is the character of mediocrity. When one despairs of doing a beautiful, simple, and natural thing, he attempts a weird one.”13 Likewise in music. If all the notes of a passage are highlighted, it becomes a hysterical interpretation that often disfigures masterpieces. Somehow, it reminds me of a sandwich advertised “with everything on it: five meats, three cheeses, lettuce, tomato, mayonnaise, mustard. ” The works! A musical phrase or motif exists in itself. Harmony, however, is implicit. To simplify matters, let us say that when the harmony is consonant (major or minor triads and their inversions), the phrasing flows without tension. On the other hand, dissonant harmony denotes tension and build-up. A line containing sevenths or augmented fourths (called tritones) or diminished fifths (which are in fact part of seventh chords) requires more tension.
Rest
Authors: Debost Michel 
Published: November 2023

Abstract
Bicycle racers know how to rest “in the pack”: they eat, converse, play pranks, relax, even relieve themselves, all the while going at speeds unthinkable to laypersons. It is possible for us to rest while playing a piece. There is almost always a passage where “the flute plays by itself,” where the music speaks effortlessly. Without losing concentration, one can rest a bit, come to terms with stress, and repair one’s health to a certain extent. One misunderstanding about interpretation would tend to make every note meaningful. Good idea, but meaningful does not mean overbearing. On the contrary, for my taste in interpretation, less is more. Actually, as a listener and an orchestral player, I often feel that some conductors tend to do too much. Places where the orchestra plays loud and straight, for instance, need not be conducted.
Yawning
Authors: Debost Michel 
Published: November 2023

Abstract
We have all experienced the feeling. Under nervous tension, the throat tightens, producing a choked sound. Poor posture, such as high shoulders, has the same effect. How can we remedy this situation? Let’s observe the process of yawning. Through an involuntary motion, the shoulders drop, the throat opens, the ears pop. A sense of well-being sets in, and the abdomen’s movement allows the lungs to fill up completely upon inhaling. Yawning is the language of the body telling us to relax, to forget about our problems, to feel good and to go to sleep. We can hardly do that just before going on stage. I experience this yawning just before performing. It’s the only good thing about stage fright.
“When I Don Your Silken Draperies”: New Women’s Performances of Asian Heroines
Authors: Yoshihara Mari 
Published: November 2023

Abstract
One of the most popular icons of American Orientalism that emerged in this period is Madame Butterfly. The timing of publication of John Luther Long’s original story in 1898 and subsequent stage and film productions of Madame Butterfly in the early twentieth century is significant. As critic James Moy demonstrates, the narrative of Butterfly—and many other texts representing Asians in this period—in which the Asian character dies at the end worked conveniently for America’s nationalist ideology of the time.
Re-gendering the Enemy: Culture and Gender in Ruth Benedict’s The Chrysanthemum and the Sword
Authors: Yoshihara Mari 
Published: November 2023

Abstract
The international rivalries in the Pacific, incited by Japan’s aggression in Manchuria in 1931 and the subsequent Sino-Japanese War, prompted Americans to refine their understanding of Asians as an undifferentiated alien race. As the attack on Pearl Harbor in 1941 made the United States’ enmity toward Japan and support of China unquestionable, Americans needed to distinguish between the “evil” Japanese and the Chinese “heroes risen” against the Japanese. The media put out sensational and propagandistic calls for people to make a distinction between the two groups, exemplified by articles like “How to Tell Your Friends from the Japs.”2 On a more strategic level, government agencies and the military mobilized academics and professionals to gather information about and analyze enemy behavior for the purposes of accurate military planning, psychological warfare, and policy- making for the postwar period.
Concerning Compositions With Humorous Secular Texts in Certain Verse Patterns, Such as Madrigals, Stanzas, Sestinas, and Sonnets
Authors: Praetorius Michael 
Published: November 2023

Abstract
Madrigals do not take their name from the melody of the composition but rather from its text and verse, as do the following: dialogues, stanzas, sestinas, sonnets, canzonas, and canzonettas. For “madrigal” is the name of a poem, not a composition, the texts of which are generally taken from Francesco Petrarca, [Giovanni] Boccaccio, Pietro Bembo, and Dante [Alighieri].
Concerning Ligatures or the Connecting of Notes Concerning Several Ligatures
Authors: Praetorius Michael 
Published: November 2023

Abstract
I agree with Lippius, Hassler, and others, that all intricate ligatures must be split up except this one indicating semibreves , and in place of these ligatures this sign must be used. I see that this has already been done both by our [musicians] and by the Italians, not only with minims, semiminims, and fusas, but also with breves and semibreves. Therefore, I have employed that sign in place of a ligature, so that among other things the melody of the chant could be better observed.
Concerning the Proper Use of b-rotundum, n-quadratum, #-cancellatum
Authors: Praetorius Michael 
Published: November 2023

Abstract
The n-quadratum has its characteristic place in a song, as it were, either on the pitch [clavis] “b” of the transposed system, or on “f” of the regular [system], since the fifth [quinta] is placed in the lower position in [traditional] harmony. [It is to be applied] wherever mi and fa are modified into a perfect fifth [diapente]; that is, when a diminished fifth is changed into a perfect [ fifth] by the addition of a minor semitone. But whenever a cancellatum is indicated, it is not always necessary that a pitch be raised or lowered by a full minor semitone, for it is only added to a small third or a small sixth, wherever they should be altered into large ones.
Concerning Consecutive Unisons and Octaves and Their Use in Compositions for Many Voices Set in Separate Choirs To What Extent the Unisons and Octaves Can Be Used and Permitted
Authors: Praetorius Michael 
Published: November 2023

Abstract
I presented various arguments concerning the use and acceptance of consecutive unisons and octaves at the beginning of my Urano Chorodiá, dealing with the major concerns and important reasons why I write the discant and especially the basses in unison when the choirs join together in settings of chorales; it is therefore unnecessary to repeat that here. Nevertheless, because this was used so little in former times and many have as yet never seen this style before, one might find reason to quibble about one thing or the other. For this reason I consider it necessary to bring this up again and to expand on the above-mentioned reasons further, so that these rules and recommendations might be sufficiently persuasive to make my case.
All that makes a Man
Authors: Berry Stephen W 
Published: November 2023

Abstract
In May 1861, Jefferson Davis issued a general call for volunteers for the Confederate Army. Men responded in such numbers that 200,000 had to be turned away. Few of these men would have attributed their zeal to the cause of states' rights or slavery. As All That Makes a Man: Love and Ambition in the Civil War South makes clear, most southern men saw the war more simply as a test of their manhood, a chance to defend the honor of their sweethearts, fiancés, and wives back home. Drawing upon diaries and personal letters, Stephen Berry seamlessly weaves together the stories of six very different men, detailing the tangled roles that love and ambition played in each man's life. Their writings reveal a male-dominated Southern culture that exalted women as "repositories of divine grace" and treasured romantic love as the platform from which men launched their bids for greatness. The exhilarating onset of war seemed to these, and most southern men, a grand opportunity to fulfill their ambition for glory and to prove their love for women-on the same field of battle. As the realities of the war became apparent, however, the letters and diaries turned from idealized themes of honor and country to solemn reflections on love and home. Elegant and poetic, All That Makes a Man recovers the emotional lives of unsung Southern men and women and reveals that the fiction of Cold Mountain mirrors a poignant reality. In their search for a cause worthy of their lives, many Southern soldiers were disappointed in their hopes for a Southern nation. But they still had their women's love, and there they would rebuild.
Introduction
Authors: Berry Stephen W 
Published: November 2023

Abstract
In 1857, North Carolinian Albert Luria fell in love with his cousin Eliza. He was fifteen; she may have been younger still. All questions of age were brushed aside, however. Albert ‘s feelings were “too irrevocably fixed” on the girl “ever to centre on anyone else,” and so he proposed. Unfortunately, Eliza ‘s parents disapproved the match. The couple was too young, they said, and Albert ‘s older brother had already married Eliza ‘s older sister.