bluuebunny/crossref_metadata_2025_split huggingface dataset:
Cartesian Passions and Cartesian Dualism
Authors: Hoffman Paul 
Published: November 2023

Abstract
Descartes’s most famous and important metaphysical thesis is mind-body dualism. Mind and body are distinct substances having different natures or essences. The essence of mind is the attribute thought, and the essence of body is the attribute extension. All the non-essential properties of a created substance, or at least those in virtue of which it is modiHed or affected, have a special relation to the essential attribute of that substance. They are modes of that attribute. For example, doubting that God exists, which is a non-essential property of a mind, is a mode or way of thinking. Similarly, being square, which is a non-essential property of a body such as a piece of wax, is a mode of extension or a way of being extended. Since mind and body are the only two kinds of created substances, all the properties that modify created substances are thus either ways of thinking or ways of being extended.
Passion and Motion in the New Mechanics
Authors: Hoffman Paul 
Published: November 2023

Abstract
Descartes’s most important contribution to physics is commonly thought to be his reconceptualization of motion. His Aristotelian predecessors viewed motion as a change or process, but Descartes held that motion is a state. This reconceptualization of motion is considered signiHcant because it paved the way for both Descartes’s and Newton’s laws of inertia. While a change requires a force or cause, a state does not.
Securing Baritone, Bass-Baritone, and Bass Voices
Authors: Miller Richard 
Published: November 2023

Abstract
Perhaps the most renowned writer in the field of vocal pedagogy, Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone, Bass-Baritone, and Bass Voices. The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller’s years of professional experience as a performer and pedagogue. With a unique focus on “securing” the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An indispensable guide to male low voices, this book is an essential text for performers, aspiring performers, and instructors alike.
contributing to performance effectiveness
Authors: Miller Richard 
Published: November 2023

Abstract
I have maintained that posture and stance are crucial to fine singing. But in attempting to maintain an axial position, a singer may become rigidly fixated so that involuntary tensions are introduced. Several long-accepted practices to reduce tension are variations of the earlier encountered silent Farinelli maneuver, which is now joined to singing (see chapter 3). The singer lies on his back, as in the Farinelli maneuver. It is best that a pillow or two be positioned under the head to ensure that the larynx is not elevated. Breathe normally, feeling as relaxed as possible. Place one hand on the front of the abdominal wall, the other at the side of the lower ribs. Notice the expansion that occurs at inhalation. Next, lengthen this inhalatory gesture, retaining it for as long as is comfortable.
Viva V.E.R.D.I.
Authors: Budden Julian 
Published: November 2023

Abstract
by the third week in october 1853 verdi and giuseppina were installed in the Rue de Richter 4, Paris. The opera for which Verdi had been contracted in 1852 was not due for production for at least a year; but the schedule had fallen behind. Eugène Scribe—and Verdi would not settle for a less distinguished collaborator—had not supplied the libretto by the date stipulated (July 1853) for the good reason that the subject had not yet been agreed between them. From the start Verdi had demanded ‘something grandiose, original and full of passion; an imposing and overwhelming mise-en-scene’. Scribe proposed Les Circassiens; Verdi turned it down, as he did Wlaska ou les Amazones de Bohème, (‘those female soldiers strike me as odd’). Then Il trovatore and La traviata claimed his attention and so time went by until it became clear that only a personal meeting would resolve the problem. At this point Scribe, according to his own account, proposed adapting Le Duc d’Albe, a libretto intended for Donizetti, only a part of which the composer had set. Verdi at first demurred at this offer of second-hand goods but finally agreed if the setting were changed from the Low Countries to
Indian Summer
Authors: Budden Julian 
Published: November 2023

Abstract
the spring of 1879 saw the devastation by flood of many Italian provinces. Active as always in charitable causes, Verdi agreed to direct a performance in Milan of his Requiem for the benefit of the victims. Teresa Stolz and Maria Waldmann came out of retirement to give their services. The proceeds were gratifyingly large; and the composer himself was feted by the Milanese quite beyond his expectations. The following evening he and his wife dined privately with the Ricordis and Faccio. ‘Quite by chance’, the publisher recalled, ‘I steered the conversation on to Shakespeare and Boito. At the mention of Othello I saw Verdi look at me with suspicion but with interest. He had certainly understood and had certainly reacted …’ Next day Faccio brought Boito to see Verdi with a libretto of Otello already sketched. Verdi was impressed but would not commit himself. ‘Now write the poetry’, he said; ‘it will always do for me or for you or for someone else.’ Indeed there were many difficulties to be surmounted before the ‘chocolate project’, as it came to be called, could be realised. To begin with Verdi took offence at an extract from the sculptor Dupré’s memoirs which had
Miscellaneous Operatic Compositions
Authors: Budden Julian 
Published: November 2023

Abstract
the practice of writing extra numbers for insertion into one’s own and other people’s scores has a history that goes back into the eighteenth century. Unprotected by copyright, operas once performed passed out of their composers’ hands to be at the mercy of anyone who chose to perform them. The leading parts would be adapted to the means of the new singers partly by transposition, partly by ‘puntatura’—i.e. by raising or lowering the pitch of the line without disturbing the harmony. But it would also happen that a singer might decide that this or that aria did not do justice to his or her qualities and would insist on substituting one that did. Many singers carried about with them a collection of ‘arie di baule’ (suitcase arias) each suitable to a different stock situation which they would insert at will into any opera in which they took part. The more intelligent would apply to the original composer for something new; or, if he were unavailable, to another of high repute. Many of Mozart’s so-called concert arias were written at the request of individual singers for insertion into the operas of his contemporaries. For the revival of his own Figaro in
The Imaginary Museum Of Musical Works
Authors: Goehr Lydia 
Published: November 2023

Abstract
What is involved in the composition, performance, and reception of classical music? What are we doing when we listen to this music seriously? Why when playing a Beethoven sonata do performers begin with the first note indicated in the score; why don't they feel free to improvise around the sonata's central theme? Why, finally, does it go against tradition for an audience at a concert of classical music to tap its feet? Bound up in these questions is the overriding question of what it means philosophically, musically, and historically for musicians to speak about music in terms of "works". In this book, Lydia Goehr describes how the concept of a musical work fully crystallized around 1800, and subsequently defined the norms, expectations, and behavioral patterns that have come to characterize classical musical practice. The description is set in the context of a more general philosophical account of the rise and fall of concepts and ideals, and of their normative functions; at the same time, debates amongst conductors, early-music performers, and avant-gardists are addressed. The Imaginary Museum of Musical Works is a seminal work of scholarship, and has appeared in an astonishing variety of contexts and disciplines from musicological and philosophical since its initial publication. This second edition features a new Introductory Essay by the author, discussing the genesis of her groundbreaking thesis, how her subsequent work has followed and developed similar themes, and how criticisms along the way have informed not only her own work but the "Imaginary Museum" concept more generally as it spread across disciplinary lines. A provocative foreword by Richard Taruskin contextualizes Goehr's argument and points to its continuing centrality to the field.
After 1800: The Beethoven Paradigm
Authors: Goehr Lydia 
Published: November 2023

Abstract
Franz Liszt thought he had found the perfect way to treat the temporal art of music as a truly fine art. He declared in 1835: In the name of all musicians, of art, and of social progress, we require: … the foundation of an assembly to be held every five years for religious, dramatic, and symphonic music, by which all the works that are considered best in these three categories shall be ceremonially performed every day for a whole month in the Louvre, being afterwards purchased by the government, and published at their expense.
5. New Music as Confrontation The Musical Sources of Cocteau’s Identity
Authors: Pasler Jann 
Published: November 2023

Abstract
Jean Cocteau knew he was different. Not a very good student, drawn to men more than women, admired for his ‘‘feminine soul,’’ his physical beauty, and his incisive wit. He was the fruit of his upbringing—privileged, wealthy bourgeois suburbanites—yet not entirely so. By age twenty-nine, in writing Le Coq et l’Arlequin, he had figured out: ‘‘what the public reproaches in you, cultivate it, that’s who you are.’’ To arrive at this clarity—a self- definition essentially based on a confronted relationship with the public—took most of his twenties, a period during which he gradually learned to distinguish himself from yet still define himself in terms of the conventional social circles in which he and his family moved. I suggest that Cocteau achieved this distinction through a conscious change in his musical tastes, and that it was indeed what he found in and extracted from new music that allowed him to construct much of the identity we think of as Cocteau.
Concert Programs and Their Narratives as Emblems of Ideology
Authors: Pasler Jann 
Published: November 2023

Abstract
How did the French at the end of the nineteenth century understand their music? What did it represent for them? What did they do to construct and manipulate its meaning? Concert programs from the period give some fascinating answers to these questions. French critics commonly referred to concerts as consummation musicale, a form of musical consumption. Along with the other food metaphors they used, this image refers not so much to the public’s participation in the emerging market for music as to their concern that music nourish the population. Many composers, patrons, and even state officials, too, believed that ‘‘concerts have a mission to accomplish . . . they are educators and it is they who have the honor of forming musical taste.’’ ‘‘Music is not only an art, it is a means of education . . . a discipline, a way to cultivate feeling, in any case healthy recreation when physical play is impossible.’’
Knowing Fieldwork
Authors: Titon Jeff Todd 
Published: November 2023

Abstract
Epistemology is that field of inquiry whose subject is the origins, nature, and limits of human knowing (see Rorty 1979:140). An epistemology for ethnomusicology is therefore concerned with the origins, nature, and limits of human knowledge concerning music in human life. An epistemology for ethnomusicology attempts to answer two basic questions: What can we know about music, and how can we know it?
Phenomenology and the Ethnography of Popular Music
Authors: Berger Harris M 
Published: November 2023

Abstract
The categorization of expressive culture is an inherently vexed task, and doubly vexed are the lives of scholars whose methods and techniques of research are based on such categories. Despite the obvious problems that they entail and the criticisms that they have inspired, the art music/folk music/popular music trichotomy and the Western music/non-Western music dichotomy are still alive in the popular imagination and serve as the centers of gravity for music disciplines in the academy. Even as musicians, journalists, and scholars critique these categories, they continue to shape the hierarchies of prestige that attach to music styles and the people associated with them, the form and content of those musics, and the networks through which they travel. My musical life has been shaped by these categories as much as anyone else’s. In this chapter, I will explore the complex ways in which these categories have affected ethnomusicology. In so doing, I will suggest how ideas from phenomenology and practice theory can mediate the tensions between ethnomusicology and the non-ethnographic strains of cultural studies and offer approaches to ethnomusicological ethnography that are applicable, not only to popular music but to music in general. In both the first and second editions of Shadows in the Field, contributors use their experiences as ethnographers and music makers to shed light on the issues of methodology that they raise, and in this chapter I continue this tradition.
Confronting the Field(note) In and Out of the FieldMusic, Voices, Texts, and Experiences in Dialogue
Authors: Barz Gregory F 
Published: November 2023

Abstract
Field research is performed. The performance of field research is one of the most meaningful processes engaged by ethnomusicologists to define themselves. And writing about field research—ethnography, field diaries, fieldnotes—is often part of the process of re-performing field research. In this period of post-postmodernism the social sciences can no longer claim that the fieldworker escapes significant participation in the total cultural performance of field research. Performance is, after all, according to Johannes Fabian, “not what they do and we observe; we are both engaged in it” (1990:xv, emphasis added). In recent literature on field research and representation, ethnographers assign greater importance to writing in the field; experiences are transformed into texts, and fieldworkers, informants, friends, and teachers emerge as actors in a social drama.
Recovering Beckett’s Bergsonism
Authors: Gontarski S E 
Published: November 2023

Abstract
In his 1966 critique of Henri Bergson, which he calls Bergsonism (trans. 1988), Gilles Deleuze focuses on intuition as the method in Bergson’s overall philosophical project, a rethinking of metaphysics in terms of duration (durée), that is, time as opposed to space. “Intuition is neither a feeling, an inspiration, nor a disorderly sympathy, but a fully developed method,” notes Deleuze, “one of the most fully developed methods in philosophy.
“No Body Is at Rest”: The Legacy of Leibniz’s Force in Beckett’s Oeuvre
Authors: Mori Naoya 
Published: November 2023

Abstract
Samuel Beckett Portrays a ubiquitous force that drives things and beings into endless motion. Although critics have commented on the extensive interplay between the static and dynamic in his works, the relation of Beckett’s ubiquitous force to Leibniz’s monadic force has yet to be explored. Because these tensions are central to Beckett’s thought, I argue in this essay that Leibniz’s ideas on dynamics offer a useful pathway into the Beckett canon.
The Spear of Telephus in Krapp’s Last Tape
Authors: Degani-Raz Irit 
Published: November 2023

Abstract
The mythical figure Telephus, son of Heracles, was the king of the Mysians. When his kingdom was attacked by the Greeks mistakenly landing in Mysia on their way to the Trojan War, he was wounded by Achilles’ spear. When the wound would not heal, Telephus consulted an oracle and was told: “He that wounded shall heal”; and indeed the same spear that wounded became the instrument of his healing.
The Midcentury Godot: Beckett and Saroyan
Authors: Bryden Mary 
Published: November 2023

Abstract
The Writer William Saroyan is widely reported to have remarked that the impact made by Waiting for Godot would make it easier for him and for everyone else to write freely for the theater. The 2006 centenary of Samuel Beckett’s birth coincides with the fiftieth anniversary of the American and Broadway premieres of Godot, and it was in the context of the latter that Saroyan’s remark was made. By then, the young Ruby Cohn was already familiar with the play. She writes, “Having read nothing by Beckett, I fell in love with his En attendant Godot in 1953, when it was performed at the short-lived Théâtre de Babylone in Paris.
Beckett and Caryl Churchill along the Möbius Strip
Authors: Diamond Elin 
Published: November 2023

Abstract
“Where now? who now? When now?” So begins The Unnamable by the very namable Samuel Beckett whose centenary was celebrated in settings around the world. It is my task in this essay to imagine “who now?”—whose plays might be seen to be lurking in his distinctive precincts. Every serious dramatist since Waiting for Godot has had to contend with that play’s challenges, and while Harold Pinter always gets the nod as Beckett’s inheritor, I turn here to Caryl Churchill, a writer thirty-two years Beckett’s junior, yet whose career as a dramatist already spans almost a half century.
Tension-type Headache
Authors: Lenaerts Marc E , Newman Lawrence C 
Published: November 2023

Abstract
Tension-type headache (TTH) is a highly prevalent disorder. Overall, and especially compared to migraine, symptoms remain mild or moderate. Therefore episodic TTH (ETTH) is rarely seen in headache clinics or even primary care settings. In contrast, even if only slightly more severe, chronic TTH (CTTH) is, because of its frequency at least, a reason to seek medical attention and is more commonly seen in clinical practice. The clinical picture is vague mainly because its symptomatology is based on the absence of symptoms. Environmental factors appear to predominate genetic influence. Comorbidity affects a large proportion of patients and must be recognized and appropriately managed.
Trigeminal Autonomic Cephalalgias: Diagnosis and Management
Authors: Matharu Manjit S , Goadsby Peter J 
Published: November 2023

Abstract
The trigeminal autonomic cephalalgias (TACs) are a group of primary headache disorders characterized by unilateral head pain that occurs in association with often prominent ipsilateral cranial autonomic features (Goadsby and Lipton, 1997). The TACs include cluster headache (CH), paroxysmal hemicrania (PH), short-lasting unilateral neuralgiform headache attacks with conjunctival injection and tearing (SUNCT), and shortlasting unilateral neuralgiform headache attacks with cranial autonomic symptoms (SUNA). CH, PH, and SUNCT are currently grouped into section 3 of the revised International Classification of Headache Disorders (ICHD-II) (Headache Classification Committee of The International Headache Society, 2004) whereas SUNA is described in the appendix section. Hemicrania continua (HC) is currently not considered a TAC, being classified under Section 4, Other Primary Headaches, although one might argue for its inclusion here.
Nasal Disease and Sinus Headache
Authors: Silberstein Stephen D , Dodick, David , Willcox Thomas O 
Published: November 2023

Abstract
Since sinusitis is almost always accompanied by concurrent nasal airway inflammation and, in many cases, is preceded by rhinitis symptoms, we now refer to the disorder as rhinosinusitis. Rhinosinusitis consists of a group of disorders characterized by inflammation of the nasal mucosa and the paranasal sinuses. Rhinosinusitis is increasing in prevalence and incidence, and has been estimated to affect approximately 31 million patients in the United States each year (Moss and Parsons, 1986). It causes significant physical symptoms, negatively affects quality of life, and can substantially impair daily functioning. Rhinosinusitis is commonly divided into acute and chronic forms. Acute rhinosinusitis, a relatively uncommon cause of headache, is because of infection (viral, bacterial, or fungal) of one or more of the paranasal sinuses. In some cases it may have an allergic cause; other patients have idiopathic disease (International Rhinosinusitis Advisory Board, 1997).
Unfinished Music
Authors: Kramer Richard 
Published: November 2023

Abstract
Unfinished Music draws its inspiration from the riddling aphorism by Walter Benjamin that serves as its epigraph: “the work is the death mask of its conception.” The work in its finished, perfected state conceals the enlivening process engaged in its creation. An opening chapter of this book examines some explosive ideas from the mind of J. G. Hamann, eccentric figure of the anti-rationalist Enlightenment, on the place of language at the seat of thought. These ideas are pursued as an entry into the no less radical mind of Carl Philipp Emanuel Bach, whose bold idiosyncrasies, like Hamann’s, disrupted the discourse of Enlightenment aesthetics. Bach is a central player here, his late music the subject of fresh inquiry. In several chapters on the late music of Beethoven, Bach reappears, now something of a spiritual alter ego in the search for a new voice. The improvisatory as a mode of thought figures prominently here, and then inspires a new hearing of the envisioning of Chaos at the outset of Haydn’s Creation, aligned with Herder’s efforts to come to an understanding of logos at the origin of thought. The improvisatory is at the heart of a chapter on Beethoven’s brazen cadenzas for the Concerto in D minor by Mozart, another ghost in Beethoven’s machine. Music seductively unfinished is the topic of other chapters: on some unstudied late sketches, finally rejected, for a famous quartet movement by Beethoven; on the enigmas set loose in several remarkable Mozart fragments; and on the romanticizing of fragment and its bearing on two important sonatas that Schubert left incomplete. In a final coming to terms with the imponderables of musical intuition, the author returns to Benjamin’s epigraph, drawing together his foundational essay on Goethe’s Elective Affinities with Thomas Mann’s Death in Venice, and with a draft for a famous passage in the andantino of Schubert’s Sonata in A (1828). Unfinished Music explores with subtle insight the uneasy relationship between the finished work and the elusive, provocative traces of the profound labors buried in its past. The book will have broad appeal to the community of music scholars, theorists and performers, and to all those for whom music is integral to the history of ideas.
“Coming Out” as Patients: Disclosures of Illness
Authors: Klitzman Robert 
Published: November 2023

Abstract
“I felt we were living double lives,” Mathilde said, “as if we were prisoners twice”—because of both illness and secrecy. Through decisions on whether, what, when, and to whom to divulge their diagnosis, sick doctors could alter or maintain others’ views of them. Some ill physicians chose to lead double lives and live with secrets. Others went public. They illustrated the degree to which information about one shapes how one is viewed.