bluuebunny/crossref_metadata_2025_split huggingface dataset:
John Coltrane
Authors: Porter Lewis 
Published: November 2023

Abstract
One of the major musicians of the twentieth century, John Coltrane reshaped the way jazz is perceived. A tenor and soprano saxophonist and a significant composer, he demonstrated how world music, classical music, and classical theory could all be incorporated into powerful blues-based jazz.
He was born John William Coltrane in Hamlet, North Carolina, on September 23, 1926. Both of his parents came from literate families in North Carolina, descended from former slaves and named for the former slave owners. Coltrane’s mother was musical-she sang and also played piano-and his father, John Robert Coltrane, played violin, ukulele, and possibly clarinet.
Probably beginning in the fall of 1939, Coltrane received his first instrumental training playing alto horn in a community band. He soon switched to the clarinet. When he joined the high school band the next year, young Coltrane, inspired by tenor saxophonist Lester Young, took up the alto saxophone. It appears that he also did some singing in school groups.
John’s father died on January 2, 1939, of stomach cancer, a common ailment at that time (and unrelated to liver cancer).
Jazz Singing Since the 1940s
Authors: Friedwald Will 
Published: November 2023

Abstract
Singing is the key area in which jazz interacts with the bigger, broader world of popular culture just beyond its boundaries. Although not a hyphenated term, jazz singing is in fact a hyphenated concept. In its narrowest definition, the phrase refers only to vocalists who do exactly what musicians do: improvise choruses of wordless melody on top of chord changes. At its broadest, the term stretches to the furthest reaches of classic American pop. This was particularly true in the ‘30s and ‘40s, when the swing era was so embedded in the collective mindset that even pop stars like Perry Como and Dinah Shore recorded credible jazz performances. Similarly, without exception, all of the major figures of jazz singing, from Louis Armstrong to Billie Holiday, Ella Fitzgerald, Sarah Vaughan, Anita O’Day, Dinah Washington, and Mel Torme, also have at least one foot in pop. Even Betty Carter, who was as “pure” a jazz singer as it’s possible to be, had a firm footing in standard song form and the popular repertory.
For most of his career, the late Johnny Hartman worked with jazz musicians and in jazz clubs but insisted that he was not a “jazz singer”; “I’m an all-around singer,” he would say. He thought that the jazz classification pigeonholed and therefore limited him.
Jazz in Africa: The Ins and Outs
Authors: Mandel Howard 
Published: November 2023

Abstract
Jazz in Africa has always been a question of: going to or coming from? Self-perpetuating myth and twenty-first-century common sense suggest that jazz-arguably the most modern of the world’s musics-must indeed have started with seeds from Africa, come to the Americas long before even the birth of the blues out of which jazz sprang. But simultaneously, jazz is acknowledged as first and foremost native to the United States, restlessly spreading up from New Orleans to Kansas City, St. Louis, California, Chicago, Texas, Seattle, New York, Europe by World War I, and ever-further outposts fast in the Jazz Age, via increasing wide-roaming musicians and/or newly burgeoning electronic media.
By the first view, the jazz art is based on some innate talents, carried in genes that must have passed through a particular continent at some unspecified point in time. By the second, jazz may certainly take root and thrive in Africa, as it has elsewhere-and the qualities it probably adapted from and certainly shares with traditional African musics (including its emphasis on rhythm, spontaneous creativity, group interplay, multilayered activity, and cyclical form) have been acknowledged as vital since American jazz’s start.
Miscellaneous Instruments in Jazz
Authors: Washburne Christopher 
Published: November 2023

Abstract
Musicians create jazz in innumerable ways, and at times have defied orthodoxy by developing their voices on instruments that have not attained a prominent role in jazz. This brief discussion serves as an introduction to a number of pioneering musicians. The instruments discussed range from those that were first introduced as novelties and have grown to be widely accepted as viable jazz voices (flute, organ, and Latin percussion) to others that played an integral role in early jazz styles although their subsequent roles have faded or significantly changed (violin, banjo, tuba, and euphonium) to those that have remained on the fringes (cello, French horn, oboe, English horn, bassoon, accordion, and harmonica) and to others that have remained novelties since their introduction (kazoo, bagpipes, harp, and jazz whistlers).
The flute was used only sporadically in early jazz styles; its popularity, however, has steadily grown throughout this century. Cuban flautist Alberto Socarras is credited with recording the first jazz flute solos in 1928 and 1929. He can be heard on Lizzie Miles’s 1928 version of “You’re Such a Cruel Papa to Me” (Columbia) and Clarence Williams’s 1929 version of “Have You Ever Felt This Way”.
The Bass in Jazz
Authors: Crow Bill 
Published: November 2023

Abstract
The string bass has been called the “heartbeat of jazz” for good reason. It provides a deep pulse, sometimes felt as much as it is heard, giving the music both a harmonic and a rhythmic foundation. As in many other forms of music, the role of the bass in jazz is mainly supportive.
Bass players certainly have developed marvelous techniques for soloing, especially in recent years. But a bassist doesn’t have to be a great soloist to be in demand. The main thing other jazz musicians want from a bass player is “good notes,” bass notes that thread through the harmony in an interesting way, and “good time,” a steady rhythmic feeling that helps bring the music to life.
Bass notes are stepping-stones for the rest of the band. They form a path that provides support and direction. To be able to consistently select good notes and drop them into exactly the right places in the music, a bass player needs a strong sense of harmony and rhythm and an empathetic connection with the other members of the rhythm section. In small groups, the bassist chooses his line as the music goes along. Even when playing written music in larger ensembles, jazz bass players usually recompose their lines, using what the arranger has written as a guide but relying on their experience and their “sixth sense” to choose the particular notes and figures to be played.
Jazz Criticism
Authors: Welburn Ron 
Published: November 2023

Abstract
Jazz cnt1c1sm is a significant branch of music cnt1c1sm. It began as a journalistic phenomenon, a new literature for a new music in a new century. In the United States, the home of jazz, those who wrote about it contributed to the making of this fresh and distinct form of journalism about a stimulating indigenous musical form. Jazz criticism defines and explains jazz’s evolving styles and plays a controversial role as liaison between performer, performance interpretation, and listener tastes. It reflects the intense debates about the music it describes, and occasionally it has antagonized the public’s preferences for dancing, listening, and appreciating the art of jazz. In the 1930s the jazz critic emerged as both a studious listener and an irritant to musicians and fans. As jazz aficionados developed their own publications, jazz writing found an identity as a viable and informative prose form, and how it developed reflects how criticism for a cultural genre evolves.
Jazz criticism is as phenomenal as film criticism and has no other kindred precedent. The emergence of a serious critical journalism for lowly jazz was heretical to followers of classical music.
Jazz Education
Authors: Beale Charles 
Published: November 2023

Abstract
Jazz education is concerned specifically with learning to play jazz and with teaching students and others to be jazz musicians. This essay looks at the gradual emergence of jazz education as its own discipline and discusses common issues faced by jazz students and educators, including repertoire,
learning style, ethnicity, and what jazz education is trying to achieve. It argues that jazz has many facets, some of which seem to appear more often in education than others. And it suggests that jazz education has a crucial role to play in the future of the jazz tradition.
A comprehensive history of jazz education around the world has yet to be written, and what follows cannot be more than a thumbnail sketch. Material is scarce, and we rely, particularly for the early years, on personal accounts and oral histories stored in jazz archives, such as the Institute of Jazz Studies at Rutgers, the Hogan Jazz Archive at Tulane, and the archive at Darmstadt, in Germany.
Early players came from a wide range of musical backgrounds and trainings. Two patterns of learning jazz remain constant throughout the first half of the century. Some musicians had fewer lessons and learned more by experience, while others went through a formal training more influenced by classical music.
Jazz Improvisation and Concepts of Virtuosity
Authors: Demsey David 
Published: November 2023

Abstract
Improvisation is at the very center of the jazz experience. In many ways, improvisation gives jazz a unique place in Western music. While other musical genres share similarities with jazz in terms of form, harmony, melodic line, instrumentation, or even the concept of swing, no musical situation is more singularly thrilling, joyful, and sometimes terrifying for a performer as walking onto a jazz stage and literally not knowing what is about to happen musically.
Icy Lithospheres
Authors: Rothery David A 
Published: November 2023

Abstract
With such a diversity of worlds among the satellites of the outer planets, you would be excused for supposing that they have too little in common for any mutual thread to run through a discussion of their histories. However, by adopting a geological stance it is possible to set up a unified approach to discussing these worlds, which at the same time helps us to understand the differences between them. To do this, we must look at depth-related changes in the physical properties of the material of which these worlds are made. In particular, changes from “strong-and-rigid” to “weak-and-plastic” states are crucial. By treating chemical composition as of subordinate importance, this approach will also illustrate the close similarities that the icy moons have with Earth and the other terrestrial planets. Since we know most about the Earth, it is useful to start by summarizing the relevant aspects of its internal structure.
Women Rising
Authors: Hemphill C Dallett 
Published: November 2023

Abstract
Julia Rush was thirteen years old when her father Benjamin wrote these reminders in 1806. What is striking about them, and the same can be said about his letter of advice to Rebecca Smith in r 79 r, is that he wished to launch these young women into adult society with the same advice that he might give a young man. There is nothing particularly feminine about these injunctions. And yet Rush is reknowned among historians as one of the architects of the special “Republican Mother” role for women, the notion that women’s role in the new nation would be confined to the indirect part of rearing virtuous citizens. This way of thinking would become a building block for the nineteenth-century ideology of”separate spheres,” which assumed that men and women occupied different realms of thought and activity. At first glance, then, there appears to be a tension between gender integration and gender separation in Rush’s thinking about women.1 But in fact, the more conscious discussions of women’s special role in the new republic were dependent on the unconscious integration of women into what had previously been regarded as the world of men. At least this is what happened in the conduct literature that circulated in Rush’s time.
Manners for Adults
Authors: Hemphill C Dallett 
Published: November 2023

Abstract
We have already seen how, at the age of eighteen, Isaac Mickle was inWent on” making his entree into society with becoming flourishes.” This was not the only mention of his entrance into the world of adults. Eight months later, on New Year’s Day, he reviewed his progress: “During the past twelve months I have begun the study of law; [and] have in a measure come out into company. . . . By the first of these circumstances I have been brought into contact with lawyers, politicians, and other public men, . . . by the second I have been brought into the society of polished, intelligent, and virtuous ladies.” Nor were Mickie’s embarking on professional training and ceremonious visiting his first forays into the adult world. His birthday reflections the year previous already had a world-weary air: “Could I live my years over again I would keep out of love, out of debt and out of the newspapers; or to say all in a few words, I would take the advice of her who has too often advised me to no purpose.” This last entry is the most evocative of the ambiguity of this adolescent’s position. He refers at once to the frequent publication of his articles in the local newspapers, surely a sign of precocity, and to the advice of his mother, a reminder that he still lived at home. Joseph Kett has described the mixed status of antebellum youth as “semidependence.”
Ladies first?
Authors: Hemphill C Dallett 
Published: November 2023

Abstract
Isaac Mickle spent a lot of time with other young men. They met in each others’rooms to play music or chess; they stopped in for a chat at the local billiard room or blacksmith’s shop; they ran into each other on the street and decided to go for a sail in his boat, a stroll of Philadelphia’s Chestnut Street, or a ramble in the woods. They also visited young ladies together. In opting for the last, however, they crossed a boundary. The boundary was not a visible one but it was real. Mickle revealed it rhetorically. While he spent time every day with other young men, he only came “into company” by spending time with women. While his interactions with other young men were casual, spontaneous, and unritualized, his encounters with women were ceremonially framed. This ceremonial boundary did not mean that there was a big gap between the sexes. Mickle spent more and more time with young women in his late teens; sometimes he spent four evenings in a row visiting his friends the Sheppard girls. He came to be as emotionally close to them as to any of his male friends. To a great degree he shared their standards for propriety in behavior.1 But the activities he describes, mainly visiting them and escorting them various places, were ritualized. They were the stuff of antebellum etiquette books. His ramblings with male friends were not.
The Nature of Cellular Senescence and Death
Authors: Clark William R 
Published: November 2023

Abstract
For the most part in this book, we will be examining both senescence and death at the level of individual cells, and for a very good reason. Cells are the biological equivalent of the atoms of chemistry, in the sense that they are the smallest thing of which we can say, “This is alive.” It follows, then, that cells are also the smallest thing of which we can say, “This is not alive; this is dead.” Senescence and death in an organism—whether the organism under consideration is itself a single cell, like a yeast or a bacterium, or a complex multicellular organism like a human being—is ultimately a reflection of the senescence and death of individual cells. The outward manifestations of aging are enormously complex, and this has led in the past almost to a feeling of helplessness in studying the underlying processes. Formerly, many of those who studied aging felt that each component of aging—wrinkled skin, cataracts, gray hair, or diminished mental function—must reflect a different underlying mechanism.
Caloric Restriction and Maximum Lifespan
Authors: Clark William R 
Published: November 2023

Abstract
Behind our quest for a clearer understanding of the aging process in animals doubtless lies the hope that we may somehow be able to use this information to extend our own maximum possible lifespan. For some single—cell species, maximum lifespan is to some extent a plastic quantity: It may not be defined at all in terms of calendar time, as our own lives are, but rather as a fixed number of cell divisions. In times of depleted resources, single—cell organisms can even go into a death—like state to prolong life, where they may stay for years, further complicating a precise definition of maximum lifespan. For some invertebrate species, even when maximum lifespan is defined in years or months, it can often be manipulated by relatively simple means such as changing growth temperatures. For warm—blooded mammals such as ourselves, maximum lifespan, at least in the wild, seems to be a genetically regulated property of each species, even though it may only be observable in highly artificial environments such as zoos or laboratories. Still, the fact that in organisms like round—
India and Sri Lanka
Authors: Bakus Gerald , Arthur Rohan , Ekaratne Suki , Jinendradasa S S 
Published: November 2023

Abstract
The subcontinent of India occupies a large area of the tropical Indian Ocean, but it has a scant growth of coral reefs along its coasts. Several factors limit reef development here, chief among them being turbid waters stirred by monsoonal systems, fresh water runoff from rivers, and a heavy human population and development pressure along the entire coastline (136). The island complexes around India, in contrast, show healthy reef growth and support high species diversities (Fig. 10.1). The biological affinities of the reefs include species assemblages typical of the western Indian Ocean and the southeast Asian and central Pacific fauna, and a large variety of habitats and environmental conditions (Chapter 1).
Dreaming Souls
Authors: Flanagan Owen 
Published: November 2023

Abstract
What, if anything, do dreams tell us about ourselves? What is the relationship between types of sleep and types of dreams? Does dreaming serve any purpose? Or are dreams simply meaningless mental noise—”unmusical fingers wandering over the piano keys”? With expertise in philosophy, psychology, and neuroscience, Owen Flanagan is uniquely qualified to answer these questions. In this groundbreaking work, he provides both an accessible survey of the latest research on sleep and dreams and a compelling new theory about the nature and function of dreaming. Flanagan argues that while sleep has a clear biological function and adaptive value, dreams are merely side effects, “free riders,” irrelevant from an evolutionary point of view. But dreams are hardly unimportant. Flanagan argues that dreams are self-expressive, the result of our need to find or to create meaning, even when we’re sleeping. Written with remarkable insight, Dreaming Souls offers a fascinating new way of apprehending one of the oldest mysteries of mental life.
Prologue: ‘To Sleep: Perchance to Dream’
Authors: Flanagan Owen 
Published: November 2023

Abstract
Denmark, asks the compelling question “To be, or not to be?,” he is, of course, contemplating suicide. Is it worth going on to face “the slings and arrows of outrageous fortune, ... the heartache and the thousand ... shocks that flesh is heir to”-when one could just end things? At first the thought of death as eternal rest comforts Hamlet. But he immediately worries “to sleep: perchance to dream: ay, there’s the rub”! We know not “what dreams may come when we have shuffled off this mortal coil:’
Heart Throbs
Authors: Flanagan Owen 
Published: November 2023

Abstract
What is a dream? Why do we dream? Do dreams mean anything? Do dreams matter to who we are, to our identity, to our personal rela­tions? Do we express ourselves in dreams? Can we use dreams to understand ourselves and our lives? Do we solve personal, philosoph­ical, scientific, or mathematical problems in dreams which we then reenact forgetfully by the light of day? Do dreams yield artistic insight-are they a laboratory where great poetry, paintings, novels, and music are cooked up? If dreams matter to who we are and to what we accomplish, why is memory for them so poor.
Frolicking Wissenscheft
Authors: Higgins Kathleen Marie 
Published: November 2023

Abstract
David Bowie, on National Public Radio sometime back, startled his inter viewer by saying that guitar style was a good guide to humor. A person with a broad sense of humor, Bowie elaborated, will reveal it through musical risks. We should keep Bowie’s principle in mind, I think, in reading Nietz sche’s Frohliche Wissenschaft, The Gay Science. My thesis, straightforwardly, is that in this work Nietzsche often aimed to be funny.
Nietzsche’s Nursery Rhymes
Authors: Higgins Kathleen Marie 
Published: November 2023

Abstract
What should we make of the poems that begin The Gay Science? Titled “Joke, Trick, and Revenge,” they are cast as somewhat ominous. But when one reads them, they seem light, at times a bit silly, and at their harshest pointedly sarcastic. The series of poems is unified, furthermore, more by means of their simple rhyme scheme than by subject matter. They often sound childish, resembling nursery rhymes with their regular meters and rhyming cadences. What on earth could be Nietzsche’s point?
God Is Dead
Authors: Higgins Kathleen Marie 
Published: November 2023

Abstract
“God is dead!” is the slogan of Book III, but it is hardly the punch line of a joke. On the topic of God’s death, Nietzsche tends to be a tragedian. The death of God might initiate the end of our tradition’s tragic age, but Nietzsche complains that contemporary scholars have failed to draw appropriate conclusions from this event. A period of grieving is important in our transitional time, and in Book III Nietzsche urges his contemporaries to recognize this situation. Nevertheless, his ultimate aim remains to herald a turn to comedy. He continues to engage in humorous Wissenschaft, although Book Ill’s humor is sometimes black.
Eternal Recurrence: Not Again!
Authors: Higgins Kathleen Marie 
Published: November 2023

Abstract
Sometimes repetition alone suffices for comedy. When Larry of the Three Stooges puts a plank against a wall, it isn’t funny that it falls to the floor; but its falling every time he repositions it occasions laughter. British comedy excels at ludicrous repetition. Returning to a slide of “the larch” becomes hilarious from sheer redundancy on Monty Python’s Flying Circus. 1 So is the cheese seller’s recurrent negative reply when John Cleese asks if he has a particular type of cheese. In daily life, too, I have found that sometimes a repeated annoyance shifts from irritating to downright funny if it happens one time too many.
William Balcom
Authors: McCutchan Ann 
Published: November 2023

Abstract
William Bolcom has always been attracted to, as he puts it,”picking up a thread from our American musical history, and taking it to the next step:’ in Seattle, Bolcom began his musical training as a pianist and entered the University of Washington at age eleven to study composition with John Verrall. He later studied with Darius Milhaud in California and Paris and earned a master’s degree from Mills College and a doctor of music degree from Stanford University. Among his many honors is the 1988 Pulitzer Prize in music. He has been commissioned by the New York Philharmonic, the Philadelphia Orchestra, the Saint Louis Symphony, the Chamber Music Society of Lincoln Center, and many others. Bolcom’s 1992 opera McTeague was the Lyric Opera of Chicago’s first commission by an American composer. His gigantic score Songs of Innocence and of Experience, a three-hour “entertainment” from the William Blake poems, took twenty-five years to write and has been performed in both Europe and the United States.