bluuebunny/crossref_metadata_2025_split huggingface dataset:
Cognitive Constraints on Music Listening
Authors: Thompson William Forde , Schellenberg E Glenn 
Published: November 2023

Abstract
Studies of music perception and cognition adopt a variety of theoretical viewpoints and use a diverse range of methods and analytic approaches. A survey of recent articles reveals a richly interdisciplinary field, comprising studies that range from psychophysical investigations of isolated tones to examinations of long musical segments in tonal, atonal, and non-Western styles. Although cognition is often distinguished from perception, we will not delimit our discussion in this manner. Some perceptual phenomena, such as visual illusions, are relatively impervious to learning (e.g., knowledge of the illusion does not make it disappear), but most perceptual tasks elicit knowledge structures to some extent. The terms perception and cognition represent different points on a continuum of research on mental processing, which ranges from studies of automatic processes that depend little on experience to studies of processes that depend critically on learning and knowledge. Research measures also vary widely. They include results of neuroimaging techniques, responses to music by special populations (e.g., brain-damaged patients, individuals with Williams’s syndrome), aesthetic judgments, measurements taken from music performances, infants’ responses to musical stimuli, and subjective ratings of musical stimuli obtained from musically trained or untrained adults and children. Consequently, a vast and confusing body of data has been accumulated that has yet to be embedded within a widely accepted framework for understanding music cognition. The development of such a framework has been hampered by differences in opinion on at least three issues of substance: the relative contributions of innate structures and exposure to music, the most appropriate level at which to investigate and explain music cognition, and the kinds of stimuli and methods that are most appropriate for studying relevant cognitive processes and mechanisms.
Music, Culture, Curriculum, and Instruction
Authors: Lundquist Barbara Reeder 
Published: November 2023

Abstract
A musicologist described an experience at the New York World’s Fair where a Hopi man seemed to be dancing spontaneously. Two other Hopi men appeared and the three of them did the same dance in absolute synchrony of rhythm and gesture. The limitations of her initial perception became apparent to her. Such cultural revelations permeate academic literature, reflecting increasingly “open ‘conversations’ between different understandings, different vocabularies, different cultural paradigms” (Tamas, 1991, p. 402), affecting thinking and educational practice (Jordan, 1992; Volk, 1998). Global forces also influence music education. People, ideas, goods, and cultural practices are on the move to quite dissimilar cultural areas (Rosenau, 1997). As people move, so do their musics. Music, and other performing arts, have become sites for reestablishing and maintaining cultural identities threatened by contact and conflicts in new communities. Awareness of connections between school and community cultures has escalated, as has acknowledgment of student cultures. In this complex context, music educators consider questions of culture, curriculum, and instruction. Sensitivity to the relation of culture and schooling supports attempts to forge culturally diverse educational practices. Research in music education examines issues surrounding these practices.
Music Transmission and Learning A Conspectus of Ethnographic Research in Ethnomusicology and Music Education
Authors: Szego C K 
Published: November 2023

Abstract
Music transmission and learning are fundamentally social achievements; even music makers who claim to be self taught engage in cognitive, kinetic, and affective operations that are informed by their participation in broader spheres of human culture. This chapter turns its attention to those spheres by surveying musical ethnographies representing social groups in many different parts of the world. Ethnography’s contribution to understanding learning and transmission lies not only in its sensitivity to the culturally specific and socially constituted nature of these processes and the phenomena that attend them but also the ways in which they are individually realized.
The Great Basin
Authors: Pritzker Barry M 
Published: November 2023

Abstract
The Great Basin encompasses roughly 400,000 square miles of land between the Rocky Mountains and the Sierra Nevada. Geologically, it includes extreme eastern California, southeast Oregon, all of Nevada but the extreme south, extreme southeast Idaho, extreme southwest Wyoming, and western Utah. This is an area of interior drainage, featuring high deserts and valleys (around 5,000 feet), both freshwater and saltwater lakes, and mountains more than 12,000 feet high. Except for the high mountains, and especially in the south, there is relatively little precipitation.
The Plateau
Authors: Pritzker Barry M 
Published: November 2023

Abstract
The Plateau region is physically defined by two major river systems, the Columbia and the Fraser. Some 240,000 square miles of land east of the Coast Range (British Columbia) and the Cascade Range (Washington and Oregon) are drained by these rivers. Plateau Indian territory encompassed presentday eastern Washington; eastern Oregon; extreme northeastern California; northern Idaho; extreme western Montana; and interior portions of British Columbia. Aboriginal population estimates for the Columbia Plateau range between 50,000 and 60,000 people.
The Northeast Woodlands
Authors: Pritzker Barry M 
Published: November 2023

Abstract
The area known as the Northeast Woodlands encompasses close to one million square miles. Bordered by the Atlantic Ocean on the east, its northern frontier is the start of the boreal forest. To the west, the trees themselves separate the woodlands from prairie and plains, although fringe tribes hunted buffalo and shared other characteristics of Plains Indians. The region shades almost imperceptibly into the Southeast cultural area, which tends to be characterized by increased social stratification, denser populations, and a greater reliance on agriculture.
The Morley Era: Competition In London Music Printing And Publishing (1593-1602)
Authors: Smith Jeremy L 
Published: November 2023

Abstract
R. A. Harman suggests that “LW” is John Wootton, a poet featured in the English Helicon anthology; the musician John Wilbye might be another possibility. In any event, this poem appeared as the last of three commendatory verses to introduce Morley’s A Plaine and Easie Introduction of 1597. Unlike the two other poems on the same page, which simply praised the composer in standard laudatory terms, this verse offered a theatrical image: the dramatic triumph of the personified force of good over evil. The poet’s device was an allegory at daybreak, and its point is clear. Morley is cast as the hero, and we witness his moment of victory over darkness.
Introduction
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
In February and March 1892, Brooklyn’s one million citizens were riveted by the spectacle of an extraordinary libel trial pitting their largest newspaper, the Brooklyn Daily Eagle, against Dr. Mary Amanda Dixon Jones, a female gynecological surgeon of considerable national and international reputation. The newspaper had printed a series of lurid articles in the spring of 1889 that not only hinted at financial improprieties but portrayed the doctor as an ambitious and unscrupulous social climber, a knife-happy, over-eager, and irresponsible practitioner who forced unnecessary operations on unsuspecting women and used the specimens gleaned from their bodies to advance her reputation in diagnosis and treatment. These startling feature stories set off an avalanche of public criticism, eventually giving rise to two manslaughter indictments and eight malpractice suits. It took almost two years for Dixon Jones to clear her name of all criminal and civil charges. She then retaliated by suing the Eagle, seeking $150,000 in damages.
A City Comes of Age
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
On Thursday, May 24, 1883, the Brooklyn Eagle published a special issue to herald the opening of the Brooklyn Bridge. As was frequently the case in turn-of-the-century Brooklyn, a spirit of self-promotion and civic-mindedness spurred the city’s elite to celebrate its connection to but independence from the urban Goliath to their north. Since the idea for a bridge to New York had been a dream of prominent Brooklyn citizens for decades, they were justly proud. Most agreed with the editor of Harper’s, who praised its “simple graceful span” and proclaimed the structure both a “triumph of human skill” and “one of the wonders of the world.”
Gynecology Constructs the Female Body and a Woman Doctor Responds
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
We have learned that although female aspirations to a career in surgical gynecology at the end of the nineteenth century were comparatively circumscribed, a woman with Mary Dixon Jones’s boldness and sensitivity to effective strategies of self-advancement could achieve a respectable, though not stellar place in this masculine world. Dixon Jones not only supported but pioneered radical approaches to surgery. She helped make pathological diagnosis an important aspect of evaluation and treatment. She promoted gynecology by using and validating controversial procedures that more conservative practitioners were still reluctant to accept. In all these ways she deserves recognition as a staunch advocate of more modern surgical methods. Yet, given the powerful critiques of surgical gynecology that have emerged in our own time, what may have appeared only a generation ago as a remarkable achievement now seems tainted. New understandings of the unequal power relationships between doctors and female patients in the clinical decision-making process have changed our perspective. We are particularly uncomfortable with the use of invasive procedures no longer considered necessary to effect a cure. These reservations generate doubts about Dixon Jones’s motives and lead us to require a better understanding of the intricate intellectual and social context in which she did her therapeutic thinking.
“The Lured, The Illiterate, The Credulous and the Self-Defenseless”
Authors: Morantz-Sanchez Regina 
Published: November 2023

Abstract
In the previous chapter we examined how Dixon Jones’s perspective as a woman helped shape her response to scientific debates over the origins of female reproductive pathology. I argued that the patient’s experience with a female physician like her could be an extremely complex one. Many factors influenced diagnosis and treatment, and, in spite of Dixon Jones’ s refusal to accept prevailing theories emphasizing the sickly nature of women’s bodies, she chose aggressive surgery for a variety of ailments, just as a male colleague who believed in women’s inherent physical weakness but preferred operating might have done. Here the question of doctors and their patients will again be taken up, more specifically, the relationship between Dixon Jones and the women she attended. The voluminous testimony given at the two trials, combined with newspaper reports and Dixon Jones’s own case records afford us a rare opportunity to peer through the door of the late nineteenth century consulting room. We learn how female patients regarded their bodies and their illnesses, and how Dixon Jones behaved with her clients. We note as well their expectations from doctors and patterns of patronage. Indeed, the sources are rich enough to allow us to speculate in some detail about the vexing question of doctor-patient relations at the end of the nineteenth century, and what follows is offered not just as a significant component to the narrative of this historical episode, but also as a contribution to the emerging historical literature on patienthood.
“All Shook Up”
Authors: Altschuler Glenn C 
Published: November 2023

Abstract
Rock ’n’ Roll Fight Hospitalizes Youth,” the New York Times announced on April 15, 1957. In a fracas between white and black boys and girls following a rock ’n’ roll show attended by ten thousand fans, fifteen-year-old Kenneth Myers of Medford, Massachusetts, was stabbed and thrown onto the tracks at a subway station. Myers missed touching a live rail by inches and scrambled back onto the platform seconds before a train sped into the station. “The Negro youths were responsible for it,” police lieutenant Francis Gannon told reporters. “The fight was senseless . . . but we expect difficulty every time a rock ’n’ roll show comes in.”
“Yakety Yak Don’T Talk Back”
Authors: Altschuler Glenn C 
Published: November 2023

Abstract
Many Americans believed that rock ’n’ roll was an irritant that provoked conflict between parents and teenagers and increased antisocial behavior. Acknowledging that there was no simple, causal equation between enjoying Elvis and arranging a rumble, they remained convinced that rock ’n’ roll reinforced the most worrisome aspects of youth culture: antagonism to adult authority and expectations; conformity to peer-group norms; and an ephemeral, erratic emotional intensity.
“The Day The Music Died”
Authors: Altschuler Glenn C 
Published: November 2023

Abstract
Between 1958 and 1963, rock ’n’ roll faltered. Several factors contributed to the lull. The ASCAP-led assault was the most important. The payola probes left rock ’n’ roll gasping for airtime, as many radio stations switched to mellow, melody music. Large record companies promoted polka, calypso, folk music, ballads, novelty songs, and a softer, lushly orchestrated fare. Some independents went pop or merged with a major.
“My Heart Stood Still”
Authors: Block Geoffrey 
Published: November 2023

Abstract
Most writers become notably silent when it comes to discussing the musical craft and substance of popular songs. Rodgers himself rarely goes beyond anecdotal history (see, for example, the “Introduction” to The Rodgers and Hammerstein Song Book included in Part IV). Several authors from the 1930s to the present, including Margaret Case Harriman in the profile that follows, and Rodgers, do, however, seriously address Harts lyrics. Among recent studies, interested readers might turn to Philip Furias chapter on Lorenz Hart in The Poets of Tin Pan Alley excerpted here.
From Letters to Dorothy, 1926-1937 and A Personal Book
Authors: Block Geoffrey 
Published: November 2023

Abstract
In her Foreword to Letters to Dorothy, 1926-1937 Dorothy Rodgers (1909-1987) reports on the circumstances of her initial meeting with her future husband when she was two months old and Dick seven years old; she also relates her more vivid memories of their five-year courtship that began sixteen years later. Dorothy attributes her husband’s success to “tremendous talent, training, and extraordinary self-discipline;’ and expresses her love for the “wisdom, judgment, compassion, sensitivity, and most of all, the strength” of the private man to whom she was married for nearly fifty years (1930-1979). Shortly before Rodgers’s death Dorothy published her memoirs, A Personal Book. In the selection reprinted here she contrasts the professionalism, diligent, and purposeful work habits of Rodgers with the brilliant and witty but cavalier and careless Hart, discloses her resentment at being excluded from rehearsals, and recalls those memorable moments when she was asked to react to a new Rodgers song. The excerpt describes the “lovable” and “difficult” aspects of Hart’s personality and actions, acknowledges her awareness of Hart’s homosexuality, voices her assessment that Hart was “a deeply unhappy and lonely man; and concludes with an account of Hart’s decline and death.
“The Work That Changed the Form”
Authors: Block Geoffrey 
Published: November 2023

Abstract
In this excerpt from his survey of 1940s musicals, a volume in a series of comprehensive decade-by-decade surveys from the 1920s through the present, Mordden revisits (and dispels) various legends about Oklahomaf’s inception and reception and places the work’s artistic achievement within the context of its time and ours.* In Mordden’s assessment, Oklahoma! fully measures up to the critical and historical hype and hyperbole that has surrounded it over the years, and he clearly and insightfully explores its influential adaptation and treatment of subject matter, its rich and nuanced character development, its innovative dramatic structure, its integration of all musical and dramatic components, and its use of dance to accomplish “what the script and score could not do in words and music:’ For once the facts fit the legend: Oklahoma! was indeed “the work that changed the form:’
Rethinking Pal Joey
Authors: Block Geoffrey 
Published: November 2023

Abstract
Critics were by no means immune to the hegemony of the integrated musical as exemplified by Rodgers and Hammerstein. New York Times critic Brooks Atkinson’s response to Rodgers and Hart revivals in the wake of the Rodgers and Hammerstein era provides a particularly striking example of a marked attitudinal shift. When reviewing the premiere of On Your Toes in 1936 Atkinson praised the “sophisticated” book as well as the songs. Eighteen years later, he found the book “labored, mechanical and verbose;’ and only a few songs and the final fifteen to twenty minutes of the story remained fresh. On the other hand, Pa/ joey, the musical Atkinson described as a “foul well” when he reviewed the premiere twelve years earlier (reprinted in Part 1)because the show had the courage to depict odious characters and unsavory situations-was now deemed a worthy precursor of the Rodgers and Hammerstein ideal, “a pioneer in the moving back of musical frontiers” with its “integrated story” and “knowing point of view: As an augury of a Happy New Year, the town has inherited a brilliant production of Pal Joey, which opened at the Broadhurst last evening. This is the Rodgers and Hart musical play for which John O’Hara wrote the book in 1940, and strictly speaking, the new production is a revival.
“The Less Said, the Better”
Authors: Block Geoffrey 
Published: November 2023

Abstract
In the penultimate pages of his entertaining and insightful survey, Rodgers & Hammerstein (New York: Harry N. Abrams, 1992), Ethan Mordden (see “The Age of Rodgers and Hart” in Part I and ‘‘The Work that Changed the Form” in Part 11) delivers an epiphany about the fruit of Rodgers’s unhappy collaboration with Stephen Sondheim and Arthur Laurents. Mordden writes: “He [Rodgers] was in form for No Strings and at his best in Do I Hear a Waltz?, a box-office failure disdained by its creators but-take it from me-a wonderful show with a really lovely score” (p. 214; see also Ken Mandelbaum’s positive assessment of this show in “Anatomy of a Flop” to follow). Craig Zadan’s assemblage of quoted recollections-mainly Sondheim, Laurents, and original choreographer Wakefield Poole-records how a promising collaboration went sour and led to the creator’s rejection of their own work. In passing remarks George Oppenheimer, a drama critic for Newsday and a longtime friend of Sondheim, asserts that Rodgers “hates homosexuality” without offering any corroborative details, and Poole accuses director John Dexter of misogyny.
“Overture” to Richard Rodgers
Authors: Block Geoffrey 
Published: November 2023

Abstract
William G. Hyland’s Richard Rodgers is the first major biography of the composer since David Ewen’s (introduced in Part 111), and the first biography that surveys the last twenty years of Rodgers’s long career.* Like earlier biographers, Hyland notes the durability of the songs with Hart and the shows with Hammerstein. He also reinforces such ubiquitous themes as Rodgers’s facility, productivity, and inextinguishable passion for the theater. In contrast to earlier biographers, Hyland takes Mary Rodgers’s cue (in the reading that follows) in introducing such previously undisclosed topics as Rodgers’s depression, a period of excessive drinking, and even “a mental breakdown:’** Richard Rodgers was a musical genius. He proved it time and again during his sixty-year career as a composer for the American stage. His first professional song was performed on Broadway when he was only seventeen, his last in a Broadway show six decades later, shortly before he died. In the intervening years he wrote well over a thousand songs and the musical scores for more than forty shows. When he began his career, ‘‘The second is Meryle Secrest’s Somewhere for Me: A Biography of Richard Rodgers (New York: Alfred A. Knopf, 2001). **Hyland also devotes three chapters to Rodgers in The Song Is Ended: Songwriters and American Music, 1900-1950 (New York: Oxford University Press, 1995), 64-76, 235-49, and 275-91.
“Now the Musical Theater Is Enshrined”
Authors: Block Geoffrey 
Published: November 2023

Abstract
In his role as president and producing director of the Music Theater of Lincoln Center, Rodgers served himself as well as audiences by successfully programming The King and I and The Merry Widow in 1964, its inaugural year, Carousel the following year, and a revival of Berlin’s Annie Get Your Gun, originally produced by Rodgers and Hammerstein, two years after that. While some critics may lament the “museum” mentality of a Broadway that prefers past accomplishments to new work, Rodgers argues that “the need to preserve and recreate the great works of our musical theater is of equal Because theater music usually has a life of its own via records and dance bands and the like, the well-being of the American musical stage has become of vital concern to many people not directly engaged in it. But those of us who work in this field must have only one responsibility-to ourselves. I feel that one of the truly imperishable rules of the musical theater is never to have a rule. The only way that a writer can produce anything of lasting value is to do exactly what he feels is right, without worrying whether or not the public will approve. If it is good, the public will flock to see it. In fact, if there is any danger lurking in our musical theater today, it is the feeling in some quarters that there is a magic formula that can be turned on to insure both critical approbation and lengthy queues at the box office.