bluuebunny/crossref_metadata_2025_split huggingface dataset:
Measures of Fitness
Authors: Clark Colin W , Mangel Marc 
Published: November 2023

Abstract
In this book, we have usually equated an individual’s fitness to its expected lifetime reproductive output. Now we study the concept of fitness in greater detail. The abundant literature on this topic is quite confusing. Therefore, we will start from scratch in an attempt to make the discussion clear and self-contained. Although elementary, the discussion is unfortunately rather lengthy. Briefer discussions of fitness measures occur elsewhere but tend to be incomplete and can be quite confusing.
Managing Emotions
Authors: Karp David A 
Published: November 2023

Abstract
Although sociologists have always understood feelings of obligation, responsibility, and duty to be the moral cornerstones of society, little attention has been given to the ways such feelings are evoked, interpreted, managed, and acted on in everyday life. Candace Clark has observed that while “Sociologists often use the language of reciprocity and exchange to explain the give-and-take of everyday interaction ... [they] rarely ask why people feel they owe something to others, what the ‘ligament’ is that connects people, or what the feeling of owing or obligation consists of.”1 This chapter examines the intense emotions that surround efforts to honor a commitment to care for a family member with a major mental illness. My goal is to explain the kinds of emotions that arise as family members engage in ongoing interpretations of what they owe a spouse, child, parent, brother, or sister in desperate emotional trouble.
Plato’s Homoerotic Symposium
Authors: Neu Jerome 
Published: November 2023

Abstract
Plato’s Symposium, the greatest book ever written about the nature of love, centers on homoerotic desire. Does that make a difference? What it says is certainly shaped by the assumptions of the society in which it was written and by the interests of the man who wrote it. Not only are the exemplars of love discussed most often homosexual, they are exemplars of a very special socially sanctioned form of pederasty, characteristic of Plato’s time and class. Does that affect what can be learned from it by individuals in other times and other societies, with other assumptions, customs, and interests?
Freud and Perversion
Authors: Neu Jerome 
Published: November 2023

Abstract
The first of Freud’s Three Essays on the Theory of Sexuality (1905d) is entitled “The Sexual Aberrations.” Why should Freud begin a book the main point of which is to argue for the existence of infantile sexuality with a discussion of adult perversions? (After all, the existence of the adult aberrations was hardly news.) While many answers might be suggested with some plausibility (e.g., to ease the shock of the new claim; or, medical texts typically begin with pathology), I believe Freud’s beginning can be usefully understood as part of an effective argumentative strategy to extend the notion of sexuality by showing how extensive it already was. Freud himself (in the preface to the fourth edition) describes the book as an attempt “at enlarging the concept of sexuality” (7: 134). The extension involved in the notion of perversion prepares the way for the extension involved in infantile sexuality.
The Challenge of Coevolution: Interdependence and Sustainable Development
Authors: Thiele Leslie Paul 
Published: November 2023

Abstract
The first wave of environmentalism, the period of conservation (from the mid-1800s to the early 1960s), focused on the protection of natural resources, scenic pockets of nature, and isolated species from degradation and destruction by humans. The second wave of environmentalism, the period of containment (from the mid-1960s through the 1970s), introduced the need to protect humans from the effects of an industrially abused and overpopulated world. The third wave of environmentalism, the period of co-optation (the 1980s and early 1990s) popularized and mainstreamed these efforts, revealing in the process that certain demographic groups disproportionately suffered from the effects of a degraded environment.
The fourth wave of environmentalism first arose in the late 1980s. By the mid-1990s, it was cresting above the third wave. Like its immediate predecessor, which achieved its own breadth and height from the combined force of the first two waves, the fourth wave of environmentalism is a synthesis of earlier efforts. It represents not so much a new environmental movement as an expanding horizon of sensibilities and a rechanneling of efforts. Fourth-wave environmentalism amplifies certain features of earlier waves, mitigates some of their conflicts, and integrates many of their cross-currents. At the same time, fourth-wave environmentalism bears its own distinct features.
Complexity A Guided Tour
Authors: Mitchell Melanie 
Published: November 2023

Abstract
As science probes the nature of life, society, and technology ever more closely, what it finds there is complexity. The sophisticated group behavior of social insects, the unexpected intricacies of the genome, the dynamics of population growth, and the self-organized structure of the World Wide Web - these are just a few examples of complex systems that still elude scientific understanding. Comprehending such systems seems to require a wholly new approach, one that goes beyond traditional scientific reductionism and that re-maps long-standing disciplinary boundaries. This remarkably accessible and companionable book, written by a leading complex systems scientist, provides an intimate, detailed tour of the sciences of complexity, a broad set of efforts that seek to explain how large-scale complex, organized, and adaptive behavior can emerge from simple interactions among myriad individuals. In this richly illustrated work, Melanie Mitchell describes in equal parts the history of ideas underlying complex systems science, the current research at the forefront of this field, and the prospects for the field's contribution to solving some of the most important scientific questions of our current century.
Recompositional Pairing
Authors: Ferris David 
Published: November 2023

Abstract
In the preceding chapter, we saw that the use of the same formal strategy in different songs is an important means of cyclic coherence in Schumann’s Eichendorff Liederkreis. In some cases, Schumann takes this idea a step further, using a single underlying structure as the basis for a pair of songs. “Mondnacht” and “Schöne Fremde,” for example, are both related in a general way to “Intermezzo” and “Frühlingsnacht,” because they, too, have weak openings. But the former two songs are even more closely related to each other, because Schumann realizes the weak opening in each of them through the same structure, a variant of bar form. This relationship, which I shall refer to as a recompositional pairing, differs in degree but not in kind from the relationships that obtain among the Eichendorff songs generally. In fact, we have already seen many of the techniques that Schumann uses to pair “Mondnacht” and “Sch6ne Fremde” in the other songs that I have discussed.
Jazz and Classical Music: To the Third Stream and Beyond
Authors: Teachout Terry 
Published: November 2023

Abstract
The relationship between jazz and classical music has often been close-at times surprisingly so-but is ultimately equivocal. Though the two musics employ the same harmonic system, they arise from different conceptions of rhythm and form, and attempts to amalgamate their
characteristic features in a single coherent style have thus proved problematic.
Jazz Instrumentalists
Classic ragtime, jazz’s immediate ancestor, was a fully notated piano music that demanded fluent reading skills. As a result, even the earliest jazz pianists typically studied with classically trained teachers and consequently knew more about the classical repertoire than other instrumentalists, most of whom were either self-taught or received informal lessons from other like-minded players. New Orleans, the earliest center of jazz, had an opera-based classical-music culture, and though only whites and (until the turn of the century) “Creoles of color” were admitted to public performances, some second-generation players, Sidney Bechet and Louis Armstrong in particular, were influenced by the expansive solo styles heard on the recordings of such
Thelonious Monk and Charles Mingus
Authors: Priestley Brian 
Published: November 2023

Abstract
As Scott DeVeaux has pointed out, much of what became bebop evolved from the private jam sessions of the 1930s. Hence the prevalence in the bop era of the theme-solo-solo-solo-theme format, which also came to dominate not only the Chicago-style wing of the traditional revival but, in due course, the 1950s and 1960s swing-mainstream revival. Because of the huge influence of bebop, many comparative subtleties that were part of the fabric of prebop music seemed for a while all but lost.
Bebop made considerable demands on performers’ rhythmic, melodic, and harmonic virtuosity and, in the hands of its leading figures, brought these to a new peak of development. But many of the boppers themselves, having conquered its challenges, demonstrated a certain dissatisfaction with its limitations. Charlie Parker in the 1950s espoused first strings and then a woodwind-and-vocal ensemble, and also expressed a desire to study modern “classical” composition, because of his stated feeling that he had achieved everything he could within the bebop style.
Jazz Since 1968
Authors: Keepnews Peter 
Published: November 2023

Abstract
The notion that jazz is dead, or at least dying, has been around for almost as long as jazz itself. But it began to be heard with increasing frequency as the 1960s drew to a close-and by 1968, the idea didn’t seem so far-fetched.
Jazz, of course, did not die in 1968. Three decades later, in terms of objective criteria like audience size and institutional support if not necessarily in terms of more subjective ones like artistic quality, it is not just alive but healthy. But the past three decades have been a strange, unpredictable, and often contentious time for the music-and the question of how well jazz fared in those years largely depends on how one chooses to define the word jazz.
By 1968 it had been roughly a decade since Ornette Coleman, Cecil Taylor, and other advocates of what was variously called “the new thing,” “free jazz,” or simply the avant-garde first challenged the notion that jazz had to contain such supposedly fundamental elements as a steady rhythmic pulse and regularly repeating chord patterns. Their rebellion caused a deep schism in the jazz community and even spmTed debate over whether their music deserved to be called jazz. In terms of jazz’s continued relevance in a changing world, this schism could hardly have happened at a less opportune time.
Fusion
Authors: Milkowski Bill 
Published: November 2023

Abstract
Although fusion music was not the first hybrid form in the history of jazz, it was certainly the most notorious. A by-product of strange bedfellows, it brought together the seemingly disparate worlds of rock and jazz into a volatile marriage that was reviled by older jazz purists (who smugly referred to it as “con-fusion”) and revered by a younger generation that easily related to its throbbing high energy.
In its earliest incarnation, fusion music was raw and full of abandon, an iron fist upside the head of jazz complacency. A renegade movement fueled by the spirit of search and risk, it provided a bridge for both listener and player between the explosive bombast of Jimi Hendrix and Cream on the one hand and the probing, heightened improvisations of John Coltrane and Pharoah Sanders on the other. It ambitiously melded instrumental virtuosity on the level of Charlie Parker and Dizzy Gillespie with the sheer decibels of the Who and the psychedelia of the post-Sergeant Pepper’s Beatles, turning a generation of die-hard rockers on to jazz in the process.
Latin Jazz
Authors: Santoro Gene 
Published: November 2023

Abstract
In the beginning there was the beat, and it was manifold.
Most jazz critics and historians rely on the all-purpose term swing, whose virtue resides at least partly in its evocative vagueness. But Jelly Roll Morton was more precise and expansive. While he was taking credit for jazz’s birth and development in his N’Awlins hometown, he famously noted “the Spanish Tinge,” which he deemed central to the nascent sound of surprise. Many since have paid lip service to Morton’s assertion, but only a few, like John Storm Roberts, have seriously pursued its implications. If the New World has been this century’s major source of popular music, it is due largely to the rich social and cultural mixtures that historically horrific situations like slavery and conquest left as their loamy residue. In the United States, the collisions of African and European sensibilities, musical forms, instruments, and techniques yielded work songs, minstrel shows, blues, jazz, gospel, and rock. Brazil boasts hybrids like samba, bossa nova, and tropicalia. From Jamaican reggae to Trinidadian calypso, the Caribbean teems with off-shoots of the same roots.
But dolly the camera back a minute. The Mediterranean cultures that colonized Latin America were already Afro-European hybrids.
The Gender of Violence
Authors: Kimmel Michael S 
Published: November 2023

Abstract
Two sentiments, a question and an answer, separated by four centuries. Does one suffer or does one seek revenge? Get mad or get even? Each has an unacceptably high price: Luke Woodham resolved it by stabbing his mother to death and then killing two students in his Pearl, Mississippi, high school in October 1997. Two months later, three students were killed in Paducah, Kentucky. And four students and a teacher were killed in Jonesboro, Arkansas, in March 1998. And in Littleton, Colorado, on April 20, 1999, 12 students and one teacher were gunned down by two students, who then took their own lives. Both Woodham and the two boys who opened fire in Jonesboro were said to be distraught after being snubbed by girls.
The Aging Brain
Authors: Clark William R 
Published: November 2023

Abstract
One of the greatest fears associated with aging is the possibility that senescence may rob us of our mental faculties, leaving us to wander the empty spaces of our minds with none of the familiar land¬ marks that tell us where we are or where we have been. Each human personality is shaped by a unique combination of intellectual and emotional capacities, developed over a lifetime of learning and feeling, and exercised with a particular brand of reason and judgment that leads to a highly individualized response to the surrounding world. We each have our own way of seeing that world, of thinking about it and responding to it—of being in it—drawing upon a totally idiosyncratic collection of memories and experience. It is this personal collection that we label “self” and use to guide ourselves through our daily lives.
The Chagos Archipelago
Authors: Sheppard Charles R C 
Published: November 2023

Abstract
The Chagos Archipelago lies at the southern end of the Laccadive-Chagos ridge, in the geographical center of the tropical Indian Ocean. Politically it is a UK Dependent Territory, known as the British Indian Ocean Territory, administered from the Foreign and Commonwealth Office, London (23). The group has five islanded atolls, and several others which are awash or completely submerged (Fig. 15.1). Its central feature is the 200 by 100 km Great Chagos Bank, the Earth’s largest atoll in terms of area. This is mostly submerged, but there are eight islands on its western and northern rim. This is surrounded by the smaller atolls: Peros Bafihos and Salomon to the north, Egmont (on some charts called the Six Islands) to the southwest, and Diego Garcia to the south. Among these lie many submerged reefs, the whole complex covering about 250 by 400 km. These submerged structures are one of the most notable features of the central Indian Ocean.
Composers of the Early Years
Authors: Feinstein Michael , Suskin Steven 
Published: November 2023

Abstract
The twentieth century began with American musical theatre dominated by European operettas—English, German, and Austrian. This held firm until 1914, when the Great War quickly ended popularity of things foreign. Jerome Kern, a practiced hand at “Americanizing” imports, finally had a chance to explore his own style; the result was the “modern musical comedy” form (actually, the first of many “modern musical comedy” forms). Irving Berlin, already known along Broadway for pop song hits, tried his hand at complete scores; he was less adventurous than Kern, but highly successful. The postwar years brought three young Kern protégés: George Gershwin, Vincent Youmans, and Richard Rodgers. They surpassed the master with a newer “modern musical comedy” built on dance rhythms; Kern, meanwhile, began development of “musical drama.” Cole Porter, of the Kern/Berlin generation, was next to make his mark on Broadway after a long, unapplied apprenticeship. Then came Arthur Schwartz, establishing himself in the months just before the stock market crash. The year 1930 saw the entrance of three talented Gershwin protégés: Harold Arlen, Vernon Duke, and Burton Lane. But the worsening depression brought Broadway musical opportunity to a near halt. Broadway’s top composers spent most of the bleak depression in Hollywood. The only important new voices of the 1930s were introduced, fittingly, in politically slanted propaganda musicals. The already renowned Kurt Weill arrived on Broadway in 1936, exiled from Germany (where his work had been radical both musically and politically). Marc Blitzstein was even more outspoken, arriving on Broadway amidst a swirl of controversy. Harold Rome, on the other hand, used comedy and charm to make similar points for the proletariat; not surprisingly, he met with greater popular success than Weill or Blitzstein.
New Composers of the 1940s and 1950s
Authors: Feinstein Michael , Suskin Steven 
Published: November 2023

Abstract
The Depression ended as the nation geared up for war, and Broadway did its share by providing lively, energetic entertainments. Hugh Martin brought in the swinging sound of pop music, first as a vocal arranger and then as a composer. Leonard Bernstein made the first of his theatre visits with an extra-lively musical comedy (albeit with a large chunk of modern ballet). A touch of the light European style returned with Viennese emigrant Frederick Loewe. The 1940s ended with the entrance of two immensely talented Hollywood veterans— JuleStyne and Frank Loesser—whose work quickly established them as important composers of “modern musical comedy.” Within a few years Loesser was grooming protégés of his own, such as pop composer Richard Adler, who enjoyed brief but notable success in the mid1950s. Styne, meanwhile, introduced the more enduring Jerry Bock, who turned out a series of satisfying, well-written scores. Three new composer/lyricists turned up in 1957. Popsongwriter Bob Merrill had a few early successes, after which he hit nothing but roadblocks. Pop-songwriter Meredith Willson had only one hit show, but it was a massive one. And then came the great Stephen Sondheim, who wasn’t firmly established (as a composer) until 1970—and who has been at the forefront of the field ever since.
John Harbison
Authors: McCutchan Ann 
Published: November 2023

Abstract
Hohn Harbison grew up in Princeton, New Jersey. He began improvising ‘, on the piano at five years of age, started a jazz band at age twelve, and as a teenager received guidance from Roger Sessions, his Princeton neigh- or. Harbison studied at Harvard University, the Berlin Hochschule fur Musik, and Princeton University, where his teachers were Walter Piston, Boris Blacher, and Earl Kim, respectively.
Steven Stucky
Authors: McCutchan Ann 
Published: November 2023

Abstract
Steven Stucky grew up in Kansas and Texas and studied at Baylor and Cornell Universities with Richard Willis, Robert Palmer, Karel Husa, and Burrill Phillips. He was composer-in-residence with the Los Angeles armonic from 1988 to 1992 and is Professor of Composition at Cornell University, where he has taught since 1980. Stucky’s music has been commissioned by the Los Angeles Philharmonic, the Chicago Symphony, the Balti more Symphony, Boston Musica Viva, and many other ensembles. In 1989 his Concerto for Orchestra, commissioned by the Philadelphia Orchestra, was named one of two finalists for the Pulitzer Prize in music. The Los Angeles Philharmonic plans to release an all-Stucky CD in 2001.
Bright Sheng
Authors: McCutchan Ann 
Published: November 2023

Abstract
Bright Sheng was born in Shanghai, China, and started piano studies with his mother at the age of four. His adolescence coincided with the Chinese Cultural Revolution (1966-76), during which he was sent to the country for a rural education. After the fall of Mao Tse-Tung’s regime, Sheng earned a degree in composition at Shanghai Conservatory of Music, and in 1982 he moved to New York, where he attended Queens College, CUNY, and Columbia University. Among his teachers were Leonard Bernstein, Chou Wen-chung, Mario Davidovsky, George Perle, and Hugo Weisgall.
The Grass Roots and Struggling Lawyers
Authors: Patterson James T 
Published: November 2023

Abstract
Marshall did not in fact wait long after Sweattand Mclaurin to make up his mind to fight segregation. Following debates with lawyers and NAACP state branch presidents in June 1950, he took the fateful step: to challenge the constitutionality of racially segregated public schools. In October the board of the NAACP dropped its emphasis on achieving equality within segregated education and supported Marshall. Henceforth, “pleading in all education cases ... should be aimed at obtaining education on a non-segregated basis and ... no relief other than that will be acceptable.’’ The die had been cast that led to Brown in May 1954.
The Court Decides
Authors: Patterson James T 
Published: November 2023

Abstract
A great many Americans in the years before 1952—at least, white Americans—held the Supreme Court in high esteem. When President Franklin Roosevelt tried to pack it with justices of his own political persuasion in 1937, he aroused a storm of opposition. The Court, his foes thought, stood for impartial justice. Its members served fill lite, protected from the vicissitudes of political partisanship. Photographs commonly showed the justices wearing gowns that dramatized their eminence as defenders of a revered and unchanging Constitmion.
Striving for Racial Balance in the 1960s
Authors: Patterson James T 
Published: November 2023

Abstract
Three days into the new decade of the 1960s a somewhat chastened Thurgood Marshall confessed to reporters that litigation alone was not likely to destroy racial segregation. ‘‘I consider the lawsuits to be a holding action,” he said, ‘‘a way of getting things open so chat they can operate. But the final solution will only be when the Negro takes his pan in the community, voting and otherwise.’’ Marshall had ample reason to be cautious. As the spoke, the Legal Defense Fund could claim victories in a handful of recently decided cases involving racial discrimination in the hiring, assignment, and salaries of black teachers. But it had forty-six suits still pending, most of them against segregated schools in the Upper South. The case by case judicial process moved, as before, at a glacial pace. Even in Topeka, the courts were still dealing with litigation surrounding the city’s efforts to comply with Brown II. Outside of encouraging changes in pans of the border states, it was hard to predict whether Brown orBrown IIwould ever promote significant desegregation of schools in the United States.