bluuebunny/crossref_metadata_2025_split huggingface dataset:
Die Walküre
Authors: Millington Barry 
Published: November 2023

Abstract
First day of Der Ring des Nibelungen in three acts set to Wagner’s own libretto; first performed in Munich, at the Königliches Hof-und Nation-altheater, on 26 June 1870. The first Wotan was, as in Das Rheingold, August Kindermann; the first Brünnhilde, Sophie Stehle (Fricka in Rheingold). Siegmund and Sieglinde were sung by Heinrich and Therese Vogl. For the 1876 cast, see Der Ring des Nibelungen.
Leitmotif
Authors: Millington Barry 
Published: November 2023

Abstract
The word ‘leitmotif ‘ is from the German Leitmotiv meaning ‘leading motif ‘: a term adopted by early commentators on Wagner’s music dramas to highlight what they believed to be the most important feature contributing to comprehensibility and expressive intensity in those works. A leitmotif is a theme, or other coherent musical idea, clearly defined so as to retain its identity if modified on subsequent appearances, whose purpose is to represent or symbolize a person, object, place, idea, state of mind, supernatural force, or any other ingredient in a dramatic work. The leitmotif may be musically unaltered on its return, or altered in rhythm, intervallic structure, harmony, orchestration, or accompaniment, and may also be combined with other leitmotifs in order to suggest a new dramatic situation. A leitmotif is to be distinguished from a reminiscence motif (Erinnerungsmotiv), which, in earlier operas and in Wagner’s works up to and including Lohengrin, tends to punctuate the musical design rather than provide the principal, ‘leading’ thematic premisses for that design.
The Summer of Lincoln’s Discontent
Authors: Weber Jennifer L 
Published: November 2023

Abstract
Lincoln sailed into may 1864 in reasonably good shape politically. In the heartland, where conservative Democrats enjoyed the greatest support, people seemed frustratingly content with the state of the nation, or so the Peace Democrats thought. “Feel very sadly People do not seem as bitter as I expected to find them but still there is enough of political rancour manifest,” attorney Charles Mason wrote upon returning to Iowa from Washington. But May proved to be yet another turning point in the fortunes of Lincoln and the Copperheads. The machinations to replace Lincoln with Chase and the violence in Charleston, Illinois, were harbingers of trials to come. Lincoln’s most difficult months lay ahead of him, and the reason was the usual one: the failures of the Union armies.
Chronology
Authors: Suskin Steven 
Published: November 2023

Abstract
Arranging the show listings in alphabetical order is the most logical way to do so, as it enables the reader to handily locate a given production. Part of the story of Broadway orchestrators, though, has to do with not only what they did but when they did it—and what else they were doing at the same time. This chronological list of the shows contained in our main listing section (but not the shows in the supplemental “additional shows” section) will provide an idea of when the shows were produced in relation to each other.
Ghosts and Other Helpers
Authors: Steven Suskin 
Published: November 2023

Abstract
Before we move on to biographical sketches of other music personnel, a few words on the practice of bringing in additional orchestrators is in order. A quick perusal of the show listings will point to a surprising and somewhat uncomfortable fact: a considerable amount of what we hear in a Broadway musical—including virtually all of Broadway’s classic musicals—is not orchestrated by the orchestrator of record. In the course of my research, partiturs and other documentary evidence of authorship have been located for approximately 550 musicals. The number that were conclusively written in one hand—and one hand only—is 14. That statement bears repetition. I have found only 14 Broadway musicals that can be proven to have been completely orchestrated by one person: Gigi (Kostal), The Grand Tour (Lang), Johnny Johnson (Weill), Music in the Air (Bennett), One Night Stand (Lang), Pleasures and Palaces (Lang), Rex (Kostal), Roberta (Bennett), 1776 (Sauter), 70, Girls, 70 (Walker), The Sound of Music (Bennett), Sugar (Lang), Tenderloin (Kostal), and Two by Two (Sauter). Of these, only two—The Sound of Music and Tenderloin—were produced between the golden years of Oklahoma! (1943) and Fiddler on the Roof (1964). Less help was needed from the mid-sixties on due to
About the Listings
Authors: Steven Suskin 
Published: November 2023

Abstract
For as far back as we can determine, the completed partiturs were the property of the songwriters. (Paid for by the producers, yes, although in some cases Chappell advanced all or some of the cost as an inducement for the publishing rights.) At some point in time, this was written into the standard minimum basic agreement of the Dramatists Guild. Correspondingly, a provision was made that allowed the producers to deduct a minimal amount from the weekly royalties as reimbursement for as much as half of the orchestration cost. (Given the size of the weekly reimbursement, the producer recovered this amount only on the most successful, long-running hits. In 1975, when orchestrations might cost between $10,000 and $15,000, the Dramatists Guild charge was $100 per week.)
“The Peninsula All Over Again”
Authors: Symonds Craig L 
Published: November 2023

Abstract
Siege. Lincoln’s experience with George McClellan during 1862 had made the word an imprecation. After the failed Peninsular Campaign, the president associated sieges with delay, expense, and a lack of will; almost any tactic was preferable to a siege. Moreover, despite Lincoln’s involvement with combined operations on the Tennessee and Cumberland Rivers as well as in Hampton Roads, McClellan’s insistence that any and all reinforcements to him must come by sea led Lincoln to make a mental association between “combined operations” and “siege warfare.”
Dreams of Africa in Alabama
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
This riveting books tells the fascinating story of the Clotilda, the last ship to bring African slaves to America, the shameful antecedents to the incident and the unusual and inspiring aftermath. Published to coincide with the 200th anniversary of the abolition of the transatlantic slave trade, the book brings to light a little-known yet vitally important element to this troubled aspect of US history.
Un giorno di regno
Authors: Parker Roger 
Published: November 2023

Abstract
Melodramma giocoso in two acts set to a libretto by Felice Romani (probably revised by Temistocle Solera) after Alexandre Vincent Pineu-Duval’s play Le Faux Stanislas; first performed in Milan, Teatro alla Scala, on 5 September 1840. The cast at the premiere included Antonietta Ranieri Marini (Marchesa), Luigia Abbadia (Giulietta), Lorenzo Salvi (Edoardo), and Raffaele Fer lotti (Belfiore). Verdi’s second opera, his only outright comic work until the end of his long career, was written at great speed.
Ernani
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma lirico in four acts set to a libretto by Francesco Maria Piave after Victor Hugo’s play Hernani; first performed in Venice, Teatro La Fenice, on 9 March 1844. Rebel mountaineers and bandits, knights and members of Silva’s house hold, Elvira’s maids-in-waiting, the King’s knights, members of the Lega, Spanish and German nobles, Spanish and German ladies Walk-on parts: Mountaineers and bandits, electors and nobles of the imperial court, pages of the imperial court, German soldiers, ladies, and male and female followers Setting The Pyrenees, at Aix-la-Chapelle and at Saragossa, in 1519
Macbeth
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in four acts set to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after William Shakespeare’s play; first performed in Florence, Teatro della Pergola, on 14 March 1847. The re vised version, with a libretto translated by Charles-Louis-Etienne Nuitter and Alexandre Beaumont, was first performed in Paris, Theatre Lyrique, on 21 April 1865. The cast at the 1847 premiere included Felice Varesi (Macbeth) and Marianna Barbieri-Nini (Lady Macbeth). For the 1865 revised version the cast included Jean Vital Ismael (Macbeth) and Inez Rey-Balla (Lady Macbeth).
I Masnadieri
Authors: Parker Roger 
Published: November 2023

Abstract
Melodramma in four acts set to a libretto by Andrea Maffei after Friedrich von Schiller’s play Die Rauher; first performed in London, Her Majesty’s Theatre, on 22 July 1847. The lucrative contract to compose an opera for Her Majesty’s Theatre in London was an important sign of Verdi’s burgeoning international reputation and allowed him to write for some of the most famous singers of the age. More than that, the librettist was his friend Andrea Maffei, a distinguished man of letters with a reputation far above that of Piave or Solera, who had between them supplied most of Verdi’s earlier librettos. All this notwithstanding, I masnadieri had a troublesome birth: Maffei’s lack of experience in theatrical matters was a considerable trial; Verdi quarrelled with the publisher of the opera, Francesco Lucca (with whom he never had the generally cordial relations he enjoyed with his usual publisher, Ricordi); and when he arrived in London to supervise the production, he seems to have been oppressed beyond all reason by the detested English weather. The premiere was a magnificent gala occasion-Queen Victoria headed the guests of honour-and a triumphant success, aided by the fame of the singers, especially Lind and Lablache, the latter one of the great names of the previous generation of Italian singers. But the enthusiastic reception was short-lived, and the opera fared rather badly in Italy. Modern revivals are not uncommon but they remain special occasions: it seems unlikely that the work will find a permanent place in the international repertory.
Iɭ corsaro
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in three acts set to a libretto by Francesco Maria Piave after Byron’s poem The Corsair; first performed in Trieste, Teatro Grande, on 25 October 1848. The cast at the premiere included Gaetano Fraschini (Corrado), Achille De Bassini (Seid), Carolina Rapazzini (Medora), and Marianna Barbieri Nini (Gulnara). Verdi had toyed with setting Byron’s poem as early as 1844 and kept the subject in mind during the years immediately following. In 1845 he considered using it to fulfil a commission from Her Majesty’s Theatre in London: Piave wrote the libretto, but the London trip was postponed. A year later Verdi showed his continuing enthusiasm for the topic by asking Piave not to give the libretto to any other composer. Eventually, he wrote the opera to honour the final part of a long-standing contract with Giovanni Ricordi’s rival publisher Francesco Lucca, a man with whom Verdi had had unfortunate dealings ever since Lucca and Ricordi had come to legal blows over the rights to Nabucco in 1842. Anxious above all to be rid of his obligation, Verdi set Piave ‘s libretto in the winter of 1847-48, giving the opera to Lucca without any idea of where or when it would first be performed. For a composer who in all previous operas had taken an enormous, often fanatical interest in the details of his creations’ first staging, such indiff erence is suspicious: many have seen it as an indication that Verdi had little faith in his new creation. Lucca eventually placed the opera at the Teatro Grande in Trieste, but Verdi did not even trouble to attend the first performances. The premiere was poorly received and managed only a few revivals before it disappeared from the repertory. The opera has rarely been revived in modern times.
Iɭ trovatore
Authors: Parker Roger 
Published: November 2023

Abstract
Dramma in four acts set to a libretto by Salvadore Cammarano (with additions by Leone Emanuele Bardare) after Antonio Garcia Gutierrez’s play El trovador; first performed at Rome, Teatro Apollo, on 19 January 1853. The revised version, Le Trouvere, was first performed at the Paris Opera on 12 January 1857. The cast at the premiere included Giovanni Guicciardi (Count), Rosina Penco (Leonora), Emilia Goggi (Azucena), and Carlo Baucarde (Manrico). Verdi was still in Venice enjoying the success of Rigoletto (in March 1851) when he wrote to Cammarano suggesting Garcia Gutierrez’s play (first per- formed in 1836) as a subject for his next opera. It is clear from his early letters that he saw the drama as a sequel to Rigoletto, this time with an unconventional female character, the gypsy Azucena, at the centre of the action. Azucena, like Rigoletto, was to be fired by two opposing passions: filial love and a desire for vengeance. More than this, it is clear that Verdi wished to develop further the experiments, formal and otherwise, he had tried out in parts of Rigoletto. In an early letter to Cammarano he urged: ‘As for the distribution of the pieces, let me tell you that when I’m presented with poetry to be set to music, any form, any distribution is good, and I’m all the happier if they are new and bizarre. If in operas there were no more cavatinas, duets, trios, choruses, finales, etc., etc., and if the entire opera were, let’s say, a single piece, I would find it more reasonable and just.’ But, as so often with Verdi, these revolutionary sentiments in his writings were considerably toned down when it came to practical matters. Cammarano’s draft libretto turned out to be fashioned along conventional lines, and Verdi made little objection.
Les Vêpres siciliennes
Authors: Parker Roger 
Published: November 2023

Abstract
Opéra in five acts set to a libretto by Eugene Scribe and Charles Duveyrier after their libretto Le Due d’A!be; first performed in Paris, Opera, on 13 June 1855. After the performances of Jerusalem at the Opera in 1847 Verdi had in tended to produce an entirely new opera for Paris’s leading theatre, but the revolutions of 1848 caused the plan to be shelved. He renewed negotiations with the Opera, however, in 1852, and a contract was drawn up for a full-scale French grand opera in five acts, with a libretto by Eugene Scribe, the acknowledged poetic master of the genre. After various subjects had been proposed, poet and composer eventually agreed to use a revised version of an existing libretto, Le Due d’Alhe, written by Scribe and Charles Duveyrier for Halevy (who did not use it) and partly set to music by Donizetti in 1839.
Aida
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in four acts set to a libretto by Antonio Ghislanzoni after a scenario by Auguste Mariette; first performed in Cairo, Opera House, on 24 December I 871. The cast at the premiere included Eleonora Grossi (Amneris), Antoni etta Pozzoni-Anastasi (Aida), Pietro Mangini (Radames), and Francesco Steller (Amonasro). During the late 1860s the search for suitable librettos began to cause Verdi increasing problems. One of his most active helpers was the French librettist and impresario Camille Du Lode, with whom Verdi had collaborated in the making of Don Carlos. Du Lode sent Verdi a stream of possible sub jects covering a wide variety of genres: from comic plots that might have continued the manner of Un hallo in maschera to large-scale dramas suitable for conversion into grand opera. But Verdi became more and more difficult to please, finding the comic subjects structurally or temperamentally unsuitable, while often complaining of the ‘patchwork’ quality of grand opera and its inherent lack of coherence. The breakthrough came in the early months of 1870, when Du Lode sent Verdi a scenario by the archaeologist and Egyptologist Auguste Mariette, based on an invented story set in Egyptian antiquity. Verdi had the previous year declined to supply an inaugural hymn as part of the celebrations to open the Suez Canal; but he accepted this new Egyptian idea-which was to open the new Cairo Opera House-almost immediately, appointing as librettist Antonio Ghislanzoni, his collaborator in the revised La forz_a de! destino. Work on the opera, whose scenario was adapted and enlarged by both Du Lode and Verdi, proceeded through 1870, Verdi as usual taking a considerable hand in the libretto’s formation, even in minor details of line length and wording. The stage sets for the Cairo premiere were, as was often the case in an increasingly international operatic world, constructed in Paris.
Music in the Galant Style
Authors: Gjerdingen Robert O 
Published: November 2023

Abstract
Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style.
Translational Researchin Genetics and Genomics
Authors: Smith Moyra 
Published: November 2023

Abstract
In this new book, noted geneticist and veteran OUP author, Moyra Smith, will present a comprehensive critical review of the translation of genetic and genomic research into health care. Dr. Smith’s motivation for writing is driven by the gap that exists between the rather amazing discoveries in medical genetics and genomics at basic science levels and the translation of these advances into evidence-based clinical practice. She will examine experimental and observational research and translation to disease management in single gene disorders, specific genetic syndromes, and complex genetic diseases. She will also examine information technology in genetic medicine, sociocultural factors that impact provision of medical care, and medical education issues with regard to translational genetics in order to help prepare a work force that is better able to utilize evidence-based medicine and to accommodate the rapid changes in genetic and genomic health care.
Isolation Of Disease Genes Through Genomics
Authors: Smith Moyra 
Published: November 2023

Abstract
Advances in chromosome mapping and DNA sequencing have greatly increased our ability to locate and characterize genes responsible for specific diseases. Physical maps of genes on chromosomes provide information on the position of a gene or marker on a chromosome relative to landmarks on that chromosome (e.g., p or q arm, chromosome band). Since completion of the human genome projects, the physical map location of a gene may also be based on defining the position of a gene or marker relative to the nucleotide sequence of the chromosome to which it maps.
From gene discovery in genetic syndromes to identification Of therapeutic agents
Authors: Smith Moyra 
Published: November 2023

Abstract
Elucidation of the molecular defects in a number of rare genetic syndromes characterized by abnormal cell proliferation and differentiation have led to the discovery of genes that were subsequently shown to play a major role in cell signaling and metabolism and also in the development of sporadic tumors not related to the genetic syndromes. Discussed in this chapter are the genes that play a role in tuberous sclerosis, polycystic kidney disease, neurofibromatosis, and Peutz-Jeghers syndrome and translational aspects of gene discovery.
An Elusive Grand Design
Authors: Hanhimäki Jussi M 
Published: November 2023

Abstract
In February 1969, Time magazine’s cover showed a picture of a man who would, in future years, become a central figure in American diplomacy. “Bonn, London, and Paris may disagree on a score of issues, but they are in happy unanimity in their respect for him; even Moscow is not displeased,” the article commented. It went on to describe how Richard Nixon’s new national security adviser, Henry Kissinger, “knows more foreign leaders than many State Department careerists.” The article ended presciently with a quote from the nineteenth-century Austrian statesman, Prince Metternich: “I was born to make history, not to write novels.”
Salesmanship and Substance: The Influence of Domestic Policy and Watergate
Authors: Sandbrook Dominic 
Published: November 2023

Abstract
Richard Nixon took office in January 1969 after one of the most turbulent years in recent American history, marked by assassinations, race riots, student protests, a crippling gold crisis and a bloody stalemate in South Vietnam. Many ordinary Americans had voted for Nixon because he stood for old- fashioned stability and respectability in bewildering, disorderly times. Yet as he contemplated the challenges of the 1970s, from campus unrest and drug use to rising crime and soaring inflation, Nixon could have been forgiven a shudder of trepidation. Deeply rooted in the changing social and cultural landscape of the postwar years, these problems were beyond the scope of any one man to solve.
Nixon, Kissinger, and the Opening to China
Authors: MacMillan Margaret 
Published: November 2023

Abstract
The opening of relations between the United States and the People’s Republic of China in 1972 was one of those startling changes that seem inevitable once they have occurred. True, the two countries had been divided by the Cold War and by actual fighting in Korea, but there were several good reasons why, at the very least, they should be in contact with each other. Both countries had a strong interest in stability in the Northeast Pacific and in Asia more generally, and both regarded the Soviet Union with suspicion and even fear. Although it was impossible to gauge public opinion in Mao’s China, it is clear that among the elites in the party, the military, and the government, there were those who would have welcomed an end to the long freeze in Sino-American relations, and did so when it finally came about.
Atlantic History And Global History
Authors: Canny Nicholas 
Published: November 2023

Abstract
There have been so many recent advocates for Atlantic history that David Armitage has declared us all to be Atlanticists now. While conceding Armitage’s point that the subject of Atlantic history has become fashionable, and while saluting his effort to define a British Atlantic, there is such limited agreement over what the subject entails that it might be said that there are as many varieties of Atlantic history as there are Atlanticists. This chapter seeks to bring clarity to the study of the subject in three ways. First, it provides a taxonomy of six prescriptions that have been advanced by various practitioners of Atlantic history so that the strengths and shortcomings of each can be considered; second, it discusses two books which, each in its own way, challenge the legitimacy or importance of Atlantic history; and third, it offers some counters to these challenges and justifies the continued study of Atlantic history once it has been clearly distinguished from global history.
Considering Mental Health Treatments
Authors: Stein Lisa Hunter Serene Olin Geraldine Burton Polly Gipson Adam 
Published: November 2023

Abstract
Once a child has been evaluated, a treatment is usually recommended. As a parent advisor, you should be familiar with common treatments for mental disorders. You will also find it hopeful to be knowledgeable about the different mental health service delivery options. This chapter presents basic information on the types of treatment available. It also provides tables summarizing many of the service delivery options.
Specific Disorders
Authors: Olin Serene , Romanelli Lisa Hunter 
Published: November 2023

Abstract
This chapter reviews some of the most common child mental disorders and their treatments. The specific disorders covered are disruptive behavior disorders (conduct disorder, oppositional defiant disorder, attention-deficit/ hyperactivity disorder), posttraumatic stress disorder and other anxiety disorders (separation anxiety disorder, specific phobias, social phobia, generalized anxiety disorder, panic disorder, obsessive-compulsive disorder), mood disorders (depression and bipolar disorder), and substance abuse.