bluuebunny/crossref_metadata_2025_split huggingface dataset:
Univariate Analysis and Scale Construction
Authors: Valente Thomas w. 
Published: November 2023

Abstract
Chapters 7 and 8 discussed the sleeps and techniques for selecting a sample, constructing a survey, and collecting and managing data. The data are now ready for statistical analysis to test the theoretical model for the evaluation. Before con ducting those tests, however, the data need to be described statistically and col lapsed into scales to construct valid and reliable measures.
Dissemination of Evaluation Findings
Authors: Valente Thomas w. 
Published: November 2023

Abstract
The evaluation framework presented in Chapter 1 (Fig. 1-1) indicated that dissemination is the last step in the evaluation process. Dissemination (sometimes referred to as feedback or feed forwarding) is neglected in many evaluation bud gets because before the findings are known, there is little thought as to how best to disseminate them and to whom they should be disseminated. In fact, dissemination is one of the most controversial aspects of the evaluation process; the first section of this chapter discusses why. In the second section, dissemination of findings is explained, including estimates on how long it takes. In the third section, a model of the policy process j5 presented and the ways in which dissemination affects policy are discussed. The chapter then turns to some ancillary material not yet mentioned but crucial to research-ethics and budgeting. The chapter closes with a summary of the book and an assessment of the future of health pro motion program evaluation.
The Formative Years
Authors: Bartle Jean Ashworth 
Published: November 2023

Abstract
Although this chapter deals with teaching singing to six-and seven-year-olds and is based on a first-grade curriculum, I recommend it to music teachers of all levels. Many of the ideas, strategies, and routines outlined here could, and perhaps should, be applied in all stages of music education.
First grade is the most important year in a child’s school life. During this school year, the growth of a child physically, mentally, socially, and emotionally is greater than in any other school year. Children in the first grade have no inhibitions about singing alone.
Spectrum Inversion
Authors: Thau Michael 
Published: November 2023

Abstract
There is a well-known philosophical problem concerning spectrum inversion. One way to put the problem is roughly as follows. Suppose, as is probably the case, that you and I generally apply the same color terms to the same sorts of things: we both agree that grass is appropriately called green, the sky is appropriately called blue, etc. But suppose further that our apparent agreement about the application of color terms masks the fact that I am spectrally inverted with respect to you: red things look to you the way green things look to me and vice versa, yellow things look to you the way blue things look to me and vice versa, etc.
Frege’s Puzzle
Authors: Thau Michael 
Published: November 2023

Abstract
In the last chapter we saw that many Fregeans and Millians are triadists about beliefs: they account for the apparent difference between, for example, the belief that Superman flies and the belief that Clark Kent flies by claiming that there is always more to the belief relation than believers and what their beliefs represent. According to non-descriptive Fregeans, the apparent difference is genuine; how a particular belief represents what it does is part of the belief itself, and the two beliefs differ because they contain distinct non-descriptive modes of presentation of their object.
Patient Advocacy And The Changing Research Environment
Authors: Dresser Rebecca 
Published: November 2023

Abstract
Today, more than ever, biomedical research is a public affair. Stamps, marches, credit card purchases, designer T-shirts, and Mark McGwire home run balls are vehicles for raising research funds. Celebrities struck by disease start their own foundations to promote the search for a cure. Presidential candidates and congressional leaders pledge to double federal spending for biomedical research. Patient advocacy organizations that once let scientists determine the research agenda now decide for themselves what leads are most promising and award funds to researchers willing to pursue those leads.
Advocates On The Research Team shaping And Assessing Science
Authors: Dresser Rebecca 
Published: November 2023

Abstract
Advocates want a say in the way biomedical research is conducted. In the United States, HIV/AIDS and breast cancer advocates were the first to make this demand. In Britain, Canada, and some developing countries, it arose with the participatory research movement, which promotes community involvement in health research. By the late 1990s, advocates representing a multitude of patient and community groups wanted research to reflect their judgments on which conditions should be studied and which study methods adopted. They wanted a role in interpreting, publicizing, and applying study results. And they wanted to help decide which research proposals merited government funding.
Hope Versus Hypothesis Testing: Expanded Access To Experimental Interventions
Authors: Dresser Rebecca 
Published: November 2023

Abstract
Modem research advocates got their start battling regulations that restricted access to promising experimental interventions. Beginning in the 1980s, activists sought to expand patients’ opportunities to benefit from biomedical research. Advocates thought research policies focused too much on avoiding risks to research participants and the public and too little on promoting research benefits. The rules seemed to impede unnecessarily the development of scientific knowledge and new treatments to aid people in desperate need. Advocates targeted government policies for change and in the process helped construct a research system that places high priority on access.
Research Advocacy Today And Tomorrow
Authors: Dresser Rebecca 
Published: November 2023

Abstract
At the end of the twentieth century, patient advocates were an undeniable presence in biomedical research. Advocates transformed research at all levels. They made individual studies more responsive to research participants and to the patients and communities research was intended to benefit. They helped make experimental innovations more widely available to seriously ill people. They persuaded federal officials to adopt requirements for gender and ethnic diversity in study populations. They convinced Congress to boost funding for biomedical research and had a say in how funds were distributed.
Developmental Stability-Fitness Relationships in Animals: Some Theoretical Considerations
Authors: Clarke Geoffrey M 
Published: November 2023

Abstract
The relationship between developmental stability and individual fitness has been the subject of much interest and research over the last decade. Excluding articles on plants, humans, and sexual selection, a quick scan of the published literature reveals over 100 articles on the topic during the last ten years, with the majority published since 1994. Including the sexual selection, plant, and human studies, this number swells to over 200, again with most of the activity occurring during the last five years. Much of this literature has been formally reviewed in one form or another (Clarke 1995a,b, 1998a; Markow 1995; Leung and Forbes 1996, 1997; M0ller 1997, 1999a,b; M0ller and Swaddle 1997). Perhaps surprisingly, the debate as to the nature and strength of the relationship, or even whether such a relationship exists, has at times been controversial and passionate (see, for example, M0ller 1997, 1999b; Clarke 1998a). Despite the ongoing debate, and the general lack of supporting empirical evidence, a positive correlation between levels of development stability and individual fitness has often been assumed in the literature.
Fluctuating Asymmetry and Sexual Selection: Paradigm Shifts, Publication Bias, and Observer Expectation
Authors: Tomkins Joseph L , Simmons Leigh W 
Published: November 2023

Abstract
Fluctuating asymmetry (FA) describes a specific example of biological asymmetry in which population variation in the size of the left and right pairs of bilateral traits are distributed randomly about perfect symmetry (Van Valen 1962; Palmer and Strobeck 1986). Interest in FA stems from the notion that there is a target state of sym­metry that all individuals are aiming to achieve, and that individuals that fail to develop symmetrically are in some way of poorer quality than those that do achieve symmetry. Rarely in biology has there been such an intuitively attractive and broadly applicable proposition as the concept that deviations from symmetry are the consequence of an inability to cope with environmental or genetic stress. This appeal and applicability has resulted in a rapid rise in the investigation of this type of biological asymmetry with less than ten articles published on the subject in 1988, but over 70 published in 1998 (Palmer 2000).
and Sexual Selection
Authors: Møller Anders Pape , Cuervo José J 
Published: November 2023

Abstract
Sexual selection arises from variation in mating success being nonrandomly related to phenotypic characters (Darwin 1871). These characters, socalled secondary sexual characters, may have evolved through intrasexual competition for access to mates (usually male-male competition) or mate choice (usually by females). While antlers, horns, and spurs presumably have evolved by male-male competition, extravagant plumes, vocalizations and pheromones may often have evolved through female choice (Andersson 1994 ). Secondary sexual characters are costly to produce and maintain (Andersson 1994). Although some models of sexual selection suggest that secondary sexual characters are arbitrary traits independent of condition (Fisher 1930; Lande 1981), empirical research suggests that secondary sexual characters often demonstrate condition dependence (Andersson 1994). If secondary sexual characters are more costly for low-than high-quality individuals, such traits may be considered reliable signals of quality (Zahavi 1975; Heywood 1989; Grafen 1990). Consequently, only individuals in prime condition can develop the most exaggerated characters, and cheating by low-quality individuals is prevented. This interpretation is supported by a recent review showing that males with the largest secondary sexual characters generally survive better than males with smaller trait values (Jennions et al. 2001), suggesting that males with the most exaggerated traits indeed are in better condition both before and after development of their secondary sexual characters.
A to Z in Form of Introduction
Authors: Debost Michel 
Published: November 2023

Abstract
Alphabetical order for entries in this book has been chosen for various reasons. The main one is that such a book is not meant to be read like a novel, drink in hand under the lamp. It is a book for lovers of the divine pipe, for those fascinated by actual contact with the flute, with instrumental playing as well as musical function in mind, for its poetic mysteries as well as for its technical secrets. I have been playing the flute for close to sixty years. Yet nothing is indifferent to me that involves the flute. Hopefully it will be so as long as I have a breath, or a tooth, left. I take nothing for granted either, and each day brings new questions and renewed pleasures. Separating into “logical” compartments different aspects of musical art (technique, tone, articulation, interpretation, etc.) seems to me arbitrary. I cannot see the border between questions. The art of the flute is not a chest of isolated little drawers with one aspect of playing locked in each one. Musicality does not start where technique stops, if it ever stops.
Air Speed
Authors: Debost Michel 
Published: November 2023

Abstract
When we play a wide interval, say, wider than a fourth, our first reflex is to move the chin or the lips to shift the angle of attack of the air brush. If it works for you, even when you are out of shape or nervous, of course, do it. My problem with that process is its relative unreliability at the wrong moment, under stress. No doubt the lips provide guidance, but the energy comes from the strong aircolumn muscles. We need to give more or less speed to the air, and to involve the whole body in the playing process. When we rise in the range of the flute, instead of messing with the embouchure only, we should, as it were, sink into the ground. We feel very heavy, the shoulders are low, and the abdominal belt is firm thanks to the strong leg muscles. The higher you play, the lower your center of gravity should be. When you want to descend with an equivalent interval, you relax the abdominal belt before lipping and jawboning.
Blowing Long Phrases
Authors: Debost Michel 
Published: November 2023

Abstract
There is no answer to the sophistic question, “Which came first, the chicken or the egg?” For us it translates to: “Which is first: blowing or breathing?” Breathing, of course, and yet it is the blowing that creates a sound. If you don’t know how to blow, your breathing will be just an organic act, a vital but musically void necessity. Still, it seems that most of us are worried more by the intake of air than with the management of its release. Examples of breath management problems abound in our solo repertoire: the first three movements of Bach’s Partita in A Minor, BWV 1013; the opening solo in Mozart’s Concerto in D Major, K. 314; and in Poulenc’s Sonata, the opening phrase of the Cantilena. We find it in the orchestral repertoire also: among other places, in Ravel’s Bolero and the beginning of Beethoven’s Fourth Symphony. The latter is never mentioned, but it was my personal nightmare: one single Bb held for what seems like hours by one flute (no second to help out), two clarinets, and two bassoons over three octaves. The more famous the conductor, the slower the tempo. . . . Pitch problems, breath management problems, attack problems. I preferred some of the technically “difficult” excerpts.
Circular Blowing
Authors: Debost Michel 
Published: November 2023

Abstract
This is also called, somewhat improperly, circular breathing. Labeled a “contemporary” technique, it is probably as ancient as wind instrument playing itself. Its use can be witnessed at all latitudes— Africa and Asia, for instance. In its principle, it is comparable to the bagpipes of the British Isles, to the biniou of Celtic French Brittany, and to the various similar instruments of the European continent. Here, air is periodically stocked by mouth into a sheepskin or goatskin bag compressed by the player’s arm. One of the circular blowing techniques reproduces this principle. The air bag is the blown-out cheeks. A reed independent of the mouth replaces the embouchure. The Muslim world’s rajta9 players use this technique, recommended also by some present flutists.10 I have never been able to use this blown-out cheek process without considerably altering the sound. I recommend another way. It calls for the mouth cavity’s air projection through a quick forward movement of the tongue without cheek inflation. To get used to this technique, it is necessary, first, to educate the respiratory reflexes without the flute through the steps described in the following diagram.
Dynamics
Authors: Debost Michel 
Published: November 2023

Abstract
Do not judge your dynamics by your efforts but by what you are hearing. You might think you are playing pianissimo because you’ve stopped supporting, but you hear an approximate sound with a doubtful intonation. Or you are blowing like mad but your sound is narrow and forced. Teachers rarely explain their request to play louder or softer. Hence flutists have a tendency to do what is evident: push to play loud and disintegrate to play soft. For once, our natural reflexes are totally deceptive. The problem with dynamics is that they never exist by themselves. They are like the painter’s palette. They are useless if they don’t relate to the musical content as much as to objective conditions of instrumental playing. What to make of an orchestral instrumentalist who plays so softly that we can’t hear him or her? Or of another who blasts so loud (acoustically or electronically) that he or she drowns out all the rest? When a crooner whispers a tender ballad to a crowd, ten thousand listeners perceive him as sweet and intimate. His amplifiers are anything but that. In contrast, in the middle of a hundred-strong orchestra, a lonely nonamplified flute plays the first phrase of Ravel’s Bolero. As the first step of a seemingly endless crescendo, it must start very, very softly and still be heard at the back of the hall. The listener’s impression should be: “How can the flutist play pp so mysteriously and magically and still project?” The listener’s reaction should not be: “I can’t hear the flute. The flutist must be playing pp!” Soft dynamics cannot project and stay in tune if a half-inflated carnival balloon, without support or energy, plays them. On the contrary, a forced tone and an air volume big enough to bend a tree will not always produce a “big sound.” What I call “turbo-sound” is precisely that: an enormous quantity of air without timbre or focus.
Embouchure
Authors: Debost Michel 
Published: November 2023

Abstract
A good, stable, and flexible embouchure position should be the same for all registers. Chin and lip gymnastics are counterproductive, especially under stress. Flute sound is created by the air brush hitting the outside wall of the embouchure hole. Turbulence is created as part of the air brush’s energy is transformed into vibration, which resonates according to the length of the tube. The rest of the air stream escapes out of the embouchure hole. Below the outside rim of that hole is the wall, whose height is critical. Its measurements and the shape of the head-joint tube constitute the art of head-joint making. The material of the chimney, also referred to as the riser, and the undercutting of the lip plate are flute makers’ trade secrets and the object of endless speculation among flutists. A thorough discussion of all embouchure-making matters is beyond the scope of this work. There are some acoustically objective elements, and, to be sure, as many preferences as there are flute players.
Fingerings
Authors: Debost Michel 
Published: November 2023

Abstract
Only finger-activated keys for the second note of each triplet are shown. The first note of each group is not indicated and is always “normal” fingering. The facilitating principle is that fingers move in the same direction, not antagonistically. These scales, where only the left hand is active, can be played in the normal position or with hands crossed to demonstrate stability, as illustrated in the chapters on beginners and stability. Only fingered keys are shown. Black means finger down, white means finger up, and gray means the key is optional. Half black, half white key: finger is either on the rim of the key or pulled back to show the open ring, the key being depressed (French-system flutes).
Interpreting Accents
Authors: Debost Michel 
Published: November 2023

Abstract
An accent is a punctual concentration of musical energy that highlights or stresses the tension of a moment. It can be of a different nature: acoustical, harmonic, or expressive. An fp or ffp requests a very fast drop, on one note, from the loud to the soft. It is as much an accent as an effect, frequently used since Beethoven. The flutist must go from a very sustained sound to nothing, as if the blowing had stopped. Played by the strings, it becomes visually explicit: the bow almost stops. The player must convey the impression that this note burns. An sf (sforzando) must not be misread for an fp. It also affects one note only, or, more precisely, one sound: if the note is long or carried over bar lines with slurs, the “reinforcing” applies to the duration of that note. There can be many sf in a general p: the sf brings the prevailing dynamic to the next level (p to mp, mf to f, etc.).
Paris Conservatoire and French School
Authors: Debost Michel 
Published: November 2023

Abstract
Although in the 1970s the French republic created another Conservatoire National Supérieur de Musique in Lyon, on an equal standing with Paris, the model for most musical institutions of Europe was the Paris Conservatoire. Founded in 1784 as École Royale de Musique, in 1795 it assumed its present title. Past directors include Luigi Cherubini, Ambroise Thomas, Theodore Dubois, Gabriel Fauré, and Marcel Dupré. Among its professors were Hector Berlioz, Anton Reicha, Paul Dukas, Jules Massenet, Charles-Marie Widor, Charles Tournemire, Marcel Dupré, Olivier Messiaen, and Nadia Boulanger. Until 1977, there was only one flute class. Paul Taffanel, Philippe Gaubert, Marcel Moyse, and Jean-Pierre Rampal were some of its professors. Adolphe Hennebains and Crunelle, although not as highly profiled or as well known, also left their mark, as did William Kincaid, Joseph Mariano, and Julius Baker in the United States. There are no private lessons with the professor. All teaching is done in front of the whole class, who must in theory attend twelve hours of master classes a week. Private lessons are the responsibility of the associate professor. staffed with the professors and best students of the Conservatoire. For a century, it was associated with the school only in name. To this day, the Paris Conservatoire has very high standards, but the history of French orchestras, unfortunately, has not, for many reasons, lived up to the reputation of one of the world’s best music schools.
Practicing
Authors: Debost Michel 
Published: November 2023

Abstract
When I was a child, my mother laid down the law. There were two vital things I had to do before turning in for the night: brush my teeth and say my prayers. To this day, I have not figured out which was the most important. I still have my own teeth, and I hope I am not yet on my way to a flutist’s hell. Practicing has some of that ambiguity. Some feel guilty if they have not done their “long tooones.” Others have a thing about warm-ups. I confess that I am partial to the Scale Game. Most musicians feel that insufficient practice time is an explanation or an excuse for not performing up to standards. Some say: “I practice four or five [or more] hours a day,” and yet the result leaves something to be desired. The quality of the work is more important than the time spent. The clock gives us an alibi with which to pacify our guilt machine. “It worked perfectly during practice.” Actually, in practice you are not so conscious of your flaws, because you are not under stress, whereas on stage or at your lesson, you blow the slightest imperfection out of proportion. For example, listen to friends and colleagues: with or without stress, they sound to you about the same as they always do. Hence, the same with you; it is the nervous perception that, in your mind, exacerbates your shortcomings.
Quodlibet
Authors: Debost Michel 
Published: November 2023

Abstract
A certain number of edicts prevailing in the flute playing world have been transmitted and deformed through oral tradition, much like tribal taboos. My purpose is to poke fun at them, with no desire to offend anyone. Most of these axioms refer, like many canons of morality, to deceased prophets who cannot disagree: the gospel according to Gaubert, to Taffanel, to Kincaid, to Barrère, to Moyse, or to Tabuteau (for oboists). Modern-day gurus such as Rampal, Nicolet, Baker, Jaunet, Kujala, Gilbert, and others would be very amused by the final misinterpretations of their teachings. Anybody is entitled to say today the opposite of what they stated yesterday. Politicians, conductors, and students do it, so why should professors be exempt? Nobody is infallible, especially not the writer of these lines. I dedicate this to the memory of my predecessor at Oberlin, Tom Nyfenger, whose book made fun of flutistic mannerisms and whose fundamental self doubts brought about his own tragic end, ten years ago.