bluuebunny/crossref_metadata_2025_split huggingface dataset:
Engaging Learners in Active Music Listening
Authors: Gault Brent M. 
Published: October 2022

Abstract
Listening is one of the most universal ways in which individuals interact with music, and providing opportunities for students to engage actively in the music listening process is one way general music programs can foster critical listening skills. After providing a brief background related to the role of music listening in general music classrooms, this chapter highlights factors that research has examined related to music listening. Strategies for engaging students actively in music listening experiences are then reviewed, and these strategies are ultimately applied to specific lesson examples that provide models of how students might interact meaningfully with given pieces of music.
Music Teacher as Music Producer
Authors: Randles Clint 
Published: October 2022

Abstract
Music Teacher as Music Producer (MTMP) is for music teachers who are looking to improve and build upon their daily practices in a contemporary and/or popular music setting where they are in charge of numerous modern bands. Few resources exist to describe what it is that a music teacher does in these types of classrooms. The approach to teaching outlined here is a way forward for our thinking that moves beyond music teacher as facilitator in some ways, suggesting that a music teacher’s primary purpose is to elevate their students’ creativities in both live performance and recording. While live performance conceptions have existed in music education for centuries, they are underdeveloped as far as thinking about modern bands goes. In this book, the author takes strides to remedy this shortcoming. Recording cover and original music could be half of what music teachers do in classrooms. Music classes could look a lot more like art class if teachers planned for them to be that way. This book unpacks how to think about and go about doing that.
A Whole New World of Musical Products
Authors: Randles Clint 
Published: October 2022

Abstract
Music teachers tend to think of live performances as the primary means of demonstrating to parents, administrators, and communities their work with students. Since GarageBand started coming loaded with all Apple computers in 2003, the playing field for would-be music producers has been leveled. Anyone can record music now. Anyone can enter the sophisticated world of audio engineering now. Anyone can enter the new world of musical products now. The era of music teachers entering this world for the benefit of their students is upon us. Seeing the value of recording arts as something that music teachers should become a part of is assisted by knowing something about its history. There was an eternity before the invention of recording technology to capture performance. During the American Civil War-era even, there was not a way to record musical performances. If you wanted to hear music, you had to make it yourself or be in the presence of someone who could. That was a very different reality than the one we currently live in, one where the world’s music can be accessed on your phone. This chapter provides a window into what makes now the best time in the history of music to be about collecting the music of your students via recording.
A Psychology of Empathy
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
This chapter introduces empathy as central to Heinz Kohut’s theory of self psychology and foundational to the development of the key conceptual ideas in this book. Kohut’s understanding of empathy evolved between the late 1950s and his death in 1981 and notably occurred at a time when psychoanalysis was in need of a theory that could define the psychological context of the evolving therapeutic encounter. Kohut’s theorizing of how empathy provides access to the inner experience of the other was at the forefront of just such a paradigm shift in psychoanalysis. It dramatically transformed clinical practice as it shifted the emphasis from the intrapsychic to a more mutually engaged stance. Kohut’s perspectives are corroborated within contemporary neurobiology in the work of infant researchers such as Beatrice Beebe.
Clinical Dimensions of Empathy
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
This chapter outlines clinical meanings of empathy, bridging theory and practice with three of Heinz Kohut’s cases. The first, a disguised autobiography, Mr. Z. explores the theoretical dimension of empathy that illuminates faulty caregiving resulting in developmental trauma and later clinical presentation. The second, Miss F., addresses empathy’s functions at the heart of a psychoanalytic treatment. Kohut’s empathic response to her needs for mirroring and validation directly improved the experience of the treatment. Finally, Mr. M. illustrates how the imperative for sustained empathic attunement by the analyst produces a nuanced and productive analysis. The importance of empathy in the transference is explored as potential for reparative acknowledgment of empathic failure is presented. All these dimensions of empathy are elaborated upon in a vignette of the analytic and supervisory relationship of Marian Tolpin and Kohut.
Rage and Aggression
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
Heinz Kohut conceptualized aggression as a healthy and life-affirming aspect of the human experience, as distinct from the expression of rage at the individual or societal level. In doing so, Kohut offered a new interpretation of aggression that was not based on drive theory. That in turn led to a theory of rage that explains much about violence and its relationship to self states. This chapter discusses in detail the interplay of rage with narcissistic injury, shame, and humiliation. It delineates the sequence leading to rage, including the significance of fragmentation of the self, of which rage is a restitutional byproduct. As was often the case with Kohut, his theorizing on rage was informed by a range of sources, including his clinical work, literature, and history. Vignettes from these sources are included as well as implications for clinical practice.
Healing in Psychotherapy
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
This chapter explores Heinz Kohut’s key concepts of transmuting internalization, optimal responsiveness, virtual self, and explaining, which together provide an alternative to the psychoanalytic tradition that radically privileged transference interpretation as the sole path toward healing. Healing is not a linear process for Kohut because the self remains in a lifelong dependent relation to others. People do not “outgrow” their need for others, although they can relate to others in increasingly more complex and even symbolic ways. This chapter offers criticism of Kohut’s idea of optimal failure, arguing that cure in talk therapy occurs because of the prolonged experience of empathic attunement, which allows for the creation of new structures in the self. It is the mother’s abiding connection with the infant that allows for the laying down of those tracks of experience that form the nuclear self. In other words, it is the empathy that heals, rather than interpretation.
Termination
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
Psychoanalysis has long grappled with defining the criteria for the termination of treatment. By the mid-20th century, rigid ideas around endings dominated thinking in this area. Heinz Kohut opened up understanding of termination by introducing a sense of openness, fluidity, and nonlinearity to the conceptualization of endings of therapy. His ideas lie scattered throughout his writings. This chapter brings together those disparate writings. Kohut’s most important idea in this area, although it is implicit rather than explicit in his writing, is that the self tilts toward cohesion and wholeness. The therapist’s job is to nudge the listing ship upright. Termination marks the often vague, yet real, point of mutual recognition of that wholeness between patient and analyst, as reflected in the patient’s transformation of self disorders and improved capacity for creativity, humor, courage, empathy, and wisdom.
Politics, Leadership, and Creativity
Authors: Strozier Charles B. , Pinteris Konstantine , Kelley Kathleen , Cher Deborah 
Published: October 2022

Abstract
Heinz Kohut believed that his ideas about the self extended beyond the consulting room. He never privileged individual data from psychoanalytic treatment over the broader context of human experience as expressed in literature, music, culture, politics, and history. In his soul, he regarded the human condition as a totality, and he wrote often on political and religious figures such as Jesus, Churchill, Hitler, as well as writers such as Goethe, Kafka, and Thomas Mann. This chapter examines Kohut’s fascinating thoughts of the psychology of Freud and how his personality shaped psychoanalytic theory and practice in its notion of Guilty Man. Kohut, on the contrary, argues for a grasp of the tragic in the contemporary self that one sees prefigured in modern art beginning with cubism, music after Arnold Schoenberg, and literature in the work of Kafka, which explored important psychological states of formless despair and fragmentation.
Settling for Second Best
Authors: Brodbeck David 
Published: October 2022

Abstract
The Five Songs for Four-Voice Male Chorus, Op. 41 (1867), was the only essay Brahms published in a genre that had been a prime medium for the expression of liberal-nationalist sentiment dating back to the years of Napoleonic domination of the German lands. Modern commentators, more apt to think of Hitler’s Germany than of the unified Germany the liberal nationalists dreamt about, have been critical of, not to say appalled by, the songs’ supposedly “aggressive-chauvinistic” and “ideologically questionable” texts (Meischein) and have interpreted Brahms’s decision to compose them as evidence of “how far toward military enthusiasm [his] youthful patriotism could lean” (Beller-McKenna). This chapter suggests that it is high time to rethink these assumptions. What has been missing is the careful delineation of the historical context in which the music was written. Only with that established can we hope to hear the songs with the ears of Brahms’s contemporaries.
Hearing and Seeing Brahms’s Harps
Authors: Hines Jane 
Published: October 2022

Abstract
The harp might more readily conjure images of celestial beings than the music of Brahms, who wrote for the instrument in only three of his works: the German Requiem, Nänie, and the Op. 17 songs. Rather than scoring for the harp itself, Brahms more frequently resorted to techniques that simulated the sound of a harp. This chapter reconsiders how and where we hear the harp in Brahms’s music, arguing that Brahms’s use of real and implied harps demands acts of interpretation from the listener. This involves a consideration of the symbolism of Brahms’s harps as they relate to two different concepts: transfiguration and monumentality. The chapter concludes by exploring the relationship between Brahms’s harps and Max Klinger’s Brahmsphantasie, itself a monument to Brahms, that harnesses the symbolism and the iconography of the harp to convey Klinger’s response to Brahms’s music.
Brahms and the Unreliable Narrative
Authors: Schmalfeldt Janet 
Published: October 2022

Abstract
Of the many poets Brahms chose for his songs, one will remain anonymous—the Scottish bard-as-narrator who transmitted the horrific account of a patricide known as the “Edward” ballad. Brahms cited Herder’s translation of “Edward” as a motto for his Ballade, Op. 10, No. 1. What to make of his reference to the “Edward” tale has been debated ever since. No commentator has contested that the first part of the Ballade represents the opening dialogue of the poem; but parallels between poetic structure and musical form end there. This chapter draws on the literary concept of “the unreliable narrative” to propose that Brahms’s displacement of the poem’s climax conspires with his tonal plan and motivic interconnections to suggest that two unreliable characters inhabit the narrative. Mother and son both lie, both know that they have colluded. The dialogue itself is a charade, and both pay the heavy price of guilt.
Doesn’t Play Well with Others
Authors: Scott Anna 
Published: October 2022

Abstract
If we are to rethink Brahms, we must play him differently. In chamber contexts, this means not playing well with others, in the sense of both improperly and asynchronously—an approach that comes naturally to those who have embodied the early-recorded styles of musicians close to Brahms. Unleashing these styles in his Sonata for Violin and Piano in A Major, Op. 100, and Piano Quintet in F Minor, Op. 34, reveals a conception of Brahmsian identity steeped in risk, potentiality, and variability: qualities that are prized in chamber playing in theory, but often actively discouraged in practice. This coarser, more reckless and individualistic mode of performance destabilizes understandings of how Brahms’s music should sound, and also poses the question of whether the field might benefit from a more discordant ecosystem of thought and practice, with new findings in the latter demonstrating the contingency of the former, and vice versa.
First-Theme Syntax in Brahms’s Sonata Forms
Authors: Horton Julian 
Published: October 2022

Abstract
The recent burgeoning of interest in the analysis of nineteenth-century sonata forms under the aegis of the so-called New Formenlehre has opened up new avenues of research for scholars of Brahms’s music. Taking its bearings especially from the work of James Webster and William Caplin, this chapter explores one such avenue, by applying a systematic, corpus-based methodology to the study of first-theme syntax in Brahms’s first-movement sonata forms. The chapter develops a categorical framework for theorizing Brahms’s thematic syntax, before addressing in detail the compositional choices that characterize Brahms’s paths from thematic initiation to closure.
Intentional Transgressions
Authors: Samarotto Frank 
Published: October 2022

Abstract
This chapter examines one aspect of contrast between the transformational approach to tonal harmony, as found in Neo-Riemannian theory, and the prolongational approach, as exemplified by Schenkerian theory. What makes this conceivable is that transformational and Schenkerian theories exemplify two fundamentally different sorts of generative structures. Do transformational operations automatically entail a departure from tonal coherence? This investigation considers that question by locating rare situations in which a series of logical harmonic steps threaten to undermine prolongational coherence. This is examined in three works by Brahms: the Waltz in G-♯ Minor, Op. 39, No. 14; the Rhapsody in B Minor, Op. 79; No. 1; and the sixth movement of the German Requiem. Each features an intentional transgression of tonal boundaries.
Templates of Grief
Authors: Sprigge Martha 
Published: October 2022

Abstract
During and after the Second World War, the Dresdner Kreuzchor frequently performed Brahms’s choral mourning works in memorial services. Brahms drew on Lutheran mourning customs in the composition of his German Requiem, though the work had circulated in increasingly secular contexts in the years since. The Dresdner Kreuzchor repositioned Brahms’s Requiem as part of Lutheran burial culture, using these customs to provide emotional solace both during the war and after their city was firebombed in February 1945. Brahms’s Requiem also influenced new choral memorial works within the Kreuzchor community. This included a mourning motet and a Requiem by Rudolf Mauersberger, the cantor of the Dresdner Kreuzchor from 1930 to 1971. By turning to Brahms in both composition and performance, members of Dresden’s oldest musical institutions maintained their nation’s cultural heritage, expressed their personal grief about the firebombing, and avoided verbally articulating guilt about their involvement in the Third Reich.
“Aimez-vous Brahms?”
Authors: Beller-McKenna Daniel 
Published: October 2022

Abstract
The eponymous query of Françoise Sagan’s 1959 novel Aimez-vous Brahms . . . had already appeared twice in print prior to its use by Sagan: in a 1908 announcement of an upcoming series of performances of Brahms’s chamber works, and in a 1945 essay on the end of the war. In both cases Brahms stands as a symbol of the past, and as a representative of Germanness, in opposition to modern French music. In 1959, Sagan rendered Brahms a cipher (“did she care for Brahms?” her heroine asks herself) to mark the passing of modernism and the rise of a new generation who came of age in the decade after the war. Thus, her book serves as a culmination of one strain of Brahms reception history, and the start of a new one, a transition that is emphasized by George Auric’s use of Brahms’s music in the film adaptation of Sagan’s novel.
Brahms’s Serious Songs in the Orchestral Imagination
Authors: Perry Frankie 
Published: October 2022

Abstract
This chapter examines the arrangement history of Brahms’s Serious Songs (Vier ernste Gesänge, Op. 121), considering ways in which orchestral adaptations interact with received scholarly and popular understandings of Brahms’s revered late songs. The two versions used as case studies are Malcolm Sargent’s orchestration of 1944, which became intertwined in its early reception with perceived biographical parallels between Brahms’s situation, at the time he composed Op. 121, and Sargent’s at the time of his orchestration; and Detlev Glanert’s framed orchestration of 2004–2005 (Vier Präludien und ernste Gesänge), which gently reimagines the music-historical context of Brahms’s songs through four added preludes and a postlude. The investigation demonstrates that attention to arrangements and compositional engagements of source works alongside broader reception-historical trends can contribute significantly to a more holistic understanding of how musical meanings accumulate over time.
Hearing Rihm Hearing Brahms
Authors: Grimes Nicole 
Published: October 2022

Abstract
This chapter explores Wolfgang Rihm’s engagement with Brahms in relation to Rihm’s 2012 composition Symphonie “Nähe fern.” It explores the historicist approach to composition shared by these two composers who were working more than a century apart from one another, and considers their preoccupation with art and literature, and the degree to which their music is intricately linked with this shared intellectual heritage. Goethe’s poem “Dämmrung senkte sich von oben” forms a central point in this chapter, which opens out in several directions: onto the question of how the music of Brahms and Rihm is coded by German literary history; onto the treatment of tonality which becomes a metaphor for the imagery of distance and closeness that is intrinsic to Symphonie “Nähe fern”; and onto a discussion of modes of listening, hearing, and perception in relation to the enduring influence of aesthetic humanism over two centuries of German music and letters.
Augustine’s On Free Choice of the Will
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter explores Augustine’s understanding of where evil comes from as presented in the first book of his On Free Choice of the Will. The first section introduces Augustine’s life and works. The second section presents Augustine’s account of what makes an action evil. The third section presents his account of what makes an action well ordered. The fourth section discusses an objection to Augustine’s account of evil action and the well-ordered person. The fifth section considers a further objection to Augustine’s overall account and highlights two conclusions. Finally, the sixth section explores contemporary accounts of the relationship between freedom and determinism.
Augustine’s On Free Choice of the Will
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter explores Augustine’s account of why we have free will in spite of the fact that we may use it to do evil. The first section provides an overview of the setup and structure of Augustine’s discussion. The second section looks at Augustine’s argument concerning how it is manifest that God exists. The third section looks at his argument that all things, insofar as they are good, must come from God. In the fourth section, the chapter considers Augustine’s argument that free will, insofar as it is a good thing, must come from God. The fifth section closes with a discussion of the relationship between happiness and immortality.
Al-Ghazali’s The Rescuer from Error
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter discusses al-Ghazali’s mysticism, the nature of mysticism, and the potential for mystical belief to serve as a foundation for religious belief. Toward that end, the chapter first canvases al-Ghazali’s own turn toward mysticism. The chapter then discusses three accounts of religious experience: religious experience as an intuitive, unmediated feeling; mysticism as a kind of perception; and mysticism as subjective interpretation. The chapter concludes with an investigation of whether or not religious experience might justify religious belief. In particular, it asks if religious experience can only provide an objective reason for religious belief when supported by other religious beliefs, or whether it might be counted as an epistemically basic practice in its own right.
Aquinas’s Summa Theologica
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter discusses Thomas Aquinas’s attempt to show that the first mover must have impersonal attributes traditionally associated with God. The first section examines Aquinas’s arguments for the conclusion that God is simple because God cannot be composed of either matter and form nor essence and existence. The second section explores Aquinas’s arguments for the conclusion that God is perfect because as the first cause God must have all the world’s perfections. The third section looks at Aquinas’s argument that God must be infinite because God cannot be limited in any way. The fourth section examines Aquinas’s argument that God must be unique in virtue of being the first cause. The chapter concludes with a discussion of Aquinas’s doctrine of analogical predication.
Hume’s Dialogues Concerning Natural Religion
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter explores Hume’s treatments of the causal argument for God’s existence, the problem of evil, and “true” religion in his Dialogues Concerning Natural Religion. The first section discusses Hume’s treatment of the causal argument for the existence of God. The second section discusses Hume’s account of the problem of evil. The third section presents Cleanthes’s attempt to steer a middle course between fideism and atheism. The fourth section presents Hume’s account of “true religion” and takes up four puzzles concerning it. The fifth and final section discusses two more recent treatments of the problem of evil, those of J. L. Mackie and Marilyn McCord Adams.
Mill’s Essays on Religion
Authors: McDonough Jeffrey K. 
Published: October 2022

Abstract
This chapter uses John Stuart Mill’s Essays on Religion as a springboard to explore secular humanism and the utility of religion. The first section introduces Mill’s life and works. The second section looks at Mill’s essay “On Nature” and his arguments that nature cannot be a useful guide to morality. The third section clarifies the sense of Mill’s question “Is religion useful?” Mill’s real question is not whether religion is in fact useful but rather whether religion plays an essential role in the obtainment of important social and private goods. The fourth and fifth sections take up the question of the public and private utility of religion. Finally, the sixth section provides an overview of contemporary secular humanism.