Academic literature on the topic 'Degree Name: Doctor of Music'

The biography of Fyodor Petrovich (Ivanovich) Haaz (Friedrich Joseph Laurentius Haass) (1780 - 1853) - Moscow doctor (1806 - 1853), a German origin, scientist, public health administrator, an outstanding humanist doctor of the first half of the 19th century, a philanthropist, known as the "Holy doctor", is showed in the article. Court Advisor (1811), College Counselor (1826), Knight of the Order of St. Vladimir of the fourth degree (1811), Order of St. Anna of the 2nd degree (181?) of The Russian Impire. A doctor in the army during the Patriotic War of 1812 (from January 1814), head physician of the Moscow Pavlovsk Hospital (1807-1812, 1814-1825), Head of the Moscow Medical Office (1825-1826), one of the founders of the Moscow Eye Hospital (1826), a member of the Moscow Prison Committee and the head doctor of Moscow prisons (1826-1853), the head doctor of the Moscow Catherine Hospital (1840-1844), the founder and head doctor of the Moscow Police (later - Alexander) hospital, popularly called the "Haaz" (1844- 1853). One of the founders of Russian balneology and balneology, who made a great contribution to the development of climatology and meteorology, pioneer in the resorts in the North Caucasus (1809-1810). The creator of lightweight individual shackles, he achieved their introduction at the exile stages to replace the riveting to a common rod for 6-12 convicted. The development of deontology in the 19th century, a science that studies the ethical standards and principles of a doctor’s behavior, as well as certain responsibilities towards the patient, is inextricably linked to the name of Dr. F.P. Haaz [F. Haass]. The life and work of this outstanding humanist physician is a wonderful example of high morality in the fulfillment of his professional duties and genuine nobility in serving the sick and suffering people. The motto of Dr. Haass’ life and professional work was borrowed from the Apostle Paul: “Hurry to do good” (in Galatians (6: 9-10) and in the second letter to The Thessalonians (3:13)). At present, the process of beatification has begun - the canonical process of classifying F. Haass as a blessed Catholic church.

The name of Arsen Rychinsky - a doctor, church and public figure, a prominent religious ethnologist - is being forgotten today. Arsen Rychinsky was born in the village of Tetilitsa, Kremenetsky district of the former Volyn province in a priest's family, studied at the Kremenetsky Pymnasium, and after graduating from Zhytomyr Theological Seminary. While studying at the seminary, Arsen Richinsky produced manuscripts and journals. A well-endowed young man searched hard for himself. Perhaps that is why in 1911 he became not a priest but a teacher of the parish school of the village of Sidnyarka, Lutsk county. He taught Richinsky not for long, but his love for school, he kept his children for life. From September 1911 Rychinsky studied at the University of Warsaw, and from the beginning of World War I transferred to the University of St. Vladimir in Kiev. In March 1917 he successfully passed the exams and was approved "to the degree of a doctor with all the rights and advantages of the laws of this degree assigned."

Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

The article is devoted to the anniversary of Irina Murtazovna Nurieva, the prominent ethnomusicologist, Honored scientist, Doctor of Art. The author focuses on her scientific and creative activity and analyzes her contribution to the study of the Udmurt musical and song tradition. During her period of work in the Udmurt Institute of History, Language and Literature UdmFRC UB RAS I. M. Nurieva published five monographs and more than a hundred articles. Her works are in demand not only among the academic community and teachers of higher education, but also of all those who are interested in folk culture. It was established that a high popularity rating of her research was achieved due to the involvement of the rich material from field practices in which she was directly involved During her activities she conducted a large number of expeditions (folklore-dialectological, folklore-ethnographic, folklore-choreographic), the geography of which, in addition to the Udmurt Republic, covers the Republic of Tatarstan, the Republic of Mari El, the Kirov region. The name of the Udmurt ethnomusicologist is known not only on a Russian scale, but also outside of it. I. M. Nurieva is a returning participant in international conferences, congresses.

As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master’s degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree.

Abstract Background. It is well known through several studies that listening to music can reduce the anxiety of patients. However, most of the previous studies focused only on the psychological effects of patients and some physiological effects such as blood pressure, pain. Moreover, previous studies played music that is not related to personal preferences. The purpose of this study is to investigate whether reducing the patient's anxiety through music selected by patients can improve the patient's surgical experience and the relationship between the patient and doctor. Methods. We randomly assigned 304 breast cancer patients who underwent surgery between September 2020 to April 2021 into a music therapy group(MG) and a control group(CG). Among them, 290 people completed the study. MG (n = 150) listened to the patient's chosen music after entering the operating room until induction of anesthesia, while CG (n = 140) wore earmuffs for noise block in the operating room instead of music. All patients measured anxiety scores over time by numeric rating scale. Treatment satisfaction and patient-doctor depth of relationship scale(PDDRS) were also assessed after surgery. In addition, surgical satisfaction and intimacy with patients were evaluated in the surgeon. Result. The anxiety scores immediately after entering the operating room were not significantly different between the two groups(MG: 4.62 ± 2.44, CG: 4.61 ± 2.45, p = .984). However, the anxiety levels before anesthesia induction of MG patients was 3.36 ± 2.32, which was significantly lower than that of CG patients (3.90 ± 2.26) (p = .047). There was no difference between the groups in PDDRS evaluated for patients after surgery (MG: 26.25 ± 5.529, CG: 25.56 ± 5.918, p = .338) while the degree of intimacy with the patient stated by the surgeon was significantly higher in MG (MG: 7.59 ± 0.89, CG: 7.30 ± 1.05, p = .013). Satisfaction with treatment experience of patients was 18.01 ± 1.78 in MG, which was significantly higher than 17.65 ± 1.59 in CG (p = .040). Especially among the detailed items, the experience in the operating room was evaluated more positively in MG as 4.21 ± 0.79 than 3.91 ± 0.78 in CG (p = .001). The difference in the anxiety-reducing effect of music therapy in the subgroup without surgery history was larger than with a history of surgery, but there was no statistical significance. Similarly, the difference in the anxiety reduction effect in the subgroup with low preoperative anxiety level was greater than that in the subgroup with high anxiety, but this was also not statistically significant (Table 1). People evaluated the experience of surgery more positively as the degree of anxiety reduction in the operating room was greater (Spearman's correlation coefficients = -0.124, p = .035). Conclusion. Personalized selected music in the operating room before anesthesia can effectively lower the patient's anxiety and has the potential to positively change the patient’s satisfaction with surgery. Patients with no surgical history, low pre-operative anxiety can more benefit from personalized music therapy. It is expected to create an opportunity for the patient with breast cancer who anticipate receiving surgery to improve their compliance to treatment by strengthening intimacy with the surgeon. Table 1.Subgroup analysis for anxiety-reducing effect of music in operating roomGroupNMean ± SDDifference between groupP value between groupP value for interactionOverallCG140-0.71±1.560.55.005MG150-1.26±1.68Surgical historyNoCG53-0.38 ± 1.690.75.012.428MG67-1.13 ± 1.49YesCG87-0.92 ± 1.450.44.076MG83-1.36 ± 1.83Pre-Op. GAD-7< 5 pointsCG85-0.55 ± 1.470.73.003.215MG91-1.28 ± 1.57≥5 pointsCG55-0.97 ± 1.670.25.416MG59-1.22 ± 1.86 Citation Format: Yohan Joo, Seockhoon Chung, Seonok Kim, Saebyeol Lee, Sei-Hyun Ahn, Jongwon Lee, BeomSeok Ko, Jisun Kim, Il Yong Chung, Byung Ho Son, Hee Jeong Kim. The effects of preoperative personalized music therapy associated with the patient-doctor relationship and surgical experience of patients with breast cancer (MARS) [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P4-10-18.

Voyno-Yasenetsky Valentin Feliksovich (Archbishop Luka) Archbishop of Crimea and Simferopol, Russian and Soviet surgeon, the author of works in anesthesiology, doctor of medical Sciences (1916), Professor (1917); doctor of theology (1959), winner of the Stalin prize, first degree (1946). F. Voino-Yasenetsky was born 27 APR 1877. After graduating from high school and Kiev art school, studied painting in Munich. In 1898 he became a student of the medical faculty of Kiev University, after which he worked as a surgeon in Chita, the town of Ardatov in Simbirsk province S. Verkhniy Lyubazh, Kursk region, town of Fatezh, Moscow. In 1915 he published in Saint Petersburg the book "Regional anesthesia", and in 1916 he defended it as his thesis and received the degree of doctor of medicine. Until 1917 the doctor in some of the provincial hospitals of Russia, and later the chief doctor of Tashkent city hospital, Professor of Central Asian state University. In 1921 he was ordained to the diaconate, a week a priest in 1923 he was tonsured a monk and consecrated a Bishop with the name Luca, a week later arrested. In 1926 V. F. Voyno-Yasenetsky returned to Tashkent, but in 1930 he was arrested again and transported to Arkhangelsk. In 1934 he published a monograph "Sketches of purulent surgery". In 1937 he was arrested for the third time. Since 1940, works as a surgeon in the link in Bolshaya Murta, 110 kilometers from Krasnoyarsk. 1941 – consultant to all hospitals in the Krasnoyarsk territory and the chief surgeon of the hospital. In 1942 was elevated to the rank of Archbishop and appointed to the chair of Krasnoyarsk. In 1944, published the monograph "On the course of chronic empyema and hundreth" and "Late resections of infected gunshot wounds of the joints." In 1944, Archbishop Luke was headed by the Department of Tambov. In 1945, awarded the Patriarch Alexy I right to wear the diamond cross, wrote the book "Spirit, soul and body." In 1946 he headed the Crimean Department in Simferopol. In 1946 he was awarded the Stalin prize. In 1955, was blind. Died V. F. Voyno-Yasenetsky June 11, 1961, Archbishop of Crimea and Simferopol. Author of 55 scientific papers on surgery and anatomy, ten volumes of sermons. His most famous book "Sketches of purulent surgery". Awarded Pointscore (1916), the diamond cross from the Patriarch of all Russia (1944), medal "For valiant labor in the great Patriotic war" (1945), Stalin prize first degree (1944). Archbishop Luka monuments in Krasnoyarsk, Tambov, and Simferopol, is an honorary citizen of Pereslavl-Zalessky (posthumously). In 1995, St Luke canonized as locally venerated saints of the Crimean diocese, in 2000, the definition of the Council of bishops of the Russian Orthodox Church glorified as a Confessor (Saint) in the Assembly of new martyrs and Confessors of Russia. His relics are installed for worship at Holy Trinity Cathedral in Simferopol.

Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

Increasingly, institutions of higher education are adopting fully online degree programs to provide students with cost-effective, accessible postsecondary education. A concern these degrees raise is: Will students be prepared for the next step of their career paths after completing their Bachelor’s degree online? Biology undergraduates often begin their degrees wanting to become medical doctors, but no studies have explored whether students in a fully online biology degree program are being prepared to be admitted to medical school. In this study, we surveyed Introductory Biology students at one institution who were pursuing Bachelor of Science degrees in Biological Sciences, either in an online or an in-person program. The most prevalent career goal for both in-person students (65.2%) and online students (39.7%) was a medical doctor. Online students were more confident in their intentions to become doctors than their in-person peers. However, online students knew fewer criteria that medical schools consider when admitting students than in-person students [in-person: mean = 3.7 (SD 1.6); online: mean =2.7 (SD 1.7)] and were less likely to plan to become involved in premedical activities, such as undergraduate research. Finally, compared with in-person students, fewer online students were able to name at least one science student (in-person: 76.7%; online: 9.7%), academic advisor (in-person: 21.3%; online: 6.5%), and faculty member (in-person: 33.7%; online: 6.5%) with whom they could talk about pursuing a career in medicine. This work highlights knowledge gaps between students enrolled in a fully online biology degree and an in-person biology degree that are important for developers of online biology degree programs to understand and rectify to better prepare online biology students for admission to medical school.

Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.

This thesis is the result of more than ten years involvement with outdoor dance events in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi (Christchurch). Two symbiotic themes are explored here – that of the significance of the landscape in inspiring a conversion to tribal-based spirituality at the events, and the role of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those musicians heard in the outdoor dance zones. With no major publications or studies specific to Aotearoa to reference, a framework based on global post-rave culture has been included in each chapter so that similarities and differences to Aotearoa dance culture may be established. Using theoretical frameworks that include Hakim Bey’s TAZ (Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā mythology that often stands in for a hidden violent colonial history, of which te Tiriti o Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in 1840. Thus, in the Introduction several well-known local songs have been discussed in relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise the discussion of the importance of Māori and Pākehā integration in the dance zones in the following chapters. The thesis comprises of two main themes: the events and the music. At the events I took a participatory-observer approach that included working as rubbish crew, which provided a wealth of information about the waste created by the organisers and vendors, and the packaging brought in by the dancers. Thus the utopian visions that were felt on the dancefloor are balanced with descriptions of the dystopian reality that when the dancers and volunteers go home, becomes the responsibility of a strong core of ‘afterparty’ crew. Musically, the development of a local electronic sound that is influenced by the environmental soundscape, along with the emergence of a live roots reggae scene that promotes both positivity and political engagement, has aided spiritual conversion in the dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along with DJ’s, and most of the performers are local. Influenced by a strong reggae movement in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local ‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices, environmentalism and the aroha (love) principles of outdoor dance culture. The sound of the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its potential.

Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

Te Ora Ē noho anā nō i te koko ko Ōhiwa, kia whakarongo rua, Aku taringa ki te Tai o tuarā e o Kanawa, E āki ana mai ki uta r o Ōhakana. Ki te whānau a Tairongo, Kai Tāuwhare rā ko te kopua-o-te ururoa, Ko te kai rāria noa mai te raweketia e te ringaringa, Me whakarangi-pūkohu e au ki Tītītangi ao ki te Te Aitanga-ā-Wheturoa, Kia whītikiria taku hope ki te maurea whiritoi, Kia noho au ki Puhi-nui tonu ki Te Maungarongo a Te Rangiāniwaniwa, Ka mawhiti tonu rā taku haere ki ngā tihi tapu ki Maungapōhatu kia Taiturakina; Kia titiro iho au ki Ruatāhuna ki Manawarū ē ko Te Aitanga-ā-Tūhoe.... Ko te hua o te wānanga o a Tūhoe kōrero tuku iho hāngai ki ana waiata tawhito te pūtake o tēnei tuhinga roa kia auhi noa mai te wairua o ngā tūtakinga kōrero kia riro ko ēnei kōrero tuku iho hei matua hikihiki, whakataratara i te hinengaro, i te wairua, e mau ai tēnei o ngā whare whakairo kōrero o te hua o te wānanga a Tūhoe. Kia kaiaohia aua kōrero ki te ura mai o te motu ki runga i ngā pae maunga o Huiarau tau iho ki a tātau e pōkai kaha nei, e tau awhi nei ki runga i te mata o tēnei whenua ātaahua. Ka paenga rā ngā tau ka kitea, ka rangona tēnā pu kōrero, tēnā whare whakairo kōrero, whakairo waiata. Mea rawa ake kua whakangaro atu ki te tira e tauwhare mai rā. Hika rawa ake, kua mawhiti kē te haere ki te mākau nui o te iwi e tīraha mai rā, tē whakaaratia! Kia rangona, kia kitea noa e tātau te mata kōrero kia eke rā ki runga, taihoa rawa ēnei taonga e ngaro, taihoa rawa nei taonga e haukotia. Ka huri whakauta ki te hua o te wānanga, ko te waiata tawhito tēnā, ko te momo rerenga kōrero i hua mai ai i roto i ngā noho tahitanga a te tangata. He kupu ēnei hei whakaata i te hinengaro, wairua, te taiao, ngā rākau, te wai, te moana, ngā whetu, te whenua, ngā pakanga, te kawa o te marae, te noho tahitanga a ngā tūākana\tāina\tuāhine. Te reo o mātua, o kuia, koroua, ngā kaipupuri i te ahi kā roa o te wā kāinga. Inā hoki ko nga āhuatanga o te tangata tēnā tōna hanga, tōna whakatipu, ōna whakaaro, tōna ngākau, tōna wairua, me ngā momo hāhi i tipu ake ai te pono, ka titiro iho te tika i te rangi ka oti nei he waiata e tipuria ai te hua o te wānanga ki roto i a tātau katoa. Waihoki ko aua waiata nei te ahi whakakā roa o te ngākau,kei kona ōna timatatanga, engari kāore nei ōna whakamutunga. Ka pikitia ake te toi huarewa kia kite noa atu i te kaha o te whakaaro. Ko te wāhanga nui ia kia hapaina tēnei tuhinga roa, hei whakaoho, hei tuku, hei tātari i ngā whiriwhiringa kōrero ā-tuhi, ā-wāha kei roto i te whare kōrero o te whānau, hapū, iwi e timata ai, e mau ai te hua o te wānanga o te whaitua whenua. Tae atu ki ngā takahanga whakaewa ka oti nei he waiata tawhito hei kaiarataki ki ngā tihi maunga o te whakaaro. Ko te kapunga whakaaro ko te whātoro, i te tātari i te kupu, ki te whakamārama i te hua o te wānanga hei tumu whakarae kōhikohi mōhiotanga ki runga, ki raro ki ngā tai timu o te hua o te wānanga. I roto i tēnei tuhinga roa ka takea mai te wānanga i te kore, i te pō, i te ao mārama e tohea ai ngā kete e toru o te wānanga hei anga tohutohu, piki tūranga whakaakoranga ki hea mai nei! Mai i roto i aua kete ka nanahu te hinengaro kōkoi o tātau tīpuna mai anō i te ao Māori. Ko te ao mārama tēnā, ko te ao whenua tēnā, ko ngā pakanga tēnā, ko ngā tinihanga ēnā, ko te apakura, ko te hakamomori ka hua nei te wānanga. Nō reira he mahi, he kaupapa nui tā tēnei tuhinga roa ki te whakakao mai i ngā waiata e mohio ana tātau hei papa kōrero, hei wānanga mā te hunga kei te piki ake i ngā takutai moana o te whakaaro, o tēnei ao e wehi mai nei ki a tātau. Kāre e mihi kei te hopo te iwi, te hunga mau i ēnei waiata ki runga i o tātau marae kei ngaro memeha noa ēnei taonga a tātau. Ae! Kei te tika tā rātau hopo. Inā hoki kua riro kē te reo whakaarorangi i te oro o te waiata i ngā tai nenehawa, whakapōrearea e hukahuka mai nei. Ahakoa tēnei kei te whakaara ake ēnei waiata i runga tonu i te kaha o tēna, o tēna ki te whakaara. Kei te tahuri nui mai te hunga rangatahi, taiohi ki ēnei waiata koia tēnei te tūmatanui o tēnei tuhinga roa, hei tāhu whakaea mo te hinengaro, mo te ngākau o aua whakatipuranga e hiahia nei rātau ki ēnei taonga. Mā te karakia hei waere te whenua, mā te taki i ngā kōrero mo ngā atuā te whakataukī, te whakapepeha ka pupuke mai te hihiri o te mahara i ō tātau tipuna kōkoi e whakakitea nei tātau i ēnei rā ki aua tohu. Ka huia rnai aua pitopito kōrero katoa hei kākahu maeneene ki roto i te kupu o te waiata tawhito, kā mau. He whakaatu tēnei tuhinga roa kei te ora tēnei o ngā momo whare pupuri kōrero i te pū; i te more, te weu me ngā pātaka iringa kōrero o te ao ō Tūhoe ō neherā, tae noa mai ki ēnei rā. Kāti he wā anō i roto i taua ora ka tōia te whakaaro ō Tūhoe, ō te Māori e tauiwi hei tinihanga māna. Engari e kitea ai i roto i tēnei tuhinga roa, ko te toki hei kaupare atu i taua tinihanga ko te kōrero i tuarātia rā: 'Hokia ki o maunga kia purea koe e ngā hau o Tāwhirimātea' Koia tēnā te kaupapa o tēnei tuhinga roa he tātari i te hānuitanga, te taiwhakatū o taua kōrero: Hokia ki o maunga... Ma taua kōrero Hokia ki o maunga ... ka rangona te mātaotao o te hua o te wānanga o te pakanga o te whenua, o ngā pikikōtuku i tukitukia, kātahi ka kōrero ai ki roto i tā Tūhoe whakatau i ana whakaaro, e taea ai te ruruku ka puea ake. Koia tēnei ko te mana i roto i ngā whakatakotoranga kōrero e mau ai te kurataininihi, te kurataiwawana o te whakaaro. He hua wānanga tēnei e whakaatungia ai e te hinengaro ngā takahanga motuhake, me te hāngai o ā rātau kupu mo ngā whakaaro e tau nei ki tēnei Ao Hurihuri. Nā ngā mahi a ō tātau tīpuna, te para i te huarahi kia takahuritia ai ngā mahi kikino o te riri Pākehā i tū ake ai ngā poropiti o aua tau kikino i rnurua ai ngā whenua, i tukua ai te iwi ki raro. I tū ake ai rātau te hunga poropiti ki te rapu i te ora i te kaupapa tōrangapū mo ngā whenua i hahanitia. Mai i ēnei kaupapa ka hau te rongo o te waiata tawhito hei tūāpapa whakaohooho, whakanekeneke i a tātau katoa, ahakoa ko wai. Whā tekau katoa ngā waiata o tēnei tuhinga roa rnai i tēnā kokona o Tūhoe, rnai i tēnā kokona o Tūhoe e kawe ana i te hua wānanga hei whakaata, hei kōwhiri i te hunga i kaha i rnau tonu te ngangahau i ngā totohe kōrero, totohe tangata, totohe whenua. I kona ka hua te wānanga ka tohea te riri ka mau, i ea ai tētahi wāhi o te mamae. Koia tēnei ko te whakaatu i te kaha o te tohe i te pō, i te awatea. Ko te kawa o te marae te ātamira whakatāhu, tuku i aua hua wānanga i nei rā e rangona ai te kōrero ā-iwi, te hī o te mita o te reo waiata hei hokinga atu ki te nohoanga o te kupu. Ko tētahi anō kaupapa o tēnei tuhinga roa he whakahoki mai anō i te rnatapihi o Matariki, kia meinga ai ki te kairangi o te kawa o te marae, ka tau ki te whenua i maringi ai te toto. Ko ēnei hua wānanga te oro o te ngākau o Te Ūrewera, te whītiki o te kī mo te tuakiri mo tēnā whakatipuranga, rno tēnā whakatipuranga. Ae! Mā te hua wānanga a Tūhoe e whakaea te mamae e puta ai te pātai. Ko wai rā au? I ahu mai taku wānanga i whea? E ahu ana au ki whea? No te rā nei kua riro mā tēnei tuhinga roa e whakaatu ētahi o ngā hau kikino i whakawhiua kirunga i te iwi e te kāwanatanga i a ia e āki mai ana mo ngā rawa a te iwi, hei tuku he tangatakē. Nō reira i tikina ai te tauparapara a Te Kapo o te Rangi hei whakatauira i te takenga mai ongā kōrero mai i te koko ki Ōhiwa ki te pō, ki te pouri, ki te ao mārama. 'Hokia ki maunga' ko te tangata, ko te iwi, ko te hapū, ko te whānau te tīmatanga o te hua o te wānanga. Koia tēnei tētahi anō kaupapa o tēnei tuhinga roa, he āhuru i aua pukenga tautōhito kōrero kia mau te rangi, kia mau te hā, kia rangona te hua wānanga, oho ake ki te ao ka oti nei he waiata tawhito hei hoa haere whakamua. Ko te kōpae o te whare tēnā e tautokona ana hoki te ahu whakamuatanga o ngā mōrehu kōrero e arohatia nei e tātau. He huarahi atu tēnei hei āwhina, hei tohu i te kei o te waka ki ngā ngaru kokoti e pukepuke rnai nei. Ko te whakapae o tēnei tuhinga roa e titikaha ai ki te hinengaro o Tūhoe me mau ana momo kōrero ki ngā momo hangarau o tēnei ao hurihuri kā tika. Kua roa ēnei taonga e ārikarika ana hei whakarei i te kupu kōrero ki te hunga mate, ki te tira e tatari rnai rā i te waharoa o te marae ki te whakaeke. Kei roto i te wairua o tēnei mahi ka tukua āianei ēnei taonga kia kore ai tātau e taka ki roto i te korekore o te hinengaro, hei whakamahi mā te tamaiti o Tūhoe e hiki ake nei i ngā pae tata, i ngā pae tawhiti. Ko tēnei tuhinga roa te kura kimihia o te ura rnai o te motu i tua atu o Huiarau. Kia hau ai te rongo o a tāitau kōrero ki mua i a tātau hei homai i te aroha kia au ai te matatū tonu, ka maranga kei runga. Kia taria te roanga o te kōrero. Ae! Me hoki rā kā tika: Kā hoki nei au ki te mauri o taku waka a Mātaatua Ko Pūtauaki ki a Ngāti Awa Ko Tāwhiuau, ko Tangiharuru Ko te rae rā o Kohi ki a Awatope Ko Mānuka tūtahi ki Whakatāne, kia Apanui Ko te mauri haria mai nei hei whakaoho i taku moe Ē kō kō ia e ara ē!

"October 2003."
Includes bibliographical references
592 leaves. :
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Chiefly in English; some Polish text in pt. B.
Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992)
Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?

Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living thing on Earth. It often compounds upon itself, so delays in reducing emissions of fossil fuels are shortening the amount of time remaining to eliminate the use of fossil fuels to preserve a livable planet. Nationalism often impedes solutions to this problem (among many others), as nations place their singular needs above the common good. Our initial proposal got around, and abstracts on many subjects arrived. Within a few weeks, we had enough good material for a 100,000-word book. The book then fattened to two moderate volumes and then to four two very hefty tomes. We tried several different titles as good submissions swelled. We also discovered that our best contributors were experts in their fields, which ranged the world. We settled on three stand-alone books:” 1/ nationalism and racial justice. Our first volume grew as the growth of Black Lives Matter following the brutal killing of George Floyd ignited protests over police brutality and other issues during 2020, following the police assassination of Floyd in Minneapolis. It is estimated that more people took part in protests of police brutality during the summer of 2020 than any other series of marches in United States history. This includes upheavals during the 1960s over racial issues and against the war in Southeast Asia (notably Vietnam). We choose a volume on racism because it is one of nationalism’s main motive forces. This volume provides a worldwide array of work on nationalism’s growth in various countries, usually by authors residing in them, or in the United States with ethnic ties to the nation being examined, often recent immigrants to the United States from them. Our roster of contributors comprises a small United Nations of insightful, well-written research and commentary from Indonesia, New Zealand, Australia, China, India, South Africa, France, Portugal, Estonia, Hungary, Russia, Poland, Kazakhstan, Georgia, and the United States. Volume 2 (this one) describes and analyzes nationalism, by country, around the world, except for the United States; and 3/material directly related to President Donald Trump, and the United States. The first volume is under consideration at the Texas A & M University Press. The other two are under contract to Nova Science Publishers (which includes social sciences). These three volumes may be used individually or as a set. Environmental material is taken up in appropriate places in each of the three books. * * * * * What became the United States of America has been strongly nationalist since the English of present-day Massachusetts and Jamestown first hit North America’s eastern shores. The country propelled itself across North America with the self-serving ideology of “manifest destiny” for four centuries before Donald Trump came along. Anyone who believes that a Trumpian affection for deportation of “illegals” is a new thing ought to take a look at immigration and deportation statistics in Adam Goodman’s The Deportation Machine: America’s Long History of Deporting Immigrants (Princeton University Press, 2020). Between 1920 and 2018, the United States deported 56.3 million people, compared with 51.7 million who were granted legal immigration status during the same dates. Nearly nine of ten deportees were Mexican (Nolan, 2020, 83). This kind of nationalism, has become an assassin of democracy as well as an impediment to solving global problems. Paul Krugman wrote in the New York Times (2019:A-25): that “In their 2018 book, How Democracies Die, the political scientists Steven Levitsky and Daniel Ziblatt documented how this process has played out in many countries, from Vladimir Putin’s Russia, to Recep Erdogan’s Turkey, to Viktor Orban’s Hungary. Add to these India’s Narendra Modi, China’s Xi Jinping, and the United States’ Donald Trump, among others. Bit by bit, the guardrails of democracy have been torn down, as institutions meant to serve the public became tools of ruling parties and self-serving ideologies, weaponized to punish and intimidate opposition parties’ opponents. On paper, these countries are still democracies; in practice, they have become one-party regimes….And it’s happening here [the United States] as we speak. If you are not worried about the future of American democracy, you aren’t paying attention” (Krugmam, 2019, A-25). We are reminded continuously that the late Carl Sagan, one of our most insightful scientific public intellectuals, had an interesting theory about highly developed civilizations. Given the number of stars and planets that must exist in the vast reaches of the universe, he said, there must be other highly developed and organized forms of life. Distance may keep us from making physical contact, but Sagan said that another reason we may never be on speaking terms with another intelligent race is (judging from our own example) could be their penchant for destroying themselves in relatively short order after reaching technological complexity. This book’s chapters, introduction, and conclusion examine the worldwide rise of partisan nationalism and the damage it has wrought on the worldwide pursuit of solutions for issues requiring worldwide scope, such scientific co-operation public health and others, mixing analysis of both. We use both historical description and analysis. This analysis concludes with a description of why we must avoid the isolating nature of nationalism that isolates people and encourages separation if we are to deal with issues of world-wide concern, and to maintain a sustainable, survivable Earth, placing the dominant political movement of our time against the Earth’s existential crises. Our contributors, all experts in their fields, each have assumed responsibility for a country, or two if they are related. This work entwines themes of worldwide concern with the political growth of nationalism because leaders with such a worldview are disinclined to co-operate internationally at a time when nations must find ways to solve common problems, such as the climate crisis. Inability to cooperate at this stage may doom everyone, eventually, to an overheated, stormy future plagued by droughts and deluges portending shortages of food and other essential commodities, meanwhile destroying large coastal urban areas because of rising sea levels. Future historians may look back at our time and wonder why as well as how our world succumbed to isolating nationalism at a time when time was so short for cooperative intervention which is crucial for survival of a sustainable earth. Pride in language and culture is salubrious to individuals’ sense of history and identity. Excess nationalism that prevents international co-operation on harmful worldwide maladies is quite another. As Pope Francis has pointed out: For all of our connectivity due to expansion of social media, ability to communicate can breed contempt as well as mutual trust. “For all our hyper-connectivity,” said Francis, “We witnessed a fragmentation that made it more difficult to resolve problems that affect us all” (Horowitz, 2020, A-12). The pope’s encyclical, titled “Brothers All,” also said: “The forces of myopic, extremist, resentful, and aggressive nationalism are on the rise.” The pope’s document also advocates support for migrants, as well as resistance to nationalist and tribal populism. Francis broadened his critique to the role of market capitalism, as well as nationalism has failed the peoples of the world when they need co-operation and solidarity in the face of the world-wide corona virus pandemic. Humankind needs to unite into “a new sense of the human family [Fratelli Tutti, “Brothers All”], that rejects war at all costs” (Pope, 2020, 6-A). Our journey takes us first to Russia, with the able eye and honed expertise of Richard D. Anderson, Jr. who teaches as UCLA and publishes on the subject of his chapter: “Putin, Russian identity, and Russia’s conduct at home and abroad.” Readers should find Dr. Anderson’s analysis fascinating because Vladimir Putin, the singular leader of Russian foreign and domestic policy these days (and perhaps for the rest of his life, given how malleable Russia’s Constitution has become) may be a short man physically, but has high ambitions. One of these involves restoring the old Russian (and Soviet) empire, which would involve re-subjugating a number of nations that broke off as the old order dissolved about 30 years ago. President (shall we say czar?) Putin also has international ambitions, notably by destabilizing the United States, where election meddling has become a specialty. The sight of Putin and U.S. president Donald Trump, two very rich men (Putin $70-$200 billion; Trump $2.5 billion), nuzzling in friendship would probably set Thomas Jefferson and Vladimir Lenin spinning in their graves. The road of history can take some unanticipated twists and turns. Consider Poland, from which we have an expert native analysis in chapter 2, Bartosz Hlebowicz, who is a Polish anthropologist and journalist. His piece is titled “Lawless and Unjust: How to Quickly Make Your Own Country a Puppet State Run by a Group of Hoodlums – the Hopeless Case of Poland (2015–2020).” When I visited Poland to teach and lecture twice between 2006 and 2008, most people seemed to be walking on air induced by freedom to conduct their own affairs to an unusual degree for a state usually squeezed between nationalists in Germany and Russia. What did the Poles then do in a couple of decades? Read Hlebowicz’ chapter and decide. It certainly isn’t soft-bellied liberalism. In Chapter 3, with Bruce E. Johansen, we visit China’s western provinces, the lands of Tibet as well as the Uighurs and other Muslims in the Xinjiang region, who would most assuredly resent being characterized as being possessed by the Chinese of the Han to the east. As a student of Native American history, I had never before thought of the Tibetans and Uighurs as Native peoples struggling against the Independence-minded peoples of a land that is called an adjunct of China on most of our maps. The random act of sitting next to a young woman on an Air India flight out of Hyderabad, bound for New Delhi taught me that the Tibetans had something to share with the Lakota, the Iroquois, and hundreds of other Native American states and nations in North America. Active resistance to Chinese rule lasted into the mid-nineteenth century, and continues today in a subversive manner, even in song, as I learned in 2018 when I acted as a foreign adjudicator on a Ph.D. dissertation by a Tibetan student at the University of Madras (in what is now in a city called Chennai), in southwestern India on resistance in song during Tibet’s recent history. Tibet is one of very few places on Earth where a young dissident can get shot to death for singing a song that troubles China’s Quest for Lebensraum. The situation in Xinjiang region, where close to a million Muslims have been interned in “reeducation” camps surrounded with brick walls and barbed wire. They sing, too. Come with us and hear the music. Back to Europe now, in Chapter 4, to Portugal and Spain, we find a break in the general pattern of nationalism. Portugal has been more progressive governmentally than most. Spain varies from a liberal majority to military coups, a pattern which has been exported to Latin America. A situation such as this can make use of the term “populism” problematic, because general usage in our time usually ties the word into a right-wing connotative straightjacket. “Populism” can be used to describe progressive (left-wing) insurgencies as well. José Pinto, who is native to Portugal and also researches and writes in Spanish as well as English, in “Populism in Portugal and Spain: a Real Neighbourhood?” provides insight into these historical paradoxes. Hungary shares some historical inclinations with Poland (above). Both emerged from Soviet dominance in an air of developing freedom and multicultural diversity after the Berlin Wall fell and the Soviet Union collapsed. Then, gradually at first, right wing-forces began to tighten up, stripping structures supporting popular freedom, from the courts, mass media, and other institutions. In Chapter 5, Bernard Tamas, in “From Youth Movement to Right-Liberal Wing Authoritarianism: The Rise of Fidesz and the Decline of Hungarian Democracy” puts the renewed growth of political and social repression into a context of worldwide nationalism. Tamas, an associate professor of political science at Valdosta State University, has been a postdoctoral fellow at Harvard University and a Fulbright scholar at the Central European University in Budapest, Hungary. His books include From Dissident to Party Politics: The Struggle for Democracy in Post-Communist Hungary (2007). Bear in mind that not everyone shares Orbán’s vision of what will make this nation great, again. On graffiti-covered walls in Budapest, Runes (traditional Hungarian script) has been found that read “Orbán is a motherfucker” (Mikanowski, 2019, 58). Also in Europe, in Chapter 6, Professor Ronan Le Coadic, of the University of Rennes, Rennes, France, in “Is There a Revival of French Nationalism?” Stating this title in the form of a question is quite appropriate because France’s nationalistic shift has built and ebbed several times during the last few decades. For a time after 2000, it came close to assuming the role of a substantial minority, only to ebb after that. In 2017, the candidate of the National Front reached the second round of the French presidential election. This was the second time this nationalist party reached the second round of the presidential election in the history of the Fifth Republic. In 2002, however, Jean-Marie Le Pen had only obtained 17.79% of the votes, while fifteen years later his daughter, Marine Le Pen, almost doubled her father's record, reaching 33.90% of the votes cast. Moreover, in the 2019 European elections, re-named Rassemblement National obtained the largest number of votes of all French political formations and can therefore boast of being "the leading party in France.” The brutality of oppressive nationalism may be expressed in personal relationships, such as child abuse. While Indonesia and Aotearoa [the Maoris’ name for New Zealand] hold very different ranks in the United Nations Human Development Programme assessments, where Indonesia is classified as a medium development country and Aotearoa New Zealand as a very high development country. In Chapter 7, “Domestic Violence Against Women in Indonesia and Aotearoa New Zealand: Making Sense of Differences and Similarities” co-authors, in Chapter 8, Mandy Morgan and Dr. Elli N. Hayati, from New Zealand and Indonesia respectively, found that despite their socio-economic differences, one in three women in each country experience physical or sexual intimate partner violence over their lifetime. In this chapter ther authors aim to deepen understandings of domestic violence through discussion of the socio-economic and demographic characteristics of theit countries to address domestic violence alongside studies of women’s attitudes to gender norms and experiences of intimate partner violence. One of the most surprising and upsetting scholarly journeys that a North American student may take involves Adolf Hitler’s comments on oppression of American Indians and Blacks as he imagined the construction of the Nazi state, a genesis of nationalism that is all but unknown in the United States of America, traced in this volume (Chapter 8) by co-editor Johansen. Beginning in Mein Kampf, during the 1920s, Hitler explicitly used the westward expansion of the United States across North America as a model and justification for Nazi conquest and anticipated colonization by Germans of what the Nazis called the “wild East” – the Slavic nations of Poland, the Baltic states, Ukraine, and Russia, most of which were under control of the Soviet Union. The Volga River (in Russia) was styled by Hitler as the Germans’ Mississippi, and covered wagons were readied for the German “manifest destiny” of imprisoning, eradicating, and replacing peoples the Nazis deemed inferior, all with direct references to events in North America during the previous century. At the same time, with no sense of contradiction, the Nazis partook of a long-standing German romanticism of Native Americans. One of Goebbels’ less propitious schemes was to confer honorary Aryan status on Native American tribes, in the hope that they would rise up against their oppressors. U.S. racial attitudes were “evidence [to the Nazis] that America was evolving in the right direction, despite its specious rhetoric about equality.” Ming Xie, originally from Beijing, in the People’s Republic of China, in Chapter 9, “News Coverage and Public Perceptions of the Social Credit System in China,” writes that The State Council of China in 2014 announced “that a nationwide social credit system would be established” in China. “Under this system, individuals, private companies, social organizations, and governmental agencies are assigned a score which will be calculated based on their trustworthiness and daily actions such as transaction history, professional conduct, obedience to law, corruption, tax evasion, and academic plagiarism.” The “nationalism” in this case is that of the state over the individual. China has 1.4 billion people; this system takes their measure for the purpose of state control. Once fully operational, control will be more subtle. People who are subject to it, through modern technology (most often smart phones) will prompt many people to self-censor. Orwell, modernized, might write: “Your smart phone is watching you.” Ming Xie holds two Ph.Ds, one in Public Administration from University of Nebraska at Omaha and another in Cultural Anthropology from the Chinese Academy of Social Sciences, Beijing, where she also worked for more than 10 years at a national think tank in the same institution. While there she summarized news from non-Chinese sources for senior members of the Chinese Communist Party. Ming is presently an assistant professor at the Department of Political Science and Criminal Justice, West Texas A&M University. In Chapter 10, analyzing native peoples and nationhood, Barbara Alice Mann, Professor of Honours at the University of Toledo, in “Divide, et Impera: The Self-Genocide Game” details ways in which European-American invaders deprive the conquered of their sense of nationhood as part of a subjugation system that amounts to genocide, rubbing out their languages and cultures -- and ultimately forcing the native peoples to assimilate on their own, for survival in a culture that is foreign to them. Mann is one of Native American Studies’ most acute critics of conquests’ contradictions, and an author who retrieves Native history with a powerful sense of voice and purpose, having authored roughly a dozen books and numerous book chapters, among many other works, who has traveled around the world lecturing and publishing on many subjects. Nalanda Roy and S. Mae Pedron in Chapter 11, “Understanding the Face of Humanity: The Rohingya Genocide.” describe one of the largest forced migrations in the history of the human race, the removal of 700,000 to 800,000 Muslims from Buddhist Myanmar to Bangladesh, which itself is already one of the most crowded and impoverished nations on Earth. With about 150 million people packed into an area the size of Nebraska and Iowa (population less than a tenth that of Bangladesh, a country that is losing land steadily to rising sea levels and erosion of the Ganges river delta. The Rohingyas’ refugee camp has been squeezed onto a gigantic, eroding, muddy slope that contains nearly no vegetation. However, Bangladesh is majority Muslim, so while the Rohingya may starve, they won’t be shot to death by marauding armies. Both authors of this exquisite (and excruciating) account teach at Georgia Southern University in Savannah, Georgia, Roy as an associate professor of International Studies and Asian politics, and Pedron as a graduate student; Roy originally hails from very eastern India, close to both Myanmar and Bangladesh, so he has special insight into the context of one of the most brutal genocides of our time, or any other. This is our case describing the problems that nationalism has and will pose for the sustainability of the Earth as our little blue-and-green orb becomes more crowded over time. The old ways, in which national arguments often end in devastating wars, are obsolete, given that the Earth and all the people, plants, and other animals that it sustains are faced with the existential threat of a climate crisis that within two centuries, more or less, will flood large parts of coastal cities, and endanger many species of plants and animals. To survive, we must listen to the Earth, and observe her travails, because they are increasingly our own.

Bristow married Harriet Crane (1853) and began to teach in the New York Public Schools (1854). He was conductor of the New York Harmonic Society (1851-1863) and organist for several churches. Three major works were premiered: his opera Rip Van Winkle (1855, by the Pyne and Harrison Company) and his symphonies nos. 2 and 3 (1856 and 1859, both by the Philharmonic Society). He also wrote the Winter’s Tale Overture (1855). During the 1850s Bristow’s activities as a teacher, performer, and composer grew apace, as did his reputation. He was awarded an honorary Doctor of Music degree (1858) and enjoyed a testimonial concert (1859).

Crystal Eastman entered Vassar’s class of 1903, rooming with Lucy Burns, later the chief lobbyist of the National Woman’s Party. She then attended Columbia University, studying with John Bates Clark and Franklin Henry Giddings and earning a master’s degree in sociology in 1904. After a year teaching high school, she entered New York University Law School in the fall of 1905, finishing her doctor of law in 1907, second in her class. Beginning in her law school years, Eastman lived in Greenwich Village, first supporting herself by working as athletics director at the Greenwich House Settlement. In this downtown bohemia, she met Progressive and “New Woman” leaders including Lillian Wald, Florence Kelley, Mary Simkhovitch, Madeleine Doty, and Ida Rauh. She also enticed her brother Max to follow her to Greenwich Village, launching his career as a suffrage lecturer and into the editorship of The Masses, the work that would make his name.