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Artykuły w czasopismach na temat „Henry Cowell”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 kwietnia 2022

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1

PAUL, DAVID C. "From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell". Journal of the American Musicological Society 59, nr 2 (2006): 399–457. http://dx.doi.org/10.1525/jams.2006.59.2.399.

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Abstract Scholars have recognized that Henry Cowell was one of the most ardent promoters of Charles Ives, but the fact that Cowell's conception of Ives shifted over time has been overlooked. During the late twenties, Cowell portrayed Ives as a fundamentally social artist with the sensibilities of a musical ethnographer. By the fifties, in the writings Cowell coauthored with his wife Sidney, Ives came to be depicted as a paragon for the liberating power of individualism. Close scrutiny of Cowell's published writings, along with letters and manuscripts from the Henry Cowell Collection of the Music Division at the New York Public Library for the Performing Arts, reveals the factors that influenced this transition. Béla Bartók's theories about folk music authenticity were the impetus behind Cowell's earliest conception of Ives. Cowell maintained that Ives had created a definitively American art music by transcribing the performance idiosyncrasies of American folk musicians. The anxieties of the Cold War and a writing partnership with his wife caused Cowell to stress Ives's commitment to the individualism espoused by transcendentalist philosophers. The Cowells no longer equated Ives's Americanness with his ability to transcribe local practice, but instead with his solitary pursuit of the “Universal Mind.”

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Hicks, Michael. "The Imprisonment of Henry Cowell". Journal of the American Musicological Society 44, nr 1 (1991): 92–119. http://dx.doi.org/10.2307/831729.

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Thus far, published references to Henry Cowell's imprisonment consistently obscure the facts of his case and overlook virtually all of the essential primary sources, including court documents, correspondence, psychological evaluations, and even Cowell's own writings on the subject. Although Cowell acceded to a charge that he had engaged in homosexual activities with a minor, the charge was distorted by newspapers and both exaggerated and minimized by his friends. The extraordinary prison sentence Cowell received resulted largely from a misleading letter by a juvenile probation officer, written amid a political climate of severe antipathy toward sex offenders. During Cowell's incarceration, several leading psychologists evaluated the composer according to then-prevalent theories of homosexuality. These psychologists, along with several officers of the court, expressed faith in the composer's "rehabilitation" and their recommendations helped secure the composer a parole. Political changes in California and the entry of the United States into World War II paved the way for a pardon, which was granted primarily so that Cowell could work on a government project known as "cultural defense." Despite his impressive accomplishments in prison and the positive resolution of his case, Cowell never fully recovered from the experience. Scholarly repression of the facts ensued and led to fragmented, inaccurate accounts of the prison years. Hence, this part of Cowell's life provides a useful test case on some persistent issues in musical biography.

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3

Yang, Mina, Michael Hicks i Carol J. Oja. "Henry Cowell, Bohemian". American Music 21, nr 2 (2003): 246. http://dx.doi.org/10.2307/3250567.

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Carl, Robert (Robert E. ). "Henry Cowell, Bohemian (review)". Notes 60, nr 1 (2003): 176–78. http://dx.doi.org/10.1353/not.2003.0091.

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MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941". Journal of the American Musicological Society 59, nr 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the perfection of percussion and sliding tones). A previously unavailable recording of Imaginary Landscape No. 1 by Cage's ensemble reveals an unexpected interpretation of the score. Appendices present a chronology of events, a 1937 letter from Cowell to Cage, and a little-known set of Cage's program notes from 1940.

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6

Hicks, Michael. "The Imprisonment of Henry Cowell". Journal of the American Musicological Society 44, nr 1 (kwiecień 1991): 92–119. http://dx.doi.org/10.1525/jams.1991.44.1.03a00040.

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Nicholls, David. "Review: Essential Cowell: Selected Writings on Music by Henry Cowell". Music and Letters 84, nr 3 (1.08.2003): 516–17. http://dx.doi.org/10.1093/ml/84.3.516.

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Johnson, Steven. "Henry Cowell, John Varian, and Halcyon". American Music 11, nr 1 (1993): 1. http://dx.doi.org/10.2307/3052445.

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Schedel, Margaret. "Anticipating interactivity: Henry Cowell and the Rhythmicon". Organised Sound 7, nr 3 (grudzień 2002): 247–54. http://dx.doi.org/10.1017/s1355771802003047.

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In the early 1930s, maverick composer Henry Cowell collaborated with inventor Leon Theremin to build an electronic instrument capable of producing intricate polyrhythms. This instrument, dubbed the Rhythmicon, can be considered a rudimentary example of an interactive music system. Cowell and Theremin created the machine to fulfil a compositional need, but it ultimately failed to become a successful musical instrument. The Rhythmicon was one of the first electronic music instruments to use technology to extend performers' musical capacities, anticipating the interactive computer music movement by several decades. Despite its shortcomings, the Rhythmicon should be remembered as an important step on the road to interactivity.

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10

Sammarco, G. James. "Henry R. Cowell, MD, PhD (1933-2017)". Foot & Ankle International 39, nr 3 (marzec 2018): 388. http://dx.doi.org/10.1177/1071100718760850.

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SPILKER, JOHN D. "The Origins of “Dissonant Counterpoint”: Henry Cowell's Unpublished Notebook". Journal of the Society for American Music 5, nr 4 (24.10.2011): 481–533. http://dx.doi.org/10.1017/s1752196311000290.

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AbstractHoused in the Henry Cowell Papers at the New York Public Library for the Performing Arts is Cowell's unpublished notebook that comprises written instructions for using “dissonant counterpoint” along with forty-three exercises. Beyond providing information about the technique during its early development (1914–17), the archival source documents Cowell's active involvement in devising a compositional practice that has heretofore been exclusively attributed to Charles Seeger. The notebook also provides evidence of Cowell's work habits and values that challenge current scholarly depictions of the composer as an undisciplined bohemian. He was a systematic and tenacious innovator who revered tradition as well as experimental techniques. He also placed a strong emphasis on the practical application of new ideas in addition to their theoretical development. These traits account for Cowell's continued advocacy on behalf of dissonant counterpoint that extended well beyond the time he compiled his notebook. From the 1910s to the 1960s he disseminated the technique through his writing, composing, and teaching, and thus provided a life for dissonant counterpoint in American musical culture through the end of the twentieth century. Appendix B contains a full transcription of the notebook.

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12

Brooks, William, i William Lichtenwanger. "The Music of Henry Cowell: A Descriptive Catalog". Notes 45, nr 4 (czerwiec 1989): 751. http://dx.doi.org/10.2307/941222.

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Feisst, Sabine. "Henry Cowell und Arnold Schonberg - eine unbekannte Freundschaft". Archiv für Musikwissenschaft 55, nr 1 (1998): 57. http://dx.doi.org/10.2307/930957.

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Miller, Leta E. "Henry Cowell and Modern Dance: the Genesis of Elastic Form". American Music 20, nr 1 (2002): 1. http://dx.doi.org/10.2307/3052241.

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Robinson, S. "Percy Grainger and Henry Cowell: Concurrences Between Two "Hyper-Moderns"". Musical Quarterly 94, nr 3 (1.09.2011): 278–324. http://dx.doi.org/10.1093/musqtl/gdr007.

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Quinn, Iain. "Henry Cowell: A Man Made of Music by Joel Sachs". Notes 70, nr 1 (2013): 135–37. http://dx.doi.org/10.1353/not.2013.0102.

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Silva, Ricardo. "Sobreposição de unidades temporais: Os novos recursos musicais de Henry Cowell". Percepta - Revista de Cognição Musical 6, nr 1 (30.12.2018): 47–66. http://dx.doi.org/10.34018/2318-891x.6(1)47-66.

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Sheppard, W. Anthony. "Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan". Journal of the American Musicological Society 61, nr 3 (2008): 465–540. http://dx.doi.org/10.1525/jm.2008.61.3.465.

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Abstract Japanese music has repeatedly served as an exotic model for those American composers seeking “ultra-modern” status. Henry Eichheim's and Henry Cowell's engagements with Japan offer rich case studies for reconsidering our common critical approaches to cross-cultural works, prompting us to question the temporal, geographic, generic, and high/low boundaries typically employed in modernist taxonomy. I find that attempts to employ categorically such terms as “appropriation” and “influence” and “modernist” and “post-modernist” in evaluating cross-cultural compositions limits our experience of such works and that specific examples tend to demonstrate the full contradictory and multifaceted nature of musical exoticism. I turn first to the impact of literary japonisme and travel on Eichheim and consider his aesthetic and didactic motivations. The writings of Lafcadio Hearn provided Eichheim with ready-made impressions of Japan and directly shaped his compositional responses. I note the influence of gagaku and shōō pitch clusters and briefly compare Eichheim's work with that of Hidemaro Konoye (Konoe). I then chronicle Cowell's lifelong encounters with Japanese music, focusing on his study of the shakuhachi with Kitaro Tamada, his experiences at the 1961 Tokyo East-West Music Encounter Conference, and his collaboration with the koto performer Kimio Eto, which reveal the limits of Cowell's embrace of musical hybridity. I argue that Cowell's mature Japanese-inspired works should be considered within the context of American Cold War cultural diplomacy and contemporaneous works of popular, jazz, and film music.

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19

Lee, Young-hee. "An Evolution of New Piano Technique: Henry Cowell, John Cage George Crumb". Yonsei Music Research 2 (30.05.1992): 183–201. http://dx.doi.org/10.16940/ymr.1992.2.183.

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Boziwick, George. "Henry Cowell at the New York Public Library: A Whole World of Music". Notes 57, nr 1 (2000): 46–58. http://dx.doi.org/10.1353/not.2000.0009.

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Johnson, Bret. "Henry Cowell: ‘A Man Made of Music’ by Joel Sachs. Oxford University Press, $45.00." Tempo 67, nr 266 (październik 2013): 94–95. http://dx.doi.org/10.1017/s0040298213001058.

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Bick, Sally. "In the Tradition of Dissent". Journal of the American Musicological Society 66, nr 1 (2013): 129–90. http://dx.doi.org/10.1525/jams.2013.66.1.129.

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Abstract As an institution of higher learning, the New School for Social Research was widely regarded as unorthodox. From its inception in 1919, its guiding principle was freedom: freedom of opinion, of teaching, of research, of publication. Initially focusing on the social sciences, by 1927 it introduced music as a significant part of that program. The School's social science perspective, its educational unorthodoxies, and its liberal philosophical ideals set a distinctive tone, nurturing an unfettered and accepting haven for a progressive community of musical personalities. Most prominent among them stood Henry Cowell, but Paul Rosenfeld, Aaron Copland, Charles Seeger, and others also contributed to the vitality of the School. From 1927 until 1933, Cowell presided over a program of lectures, concerts, symposia, and workshops dedicated to the cause of contemporary American music. In view of the School's adult population, music was treated primarily as an intellectual and cultural pursuit that stimulated new spheres of musical inquiry. At the same time, the influence of the social sciences encouraged the study of music through the political and social lens of culture. The diversity and singularity of these approaches created a new context for music and a significant contribution to the history of US musical culture.

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23

Nketia, Kwabena. "Entrevista a Ricardo Tacuchian". Revista Música 2, nr 2 (1.11.1991): 141. http://dx.doi.org/10.11606/rm.v2i2.55031.

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O prof. Kwabena Nketia, após seus estudos fundamentais em Gana, transferiu-se, em 1944, para Londres, onde estudou Lingüística e Música Ocidental (isto é, teoria, musicologia e piano). Em 1949 retomou para sua terra natal onde assumiu uma posição de pesquisador de Música Africana, na Universidade de Gana, durante dez anos. Em 1958 recebeu uma bolsa da Rockfeller Foundation e foi estudar na Julliard School of Music, tendo entre outros professores, o compositor Henry Cowell. Em 1968, Nketia assumiu uma posição na UCLA. Em 1982, transfere-se de Los Angeles para a University of Pittsburgh onde trabalha até hoje. A atividade acadêmica do pesquisador, nos Estados Unidos, alternou-se com as atividades no lnstitute of African Studies da University of Ghana.

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NEFF, SEVERINE. "An Unlikely Synergy: Lou Harrison and Arnold Schoenberg". Journal of the Society for American Music 3, nr 2 (maj 2009): 155–93. http://dx.doi.org/10.1017/s1752196309090129.

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AbstractThis essay addresses the unlikely but profound synergy between Arnold Schoenberg and Lou Harrison. Despite their personal rapport and mutual interests in visual art, they held antithetical beliefs about the nature of musical composition. Schoenberg maintained that a composition was the presentation of a metaphysical “Idea.” Harrison saw composition as the process of systematically gathering and assembling resources and techniques.After studying with Henry Cowell and Schoenberg, Harrison displayed a fascination with musical resources that led him to compose twelve-tone works using disparate compositional tools. A 1937 piano piece combines Schoenberg's methods of variation with Cowell's and Seeger's techniques of “dissonation.” The “Conductus” from the 1942 Suite for Piano, a work inspired by Schoenberg's Suite für Klavier, op. 25, explores all twelve prime forms of the row in light of Cage's square-root form. A nontonal 1944 string quartet ends on a triad like Schoenberg's Ode to Napoleon, op. 41.In the 1950s Harrison rejected the aims of the total-serialist movement and found his own voice in just intonation instead. By the 1980s all vestiges of twelve-tone technique disappeared from his pieces; however, analogous serial techniques resurfaced in his paintings. Thus Harrison retained deep respect for Schoenberg as a composer, teacher, and friend.

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Rao, Nancy Yunhwa. "Henry Cowell: A Man Made of Music. By Joel Sachs. New York: Oxford University Press, 2012." Journal of the Society for American Music 9, nr 3 (sierpień 2015): 363–66. http://dx.doi.org/10.1017/s1752196315000255.

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Rao, N. "American compositional theory in the 1930s: scale and exoticism in ''The Nature of Melody'' by Henry Cowell". Musical Quarterly 85, nr 4 (1.12.2001): 595–640. http://dx.doi.org/10.1093/mq/85.4.595.

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CLINE, DAVID. "Straightening the Record: Morton Feldman's Return to Graph Music". Twentieth-Century Music 10, nr 1 (marzec 2013): 59–90. http://dx.doi.org/10.1017/s1478572212000412.

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AbstractMorton Feldman composed his first works on graph paper in 1950–53, but he subsequently abandoned graph music, before taking it up again in 1958 at a time of rapidly increasing interest in musical indeterminacy and graphic notations in the United States and Europe. Feldman's return to graph music was a turning point in his career that would affect his subsequent output for almost a decade, but his principal surviving account of this change in his musical direction, which appeared in liner notes for an LP record, is misleading. This article presents a revised account that highlights a previously undocumented and atypical graph work that was used by John Cage to derive the graph now known as Ixion. In addition, it reveals links between Feldman's compositional ideas and those of Henry Cowell, explains how Robert Rauschenberg inadvertently affected the sound of Feldman's graph music for several years, and clarifies Feldman's response to problems he encountered in performances of his graph music.

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Head, Raymond. "Holst and India (II)". Tempo, nr 160 (marzec 1986): 27–37. http://dx.doi.org/10.1017/s0040298200023032.

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In an effort to discover a more personal style, free of Wagnerian overtones and more truly representative of English culture, Hoist took the curious step of studying the Rig Veda in considerable depth. The year was 1907, a time when others too were searching for different ideas. In America the young Henry Cowell, disillusioned with romantic harmonies, sought (about 1908) new rhythmic and melodic possibilities in Oriental music and studied it under Oriental teachers. The year 1908 was important for Schoenberg, then—with the support of his close friends—on the point of bursting the chromatic dam to release expressionistic torrents. Beset with similar stylistic problems, Hoist went instead to Luzac & Co, an orientalist bookseller, and bought the two volumes of Ralph Griffith's translations of The Hymns of the Rigveda, the most ancient literature in the world. Through these hymns he returned to the source of Indo-Aryan culture in the hope that a new type of music, free of former constraints, would be suggested to him.

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Saavedra, Leonora. "Carlos Chávez’s Polysemic Style:". Journal of the American Musicological Society 68, nr 1 (2015): 99–150. http://dx.doi.org/10.1525/jams.2015.68.1.99.

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The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerged in dialogue with the cultural and political contexts in which he worked, those of post-revolutionary Mexico and modern New York. But he was attracted above all to modernism and modernity, and was impacted by cosmopolitan forces at home and abroad. By the end of the decade he had earned a position within the modern musical field’s network of social relations, and had drawn the attention of agents of recognition such as Edgard Varèse, Paul Rosenfeld, Aaron Copland, and Henry Cowell. These composers and critics added Chávez’s constructed difference to their much-sought collective difference as Americans within a European art. Chávez’s own use of explicit Mexican referents in some of his works shaped the early reception of his music as quintessentially American/Mexican, eventually influencing the way we understand it today.

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Boelts, Hannah P., Yadira Ibarra i Clive Hayzelden. "The influence of benthic diatoms on the textures of carbonate-coated grains from a fluvial tufa spring in northern California". Journal of Sedimentary Research 90, nr 11 (30.11.2020): 1601–13. http://dx.doi.org/10.2110/jsr.2020.74.

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ABSTRACT Diatoms are common in terrestrial freshwater carbonate environments, but their influence on the resulting carbonate texture and porosity remains unquantified. This study investigates the effect of diatoms on the textural variability and syndepositional porosity of spring-associated carbonate coated grains from a freshwater spring in Henry Cowell State Park, northern California, USA. Carbonate coated grains (n = 60) were collected from the distal-most pool of the spring (∼ 300 m from the spring source) and the porosity of the 1 cm diameter fraction (n = 20) was determined using the ImageJ software by adjusting the threshold size for pores > 1000 μm2. Results reveal a strong positive correlation between the number of pores and the number of diatoms examined in each coated grain (r = 0.77). There is a moderate positive relationship between the length of the largest diatom and the minor-axis diameter of a best-fit ellipse of its corresponding pore (r = 0.60). The total pore area for pores associated with at least one diatom was significantly greater than the total pore area of pores that did not enclose diatom frustules (t = 1.80, p < 0.05). Textural observations show that fine-grained laminated textures contain fewer diatoms than the porous textures, suggesting that diatoms disrupt lamination continuity by introducing pore space. These findings have implications for the influence of diatoms on the syndepositional porosity of carbonate rocks from the Cretaceous to Recent and may help explain textural differences between modern marine carbonate microbialites and their Precambrian counterparts.

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Wright, David, Manhattan Chamber Orchestra i Richard Aulden Clark. "Henry Cowell: Persian set; Hymn and Fuguing Tune for String Orchestra; American Melting Pot; Air for Violin and Strings; Old American Countruy Set; Adagio for String Orchestra". Musical Times 135, nr 1811 (styczeń 1994): 46. http://dx.doi.org/10.2307/1002846.

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Nicholls, David. "Henry Cowell's United Quartet". American Music 13, nr 2 (1995): 195. http://dx.doi.org/10.2307/3052254.

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Maloney, P. E., D. M. Rizzo, S. T. Koike, T. Y. Harnik i M. Garbelotto. "First Report of Phytophthora ramorum on Coast Redwood in California". Plant Disease 86, nr 11 (listopad 2002): 1274. http://dx.doi.org/10.1094/pdis.2002.86.11.1274a.

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Phytophthora ramorum S. Werres & A.W.A.M. de Cock was isolated from discolored leaves and cankers on small branches (<0.5 cm in diameter) on 27 coast redwood (Sequoia sempervirens) saplings (2 to17 cm in diameter) at two locations in California (Jack London State Park, Sonoma County and Henry Cowell State Park, Santa Cruz County). Symptoms were observed on branches throughout the crowns of affected trees. Isolates were identified as P. ramorum by their abundant chlamydospores and caducous, semi-papillate sporangia (2) and internal transcribed spacer (ITS) rDNA sequences identical to those of P. ramorum from Quercus spp., Lithocarpus densiflorus, and Rhododendron (1,2). P. ramorum was also detected in dying basal sprouts on mature redwood trees from an additional five locations in coastal California by polymerase chain reaction (PCR) amplification of the ITS region using DNA extracted from symptomatic tissue and P. ramorum-specific PCR primers. To test for pathogenicity, foliage inoculations were conducted on redwood seedlings in two trials by misting 30 leaves per trial (five leaves per seedling plus controls) with sterile distilled water and then pinning inoculum plugs to the upper surface of leaves. Inoculation resulted in lesions of 1 to 20 mm on individual leaves, and P. ramorum was recovered from 43% of inoculated leaves. Symptoms were not restricted to inoculated leaves because 15 inoculations of individual leaves led to discoloration of two or more adjacent leaves. On one inoculation, 60 mm of the adjacent stem was killed. Stems of redwood seedling (approximately 1 cm in diameter) were wound inoculated (1) in two trials consisting of 10 inoculated seedlings per trial plus 10 controls. After 6 weeks, lesion lengths in the cambium caused by P. ramorum averaged 13.7 mm (range 4 to 21 mm). P. ramorum was recovered from 100% of inoculated stems. Entire branches near the inoculation point became chlorotic even though no direct connection was evident between the lesion and the branches. No chlorosis was observed among the control inoculations. Mean lesion lengths of inoculated stems were significantly greater in both trials than those of control inoculations (mean 6.2 mm) at P < 0.05 based on analysis of variance (ANOVA). Redwood saplings (2.5 to 4.5 cm in diameter) were also wound inoculated in a separate trial. No phloem or cambial discoloration was observed after 7 weeks, but necrotic lesions in the xylem had a mean length of 39 mm (range 12 to 73 mm). In addition, narrow streaks, 1 to 2 mm in diameter, were also noted in the xylem extending from the necrotic areas upward to 90 cm. P. ramorum was recovered from 70% of inoculated stems in this trial. Mean lesion lengths of P. ramorum were significantly greater in all trials than those of control inoculations (mean 20 mm) at P < 0.05 based on ANOVA. While P. ramorum causes a lethal canker on Quercus spp. and L. densiflorus (1), we have not observed unusual mortality or disease symptoms on overstory redwoods in natural forests. The impact of infection by P. ramorum on understory redwoods is also unclear. However, the pathogen appears to be able to kill sprouts. References: (1) D. M. Rizzo et al. Plant Dis. 86:205, 2002. (2) S. Werres et al. Mycol. Res. 105:1155, 2001.

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MARIA CIZMIC. "Embodied Experimentalism and Henry Cowell's The Banshee". American Music 28, nr 4 (2010): 436. http://dx.doi.org/10.5406/americanmusic.28.4.0436.

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Hawkins, John. "A Charge to the Grand Jury of the County of Middlesex. delivered at the General Quarter Session of the Peace, holden at Hick's Hall in the said County, on Monday the Eighth Day of January 1770". Camden Fourth Series 43 (lipiec 1992): 421–30. http://dx.doi.org/10.1017/s0068690500001768.

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At the General Quarter Session of the Peace holden at HICK's HALL, in Saint-John-Street, in and for the County aforesaid, on Monday the Eighth Day of January 1770, before Bartholomew Hammond, Saunders Welch, John Spencer Colepeper, Elisha Biscoe, Edward Jennings, Henry Lamb, William Timbrell, Joseph Keeling, Esqrs. Sir Robert Darling, Knt. Nathan Carrington, Stephen Cole, John Barnfather, Charles Dod, Jeremiah Bentham, Peter Lewis Perrin, Rupert Clarke, Joseph Newsom, George Mercer, John Cox, Benjamin Cowley, David Wilmot, Burford Camper, and Thomas Edmonds, Esqrs.

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Loscocco, Paula. "Royalist Reclamation of Psalmic Song in 1650s England". Renaissance Quarterly 64, nr 2 (2011): 500–543. http://dx.doi.org/10.1086/661798.

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AbstractThis article brings into focus the royalist experience of political defeat and cultural recovery in mid-seventeenth-century England. It shows how royalist writers developed a polemically charged psalmic poetics that allowed them to appropriate the discursive authority of their Puritan enemies, reestablish their own cultural standing, and prepare the way for religious and political return. Several writers who found common cause in 1650s royalist poetics appear in these pages, including Izaak Walton, Thomas Stanley, Jeremy Taylor, Henry King, and the author(s) of the 1649 Eikon Basilike. Royalist writers with more divided responses to psalmic polemics appear here as well, including the episcopal divine, Henry Hammond, and the Davidic poet, Abraham Cowley. The poet, psalmist, and polemicist John Milton is an important presence throughout: his Eikonoklastes seems aware of his opponents’ polemical project, as do his 1653 psalms, and Paradise Lost itself may respond to what he once derided as royalist “Psalmistry.”

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Baskin, Jerry M. "Henry Chandler Cowles: Pioneer Ecologist Victor M. Cassidy . Henry Chandler Cowles: Pioneer Ecologist. Kedzic Sigel Press. Chicago, IL. 354 paper. 2007. ISBN: 1-934087-20-3." Natural Areas Journal 28, nr 3 (październik 2008): 320–21. http://dx.doi.org/10.3375/0885-8608(2008)28[320:hccpe]2.0.co;2.

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Kohler, Robert E. "Plants and Pigeonholes: Classification as a Practice in American Ecology". Historical Studies in the Natural Sciences 38, nr 1 (2008): 77–108. http://dx.doi.org/10.1525/hsns.2008.38.1.77.

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Between the 1890s and the 1930s field ecologists in the United States (and elsewhere) looked to classification to make their fledgling science an exacting and respectable one. Taking plant taxonomy as their model, ecologists expected that more comprehensive empirical knowledge of vegetation types would produce robust systems of classifications, as it did with species taxonomy. In the event, however, scaled-up data-gathering in the field led ecologists to conclude that vegetation types were not natural units, as species are. Most ecologists then abandoned classification for agendas borrowed from causal sciences such as chemistry or physiology. This cycle of expectation and despair is examined in the practical fieldwork of four ecologists: Henry Cowles, Frederic Clements, Henry Gleason, and Arthur Vestal. Their experiences reveal how perceptions of categories depend on the density and geographical scope of data. Cycles of optimism and disillusionment probably characterize all the classifying sciences in the modern period: because in the "Age of Progress" all sciences sought to advance by expanding and perfecting their empirical base. Comparative study of collecting and classifying practices across the sciences is in order.

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Ian Doyle, Anthony. "Gallican and Anglican: Henry Holden and John Cosin". Recusant History 30, nr 1 (maj 2010): 67–70. http://dx.doi.org/10.1017/s0034193200012644.

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The late lamented Antony F. Allison published in Recusant History, May 1995, a characteristically richly researched article, ‘An English Gallican: Henry Holden, (1596/7–1662), Part I (to 1648)’, but alas did not live to produce the sequel which he planned, a draft of which does not seem to have survived. Shortly after the appearance of the article I wrote to congratulate him on the recent publication of the second (multilingual) edition of what is now commonly called A&R2, and to tell him that the Articles proposed to the Catholics of England, signed T. H., Paris, 2 April 1648, of which the authorship he convincingly attributed to Holden, said by the latter to have been printed by 13 September 1648, and extant in a single imperfect copy dated by George Thomason 2 April, otherwise only known from contemporaneous manuscript and later printed summaries, had been re-published in 1946, without identification of the author, by the late Professor C. E. Whiting of Durham University. Whiting reported that the manuscript he copied was from the library of the late Canon Whitley of Bedlington (Northumberland) and had been made available to him by Major J. D. Cowen, F.S.A. In 1947 Cowen gave it to Ushaw College Library, as coming from his late aunt, Miss A. J. Thompson of Whickham (Co. Durham). In the 1950s or 1960s I was shown it by the then Librarian of Ushaw, Fr. Bernard Payne, and recognised an inscription at the beginning as in the distinctive hand of John Cosin, the eminent Anglican divine who, after being a canon of Durham Cathedral, Master of Peterhouse, Cambridge, Dean of Peterborough, and exile in France 1644–60, finally became Bishop of Durham, 1660–72.

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Scribailo, Robin. "Henry Chandler Cowles: Pioneer Ecologist Victor M. Cassidy . Henry Chandler Cowles: Pioneer Ecologist. 354 pp. Sigel Press. Medina, Ohio. USD $18.50. ISBN: 978-1-934087-20-6. Paperback." Journal of the Torrey Botanical Society 136, nr 2 (kwiecień 2009): 286–87. http://dx.doi.org/10.3159/09-br-022.1.

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Saharrea, Juan Manuel, i Claudio Marcelo Viale. "Pragmatismo, método y educación". Análisis Filosófico 41, nr 2 (1.11.2021): 197–229. http://dx.doi.org/10.36446/af.2021.435.

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En este artículo analizamos la crítica que Richard Rorty hace de la apelación al “método experimental” por parte de John Dewey. Defendemos que la categórica desestimación que Rorty presenta del vínculo entre el pragmatismo de Dewey y su concepción de método hubiera sido o bien matizada, o bien radicalmente diferente, de haber considerado seriamente la importancia que la reflexión sobre la educación tenía para el filósofo de Vermont. Nuestra estrategia interpretativa se apoya en la recuperación que Henry Cowles hace recientemente de la apelación al método experimental que Dewey lleva a cabo en How We Think (1910 primera edición, 1933 segunda edición) —uno de sus textos educativos más importantes—, en donde se muestra las vinculaciones relevantes entre pragmatismo, evolucionismo y método. Este marco histórico-conceptual nos permitirá cuestionar la reconstrucción de Rorty en torno de este aspecto de la filosofía deweyana tomando en cuenta, fundamentalmente, sus propias reflexiones sobre educación.

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LOUÇÃ, FRANCISCO. "Determinismo e livre arbítrio nas ciências sociais: contributos matemáticos". Brazilian Journal of Political Economy 21, nr 2 (czerwiec 2001): 342–64. http://dx.doi.org/10.1590/0101-31572001-1157.

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RESUMO O artigo examina algumas das críticas poderosas desenvolvidas contra o paradigma do equilíbrio geral, em particular aquelas que foram apresentadas do ponto de vista de novas ideias da matemática e da física. Maxwell, Duhem, Poincaré, Hurst e Mandelbrot, como muitos outros, contrastaram o universo da simplicidade - a base do teorema do limite central e a maior parte da inferência estatística tradicional - com o universo da complexidade organizada, argumentando que a auto-poiese e a coordenação são realmente características gerais de nossos sistemas físicos ou sociais. O impacto dessas discussões em economia é apresentado, pois algumas críticas à teoria do equilíbrio geral e, em particular, ao programa da Comissão Cowles emergiram dessa intuição sobre a complexidade: Sims, Granger, Wold, Hendry e outros economistas, estatísticos ou matemáticos expressaram suas reservas em relação à tradição e cultura ortodoxas em nossa ciência. As estratégias heterodoxas atuais são discutidas na última parte do artigo.

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Spilker. "The Curious Afterlife of Dissonant Counterpoint: Jeanette B. Holland's Class Notes from Henry Cowell's 1951 Advanced Music Theory Course". American Music 30, nr 4 (2012): 405. http://dx.doi.org/10.5406/americanmusic.30.4.0405.

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Ganz, Melissa J. "Carrying On Like a Madman". Nineteenth-Century Literature 70, nr 3 (1.12.2015): 363–97. http://dx.doi.org/10.1525/ncl.2015.70.3.363.

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Melissa J. Ganz, “Carrying On Like a Madman: Insanity and Responsibility in Strange Case of Dr. Jekyll and Mr. Hyde” (pp. 363–397) This essay reads Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde (1886) alongside medico-legal debates about the nature and scope of insanity, arguing that the novel seeks to shore up the idea of individual responsibility in Victorian society. The cognitive test of insanity that emerged from the M’Naghten case of 1843 deemed a person legally irresponsible for his acts if, due to a defect of reason resulting from mental disease, he was unable to perceive the nature and quality of his acts or to know that they were wrong. Alienists such as James Cowles Prichard and Henry Maudsley, however, argued that this test failed to acknowledge the existence of affective and volitional disorders such as moral and impulsive insanity. In their treatises, they urged judges to adopt a more permissive standard—an “irresistible impulse” test—that deemed accused criminals “mad” if they could not control their actions, even if they knew what they were doing was wrong. While the novel appears to be sympathetic to the position articulated by Prichard and Maudsley, I argue, it ultimately shows the dangers of broadening the definition of insanity. To recognize the idea of irresistible impulse as the basis of an insanity defense, Stevenson suggests, is to confound the distinctions between freedom and compulsion, deviance and disease. Contesting the use of emotional insanity to acquit educated professionals like Jekyll, Stevenson holds the doctor guilty of murder.

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Conley, Brandon A. "The Scientific Method: An Evolution of Thinking from Darwin to Dewey. By Henry M. Cowles. Cambridge (Massachusetts): Harvard University Press. $35.00. xi + 372 p.; index. ISBN: 9780674976191. 2020." Quarterly Review of Biology 96, nr 3 (1.09.2021): 209. http://dx.doi.org/10.1086/716116.

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Bokulich, Alisa, i Federica Bocchi. "Henry M. Cowles. The Scientific Method: An Evolution of Thinking from Darwin to Dewey. 384 pp., notes, index. Cambridge, Mass./London: Harvard University Press, 2020. $35 (cloth); ISBN 9780674976191." Isis 113, nr 1 (1.03.2022): 196–97. http://dx.doi.org/10.1086/717751.

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Maier, Bernhard. "Celtic Correspondences: Letters from Whitley Stokes to Adolphe Pictet and from Henri d'Arbois de Jubainville to Ernst Windisch". Studia Celto-Slavica 11 (2020): 111–28. http://dx.doi.org/10.54586/mzup8096.

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When Johann Caspar Zeuss laid the foundations of modern Celtic Philology with his Grammatica Celtica (1853), he had at least three immediate forerunners: the English physician and anthropologist James Cowles Prichard (1786–1848) with his book The Eastern Origin of the Celtic Nations (1831), the Swiss specialist in ballistics and amateur linguist Adolphe Pictet (1799–1875) with his essay ‘De l’affinité des langues celtiques avec le sanscrit’ (1836), and the German founding father of Comparative Philology Franz Bopp (1791–1867) with his treatise ‘Über die celtischen Sprachen vom Gesichtspunkt der vergleichenden Sprachforschung’ (1838). However, as Prichard had died as early as 1848 and Bopp had moved on to studying other branches of Indo-European, it was only Adolphe Pictet who continued his Celtic researches in the wake of Zeuss’ seminal work, publishing articles in scholarly periodicals and corresponding with fellow scholars in Ireland, Britain, France and Germany. For the last sixteen years of his life, Pictet exchanged letters with Whitley Stokes, who was just beginning to make his name in Celtic Philology at that time. While Pictet’s letters to Stokes have yet to be traced, 26 letters and two postcards from Stokes to Pictet are extant among the papers of Adolphe Pictet in the Library of Geneva. Among the papers of the German Celticist and Indologist Ernst Windisch (1844–1918), which are preserved in the Archive of the University of Leipzig, the most extensive collection of letters and postcards in the field of Celtic Studies is due to Kuno Meyer (1858–1919), who was among Windisch’s earliest, most faithful and most productive pupils. Next to this, the most extensive Celtic correspondence of Windisch appears to have been with his French colleague Henri d’Arbois de Jubainville (1827–1910), first professor of Celtic at the Collège de France and long-time editor of Révue celtique. Unlike Windisch, who was an Indo-Europeanist by training and continued to combine an interest in ancient Ireland with one in ancient India for most of his active academic career, d’Arbois de Jubainville was first and foremost an historian with a strong archaeological bent. Both men, however, shared a keen interest in the fabric of ancient civilisations and its reflection in literature. Between 1884 and 1907, more than fifty letters and postcards from d’Arbois to Windisch testify to the cordial relationship between the two scholars, who are among the most important founding fathers of Celtic Studies as an academic discipline in France and Germany. In this paper, I shall try to present an overview of these letters, pointing out in which ways and to which extent they reflect specific problems of research, the institutional setting of Celtic Studies in the decades around 1900, and the personality of the letter writers. In conclusion I shall address the question to what extent a comprehensive analysis and appraisal of as yet unpublished scholarly letters may contribute not only to a profounder understanding of the formation and early history of Celtic Studies, but also to an enhanced appreciation of its present situation.

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Rankin, Andrew, i Edwina Naik. "861 Development of FPA157, an anti-CCR8 depleting antibody engineered to preferentially eliminate tumor-infiltrating T regulatory cells". Journal for ImmunoTherapy of Cancer 8, Suppl 3 (listopad 2020): A914. http://dx.doi.org/10.1136/jitc-2020-sitc2020.0861.

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BackgroundThe clinical success of PD-1- and CTLA-4- immune checkpoint inhibitors highlights the key contribution of immunosuppression to limiting effective anti-tumor responses. However, as many patients do not respond to anti-PD1 or CTLA4 therapy1-3 novel therapeutics that target additional immune-suppressive mechanisms are needed. Regulatory T cells (Tregs) inhibit immune responses in the tumor microenvironment via multiple suppressive mechanisms.4 5 Existing Treg-targeting agents lack specificity for intratumoral Tregs and can also deplete effector cells, a property that has likely contributed to the lack of clinical activity observed to date. CCR8 (C-C chemokine receptor 8) is selectively expressed on highly activated intratumoral Tregs, its high expression correlates with poor prognosis in multiple human tumor types6 7 and depletion of CCR8+ Tregs in preclinical models elicited potent anti-tumor activity. These observations provided rationale for the development of a CCR8-specific human depleting antibody.MethodsHuman FOXP3 and CCR8 expression was correlated across multiple tumor types using TCGA datasets and expression of CCR8 evaluated in primary tumor explants and PBMCs by flow cytometry. The efficacy of anti-CCR8 antibody treatment was evaluated in the MC38 and CT26 murine tumor models. The depletion of Tregs following anti-CCR8 treatment was assessed by flow cytometry. Flow cytometric-based binding assays were performed using cell lines expressing human or cynomolgus CCR8. Purified human NK cells were co-cultured with CCR8+ target cells and flow cytometry used to evaluate antibody-dependent killing activity.ResultsCCR8 expression was highly correlated with FoxP3 across multiple cancer subtypes and was low to absent on effector T cells. Importantly, CCR8 was not detected on any peripheral human leukocyte subset. In murine tumor models, anti-CCR8 antibody treatment reduced tumor growth in a dose- and Fc-gamma-receptor-dependent manner and resulted in complete regressions and the development of memory. Tumor shrinkage was associated with a reduction in intratumoral Tregs and increased representation of intratumoral CD8 T cells. FPA157 is a highly specific human and cynomolgus crossreactive CCR8 antibody that does not bind closely related chemokine receptors. FPA157 was engineered to enhance antibody-dependent cell-mediated cytotoxicity (eADCC) and elicited potent NK-mediated killing of target cells expressing CCR8 at levels observed on human intratumoralTregs.ConclusionsFPA157 is a CCR8-specific monoclonal antibody with eADCC activity that is being developed for the treatment of cancer. Depletion of CCR8+ Tregs induced substantial anti-tumor activity in pre-clinical models, thus supporting the clinical evaluation of FPA157 as a novel approach to alleviate immune suppression in the microenvironment of human solid tumors.ReferencesHellmann MD, Ciuleanu TE, Pluzanski A, Lee JS, Otterson GA, Audigier-Valette C, Minenza E, Linardou H, Burgers S, Salman P, Borghaei H, Ramalingam SS, Brahmer J, Reck M, O’Byrne KJ, Geese WJ, Green G, Chang H, Szustakowski J, Bhagavatheeswaran P, Healey D, Fu Y, Nathan F, Paz-Ares L. Nivolumab plus Ipilimumab in lung cancer with a high tumor mutational burden. N Engl J Med 2018;378(22):2093-2104.Wolchok JD, Chiarion-Sileni V, Gonzalez R, Rutkowski P, Grob JJ, Cowey CL, Lao CD, Wagstaff J, Schadendorf D, Ferrucci PF, Smylie M, Dummer R, Hill A, Hogg D, Haanen J, Carlino MS, Bechter O, Maio M, Marquez-Rodas I, Guidoboni M, McArthur G, Lebbé C, Ascierto PA, Long GV, Cebon J, Sosman J, Postow MA, Callahan MK, Walker D, Rollin L, Bhore R, Hodi FS, Larkin J. Overall survival with combined nivolumab and ipilimumab in advanced melanoma. N Engl J Med 2017;377(14):1345-1356.Motzer RJ, Tannir NM, McDermott DF, Arén Frontera O, Melichar B, Choueiri TK, Plimack ER, Barthélémy P, Porta C, George S, Powles T, Donskov F, Neiman V, Kollmannsberger CK, Salman P, Gurney H, Hawkins R, Ravaud A, Grimm MO, Bracarda S, Barrios CH, Tomita Y, Castellano D, Rini BI, Chen AC, Mekan S, McHenry MB, Wind-Rotolo M, Doan J, Sharma P, Hammers HJ, Escudier B; CheckMate 214 Investigators. Nivolumab plus ipilimumab versus sunitinib in advanced renal-cell carcinoma. N Engl J Med 2018 Apr 5;378(14):1277-1290.Teng MW, Ngiow SF, von Scheidt B, McLaughlin N, Sparwasser T, Smyth MJ. Conditional regulatory T-cell depletion releases adaptive immunity preventing carcinogenesis and suppressing established tumor growth [published correction appears in Cancer Res. 2010; 70(23):10014]. Cancer Res 2010;70(20):7800-7809.Simpson TR, Li F, Montalvo-Ortiz W, Sepulveda MA, Bergerhoff K, Arce F, Roddie C, Henry JY, Yagita H, Wolchok JD, Peggs KS, Ravetch JV, Allison JP, Quezada SA. Fc-dependent depletion of tumor-infiltrating regulatory T cells co-defines the efficacy of anti-CTLA-4 therapy against melanoma. J Exp Med 2013;210(9):1695-710.Plitas G, Konopacki C, Wu K, Bos PD, Morrow M, Putintseva EV, Chudakov DM, Rudensky AY. Regulatory T cells exhibit distinct features in human breast cancer. Immunity 2016;45(5):1122-1134.De Simone M, Arrigoni A, Rossetti G, Gruarin P, Ranzani V, Politano C, Bonnal RJP, Provasi E, Sarnicola ML, Panzeri I, Moro M, Crosti M, Mazzara S, Vaira V, Bosari S, Palleschi A, Santambrogio L, Bovo G, Zucchini N, Totis M, Gianotti L, Cesana G, Perego RA, Maroni N, Pisani Ceretti A, Opocher E, De Francesco R, Geginat J, Stunnenberg HG, Abrignani S, Pagani M. Transcriptional landscape of human tissue lymphocytes unveils uniqueness of tumor-infiltrating T regulatory cells. Immunity 2016;45(5):1135-1147.

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Little, Christopher. "Overtures from the British Isles - Frederic Austin The Sea Venturers Charles Villiers Stanford Prelude to Oedipus tyrannus op. 29 Samuel Coleridge-Taylor Overture to The Song of the Hiawatha op. 30, no. 3 Frederic Hymen Cowen The Butterfly’s Ball Granville Bantock The Frogs Alexander Campbell Mackenzie Overture to The Little Minister Arthur Sullivan Overture to Macbeth Henry Balfour Gardiner Overture to a Comedy - BBC National Orchestra of Wales, Rumon Gamba cond Chandos 10797, 2014 (1 CD, 78 minutes), $13". Nineteenth-Century Music Review 15, nr 1 (7.11.2017): 132–35. http://dx.doi.org/10.1017/s1479409817000477.

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"Henry Cowell, bohemian". Choice Reviews Online 40, nr 06 (1.02.2003): 40–3311. http://dx.doi.org/10.5860/choice.40-3311.

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