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Inventing Jazztowns and Internationalizing Local Identities in Japan
E. Taylor Atkins, Department of History
Describes the respective claims of port cities Yokohama and Kobe to be the points of entry for jazz in Japan.
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DeFreuding Evolutionary Psychology: Adaptation and Human Motivation
David J. Buller, Department of Philosophy
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Unseen Influence: Lucretia Blankenburg and the Rise of Philadelphia Reform Politics in 1911
Drew VandeCreek, University Libraries
Lucretia Blankenburg successfully made women a crucial element of her husband Rudolph's successful campaign to become Mayor of Philadelphia in 1911. Although the reform candidate did not enjoy the use of the type of political organization provided to major-party candidates, he benefited from the efforts of many of the city's club women. Many lobbied their husbands and other male relatives on behalf of Blankenburg's candidacy. The candidate also employed maternalist themes of good city management and civic purity in his campaign. Most significantly, women's clubs provided Rudolph Blankenburg with a large number of volunteers who made house-to-house canvasses, raised funds, and organized motor pools to bring voters to the polls. Although Lucretia Blankenburg played a large role in organizing these activities, she downplayed her influence so as to insulate her husband from potential charges of unmasculine ineffectuality. Machine Republicans and male municipal reformers in Philadelphia largely failed to notice the contributions of Lucretia Blankenburg and the city's club women, even after the election of 1911.
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Schubertian Tonal Plans Reinterpreted: Dvořák's 'Shadow-Key' Sonata Forms
John K. Novak, School of Music
This article compares the tonal processes of the first movement Dvořák’s D major Piano Quartet (1875) to those of the first movement of his String Sextet in A major (1878). Like certain works of Franz Schubert, these movements have a three-key exposition. However, in the case of Schubert, the third key is in the dominant. In the Dvořák works, the second key is in the dominant, while the third key is a major third above tonic. This chromatic mediant is the “shadow key.” In both works, the shadow key is hinted at very early. Since the recapitulation brings down both the second and third key areas a perfect fifth, the sonata form proper ends in a key outside tonic. As in the Piano Quintet in A major (1887) and the Ninth Symphony in E minor (1893), Dvořák relies on a coda to bring back the tonic key. The processes of the String Sextet are also seen to be a tightening of the processes of the Piano Quartet.
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