Martin D. Jenkins

Bio: Martin D. Jenkins is an academic researcher. The author has contributed to research in topics: Volume (thermodynamics) & Index (economics). The author has an hindex of 5, co-authored 19 publications receiving 65 citations.

Index to Volume 58 September 2001 through June 2002

Abstract: 1002 Personal names are identified as author (a), composer (c), editor (e), reviewer (r), or translator (t); names not so identified are subject entries. Titles of articles published in Notes are contained in quotation marks; titles of reviewed books and compositions are italicized; titles of compact discs are identified as CD. Series titles are grouped under the headings: Monographs in series; Scores in series; Complete and collected editions; and Historical sets and monuments of music. Entries are alphabetized word-by-word.

Index to Volume 69: September 2012 through June 2013

Abstract: Aaron Copland: Music in the 20s (DVD), 146– 47 Academic Charts Online, 599–602 Adams, John, Nixon in China, 555–57 African American men, identity, 761–65 Agawu, Kofi, r 274–77 Alexander, Peter M., r 61–63 Allis, Michael, a 757–60 Ambassador Auditorium (Pasadena), audio collection, 268–69 American Idol, 327–28 American Music Research Centre/ University of Colorado, 722–23 Analyzing Schubert (Clark), 292–303 Andersen, Leslie, “Video Reviews,” 139–50, 604–20 André Previn (DVD), 145–46 Antokoletz, Elliott, e 73–76 Antonio Carlos Jobim ( Jobim), 319–20 Archer-Capuzzo, Sonia, r 320–23 Arnim, Bettina von, and Beethoven, 281–84 The Art of Partimento (Sanguinetti), 736–39 Ashenfelder, Michael, r 616–17 Astaire, Fred, and jazz, 329–30 authorship, 688–705 awards, grants, prizes, 525–26, 721

Index to Volume 73: September 2016 through June 2017

Abstract: Abell, David Charles, e 161–66 Abromeit, Kathleen, 508 Adefolalu, Opetoritse Agbejuleoritse, ARL/ MLA Diversity & Inclusion Fellow, 79 Adelson, Robert, e 559–61; r 313–15 Adelstein, Rachel, r 271–73 After Django (Perchard), 104–6 Alajaji, Sylvia, a 279–81 Albania, folk music, 712–13 Alderking, Seann, e 161–66 analysis, 533–40 antisemitism, 730–33 Arazoza, Ana Elena, t 117–20 Archer-Capuzzo, Sonia, Gerboth Award, 77–78 “An Archive and a Collection of Rare Music Scores: The William Crawford III Collections” (Tsou), 673–97 Arias for Stefano Mandini, 339–45 ARL/MLA Diversity & Inclusion Fellows, 79 Armenians, displaced, 279–81 Arnold, Donna, “A Treasure Trove from Radio’s Bygone Days: The WFAA and WBAP Sheet-Music Collections at the University of North Texas Music Library,” 22–32 Arranging Gershwin (Bañagale), 113–15 Association of College & Research Libraries, Framework for Information Literacy in Higher Education, 9–21 Atkinson, Peter, r 707–10 Austerlitz, Paul, e 777–81 Austin, Larry, collection, 269 awards, grants, prizes, 77–79, 504

Index to Volume 59 September 2002 through June 2003

Abstract: 1042 Personal names are identified as author (a), composer (c), editor (e), reviewer (r), performer (p), or translator (t); names not so identified are subject entries. Titles of articles published in Notes are contained in quotation marks; titles of reviewed books and compositions are italicized. Titles of compact discs are identified as CD. Series titles are grouped under the headings: Monographs in series; Scores in series; Complete and collected editions; and Historical sets and monuments of music. Entries are alphabetized word-by-word.

Index to Volume 68: September 2011 through June 2012

Abstract: A-R Editions’ Online Music Anthology, 863–65 Adamo, Mark, c 160 Adler, Thomas A., a 772–74 Adrian Willaert and the Theory of Interval Affect (McKinney), 343–46 aesthetics, Java, 78–81; and philosophy, 351–54, 364–66 Albéniz, Isaac, c 179–81 Alden, Jane, a 337–40 Alegant, Brian, a 102–5 Alexander, Peter M., r 559–61 Alexander Zemlinsky: A Lyric Symphony (Mosko vitz), 86–88 Allen, Ray, a 385–87 Allen Music Library/Florida State Univer sity, 61–62 Al-Taee, Nasser, a 596–99 American Viola Society, 729–50 Andersen, Leslie, “Video Reviews,” 154–73, 659–66 An Annotated Bibliography of Guitar Methods, 1760–1860 (Stenstadvold), 403–5 Annotated Catalogue of Chopin’s First Editions (Grabowski & Rink), 398–400 anti-Semitism, 359–61 Antonio Vivaldi (Pozzi), 348–51 Antonio Vivaldi und seineZeit (Rampe), 348–51 Applebaum, Mark, c 172–73 Archer, Ken, r 76–77 Archer-Capuzzo, Sonia, Freeman Travel Grant, 760–61 Argoru VIII (Singleton), 667–70 Armstrong, Louis, recordings, 770–72 arranging, 357–59 Ars musica septentrionalis, 811–14 Ashenfelder, Michael, r 168 Association of Research Libraries, Diversity Inclusion Initiative, 322–23, 761 Austin, Elizabeth R., 563–65 Austin (Texas), musical life, 581–83 Aux-Cousteaux, Artus, c 176–79 avant-garde music, New York, 603–5 awards, grants, prizes, 60, 321–23, 758–61

Electronic and Computer Music

Abstract: 1. The Background, to 1945 2. Paris and Musique Concrete 3. Cologne and Electronische Musik 4. Milan and Elsewhere in Europe 5. America 6. The Voltage-Controlled Synthesizer 7. Works for Tape 8. Live Electronic Music 9. Rock and Pop Electronic Music 10. The Foundations of Computer Music 11. From Computer Technology to Musical Creativity i Software Synthesis and Computer-Assisted Composition ii Hybrid Synthesis 12. The Microprocessor Revolution 13. The Characteristics of Digital Audio 14. The Development of the MIDI Communications Protocol 15. From Analog to Digital: The Evolution of MIDI Hardware i The Pioneering Phase, to 1983 ii The Development of the MIDI Sampler iii New Directions in Synthesizer Architectures iv Beyond the Keyboard: Alternative Performance Controllers v Other MIDI-Related Hardware 16. From Microcomputer to Music Computer: The MIDI Dimension 17. New Horizons for MIDI-based Technologies 18. Personal Computers and Sound Processing 19. Music Workstations and Related Computing Architectures 20. Performance Controllers 21. New Horizons in Synthesis and Signal Processing Software 22. Conclusion

Bull’s eye: Unraveling the medical mystery of Lyme disease

Abstract: Scientists, clinicians, and the general public have become so habituated to the idea that we live in a world of emerging and resurging infectious diseases that we forget how recently this notion has taken root in medical terminology and the public consciousness. Of the numerous infections that have confronted the biomedical and public health communities during the past two decades, two, AIDS and Lyme disease, have done more than any others to foster the concept that infectious diseases are rapidly evolving entities. Though vastly different in etiology and manifestations, both afflictions have transcended the public health and scientific arenas to become major sociological phenomena. However, while the remarkable advances in the science and management of HIV disease have united all but the most ardent AIDS activists, controversy rages on between the mainstream medical community and a small, but vociferous, alliance of nonprofessionals and practitioners over the very definition of Lyme disease — not to mention its medical management — despite impressive gains in our understanding of the most prevalent arthropod-borne infection in the United States. In Bull’s eye: unraveling the medical mystery of Lyme disease, Jonathan Edlow attempts to explain this enigma by chronicling events from the disorder’s emergence in the affluent suburbs of eastern Connecticut in the 1970s to its current state of political and medical polarization. Edlow’s book consists of two parts. At the outset, the author creates an entertaining narrative that weaves together convergent subplots and observations, some more than a hundred years old and spanning continents, that culminated in the discovery of the Lyme disease spirochete, Borrelia burgdorferi, and its principal vector, Ixodes scapularis. The endeavors he describes are part of Lyme disease lore and, hence, are familiar to most workers in the field. Nevertheless, Edlow provides new information that illuminates the tale even for those, myself included, who thought they knew it well. Though his account is tedious at times for physicians and scientists, the author goes to great lengths to ensure that his nonmedical readers are not left behind by providing detailed explanations of the scientific method and the actual techniques researchers use to study infectious diseases. The power of this portion of the book, however, resides in his dramatization of the human dimensions of the Lyme disease story — the uncertainty and disagreements among the physicians who treated and investigated the first cases and, most notably, the heroism of two Connecticut women, Polly Murray and Judith Mensch, who forced the Centers for Disease Control and local public health authorities to take seriously the disorder (misdiagnosed as juvenile rheumatoid arthritis) that was afflicting their families and community. Edlow thus exposes a root cause of the forces that gave rise to what he calls the “conventional” and “alternative” camps. Lyme disease was really discovered by patients; their intimate involvement in the drama from the outset has empowered nonprofessionals to challenge the judgments of medical and scientific experts to this very day. The second half of the book focuses on two questions: “Why did the incidence and geographical range of Lyme disease continue to expand” and “Why did public concern and the sociopolitical profile of Lyme disease remain intense?” Edlow correctly attributes the expansion of Lyme disease to the reforestation of endemic areas, the consequent explosion of local deer populations, and demographic trends that have placed humans, accidental hosts for the spirochete, in the midst of the enzootic cycles that perpetuate the bacterium. For the second question, Edlow delves into the thorny issue of chronic Lyme disease. He divides the Lyme disease medical community into a “conventional” camp, which believes that B. burgdorferi infection is readily diagnosed under most circumstances and responds well to relatively short courses of antibiotics, and an “alternative” camp, which holds that chronic Lyme disease patients suffer from persistent B. burgdorferi infection that can be eradicated only with prolonged courses of antibiotics. Unfortunately, his apparent sympathies for the alternative camp cause him to deviate from the scientific tenor established earlier in the book. A central tenet of the alternative camp’s viewpoint is that mainstream practitioners adhere inflexibly to unreliable Lyme disease tests. To support this viewpoint, Edlow engages in a tortuous dissertation on medical diagnostics without seriously examining the corpus of clinical studies that have yielded serviceable diagnostic assays and criteria for Lyme disease. He also relies heavily on Thomas Kuhn’s theory that scientific fields advance via paradigmatic shifts; based upon Kuhn’s landmark treatise, he proposes that the schism in the Lyme disease field represents a stalemate between competing but equal paradigms. Along the way, he implies that the conventional camp has used its superior political and economic power to stifle efforts by the alternative adherents to garner evidence in their favor. Unfortunately, Edlow overlooks the fact that a field advances precisely because the weight of scientific evidence eventually favors one paradigm over another. By failing to carefully and objectively evaluate the scientific and medical evidence that support these two viewpoints, rather than scoring a bull’s eye, Edlow’s analysis ultimately misses the mark.

The effect of music therapy on pain and anxiety in intensive care patients

Abstract: In recent years, intensive care units have been using advanced technology that provides significantly improved results in clinical treatment and care practices. However, this results in intensive care patients experiencing pain and anxiety. This pain and anxiety is generally brought under control with various pharmacological preparations. When a pharmacological approach is not used or is ineffective, doctors and nurses also use non-pharmacological approaches such as music to control pain and anxiety. Research has found music therapy to be an effective method of reducing pain intensity and anxiety levels in intensive care patients. Therefore, the use of music therapy is important for intensive care patients. This article will deal with the effects of music therapy on pain and anxiety management in intensive care patients.

The Oxford Handbook of the American Musical

Abstract: The Oxford Handbook of the American Musical. Edited by Raymond Knapp, Mitchell Morris and Stacy Wolf. NY: Oxford University Press, 2011. 480 pp (hardcover). Bibliography, Index, Companion website. ISBN 978-0195385946. Jim Lovensheimer's excellent essay in The Oxford Handbook of the American Musical ends with the statement "as the musical undergoes more and more serious critical interrogation, solutions to the problems posed in this essay might be forthcoming. But even if they are not, the problems make for challenging consideration." Although in this case Lovensheimer refers to the many issues raised by Barthian and Foucauldian readings on the questions of authors and texts of musicals, this statement could well sum up the central thrust of this publication, which explores the musical "prismatically" (to use co-editor Stacy Wolf's term) and raises the most interesting and pressing questions about the American musical. In a field that is full of encyclopedias, chronicles, and other reference works, the advent of yet another handbook would seem to glut an already full market of data-rich but critical-poor sources on musical theatre. However, editors Raymond Knapp, Mitchell Morris, and Wolf (all leading experts in the field) have organized the twenty-nine essays in this volume around central keywords and concepts in much the same way as one of the primary texts on critical theory, Lentricchia and McLaughlin's Critical Terms for Literary Study (University of Chicago Press, 1995). Although this allegiance would suggest that the Handbook is heavily influenced by critical theory (and some of the essays in the first section certainly reflect that focus) the volume embraces a wide variety of approaches and methodologies, with essays from film and theatre scholars, musicologists, and practitioners. Organized into six large sections (Historiography, Transformations, Media, identities, Performance and Audiences), the Handbook presents short, useful essays on practical and critical concerns and presents something of a snapshot as to where the research field stands at present. Scholars of the musical will find the first section the most stimulating, particularly Morris's essay on historiography, which lays out issues in dealing with musicals as historical artifacts as well as ideas of the impartiality of historical chronicles, questions of value, narrative, authorship and organicism. Indeed, one would wish this section were longer, so tantalizing and searching are the questions it raises. Similarly Lovensheimer's previously mentioned essay on "Texts and Authors" addresses some of the most interesting intellectual concerns of the musical. For the student or neophyte, Paul R. Laird's survey of musical style in the musical and Liza Gennaro's overview of choreography and dance allow for a broad introduction to the major periods and styles of musical theatre, and the addition of a companion website with audio and video excerpts makes this volume an excellent musical theatre textbook. At the same time, essays on audiences and the financing and production of musicals (as well as the field of amateur musical theatre production) offer practical information on the nuts and bolts of how musicals come to the stage. One of the strengths of this publication, then, is the variety of audiences it addresses and its usefulness both to the serious scholar, the student, the collector, and the newcomer to the world of musical theatre. One of the benefits of a publication of this kind is that it parses out so completely different elements of the musical, so Gennaro's previously mentioned chapter "Evolution of Dance in the Golden Age of the American 'Book Musical'" in the Historiography section is followed up in the Performance section by Zachary A. …