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How does dual-use technology influence cooperation? This study explores how the development of nuclear latency (the technological precursors to nuclear weapons) affects U.S. cooperative overtures toward its possessors. We argue that the ambiguous nature of nuclear latency creates uncertainty about the intentions of its possessors and impacts cooperation. Using event data, we find that a state's possession of overt lab-scale enrichment and reprocessing facilities is significantly correlated with greater cooperative overtures from the United States toward that country. These overtures may serve as effective tools to counter nuclear proliferation among these states. Yet, when latent states engage in a concerted effort to keep their facilities secret, both at the lab and a more advanced "pilot" stage, this relationship is reversed. These results carry important implications for the impact of emerging, dual-use technologies on international security broadly. [ABSTRACT FROM AUTHOR]

Balakirev's overtures on national themes are commonly seen as the primary avenue in the development of Russian orchestral music, but there is little consensus regarding what constitutes this avenue, other than that Balakirev took Glinka's Kamarinskaia as a starting point. This article presents an alternative perspective on the overtures, challenging the widely recounted connection between the overtures and Kamarinskaia, and portraying them as three consecutive stages of conscious experimentation with contemporary pan-European forms and generic norms. The unifying thread throughout these experiments is structural discord, which manifests itself whimsically in the First Russian Overture, with greater urgency and grandeur in the Second Russian Overture, and finally with cataclysmic frenzy in the Czech Overture. [ABSTRACT FROM AUTHOR]

The article discusses the artistic career and life of artist Skunder Boghossian describing his artistic brilliance and passionate overtures connote a certain reality but always within a universal concept of ingrained myths, symbols, and allegories unique to people of color.

Artikkel sisaldab Felix Mendelssohni, Hector Berliozi ja Richard Wagneri komponeeritud nelja romantilise avamängu analüüsi. Kõiki neid avamänge ühendab omadus, mida artikli autori arvates võiks nimetada „tugevaks" kõrvalteemaks, s.t. ebatavaliselt silmatorkavaks teemaks, mis ilmudes varjutab või tühistab eelneva peateema ja on seega vastuolus kõige sellega, mida kaasaegsed sonaadivormi teooriad meile pea-ja kõrvalteema suhte kohta ütlevad. Artikli lähtepunktiks on kõrvalteema sellisena, nagu seda kirjeldab Adolf Bernhard Marx oma vormiõpetuses (Marx 1845). Siin näidatakse, kuidas mainitud teoorias pole kõrvalteema määratletud mitte absoluutseid mõisteid kasutades, vaid pigem suhte kaudu peateemaga. Marxi teooriale omane vaade sonaadivormi teemade vastastikusest seotusest on kehtiv ka vaadeldavate avamängude puhul, selle erandiga, et kõrvalteema on siin peateemaga võrreldes suhteliselt tugev ja mitte nõrk. Just kõrvalteema ilmub siin entiteedina, mille kaudu peateema end (tagantjärele) määratleb. Järgnevalt tutvustatakse tugeva kõrvalteema kahte ilmnemistüüpi. Esimene analüüs, Mendelssohni avamäng „Hebriidid" („Die Hebriden", 1830/32) istutab Janet Schmalfeldti arusaama n.-ö. sissepoole pöörduvatest kõrvalteemadest (Schmalfeldt 2011) sümfoonilisse konteksti. Kui looduspilti edasi andvat peateemat võib kirjeldada omalaadse meloodilise vaakumina, siis kõrvalteema ilmub just teose esimese tegeliku teemana: see avaldub hoolimata mõnevõrra ebatavalisest ülesehitusest lõpetatud vormilise kesktasandi üksusena, mille väljaarendatud meloodia lisab teosele lüürilisust ja väljendusrikkust ja seega ka subjektiivsust. Teises analüüsis, Berliozi avamängus „Vabakohtunikud" („Les francs-juges", 1826) kirjeldatakse kõrvalteemat, mis näib käituvat täpselt vastupidi, nimelt, „pöörduvat väljapoole". Kuid selgi juhul ei saa rääkida peateemast selle sõna tegelikus ja täielikus mõttes, kõrvalteema ületab seda niihästi pikkuse kui ka meloodilisuse ja meedejäävuse poolest. Mõlemas analüüsis näidatakse, kuidas mainitud avamängude sisse-või väljapoole pöörduvad kõrvalteemad muutuvad „tugevaks" eelkõige sisemistest ja kontekstuaalsetest faktoritest tingituna. Kaks pikemat analüüsi artikli teises osas lähtuvad mõnevõrra laiemast perspektiivist ning käsitlevad rolli, mida väljapoole pöörduvad tugevad kõrvalteemad mängivad Berliozi kontsertavamängus „Rooma karneval" („Le Carnaval romain", 1844) ja Wagneri avamängus „Tannhäuser" (1845) vormi kui terviku seisukohast. Mõlemas teoses avaldab kõrvalteema hierarhiline ülimuslikkus peateema ees kohest mõju vormi edasisele arengule. Täpsemalt öeldes pööratakse teemasid esindavad vormifunktsioonid siin vormi edasisel lahtirullumisel ümber nii, et ekspositsiooni tugev kõrvalteema näib omandavat repriisis hoopis peateema rolli. Vormi ebatavalist avaldumist võib ühtlasi selgitada muusika programmilise aspektiga, millele on viidatud juba avamängu „Rooma karneval" pealkirjas ja ooperi „Tannhäuser" tegevuses: esimeses on see seotud teemade maskeraadiga, teises aga kõrvalteema ja töötluses kiilundina avalduva episoodi samastamisega Tannhäuseri ja Veenuse tegelaskujudega. Artikli lõpuosas argumenteeritakse teosekeskse lähenemise poolt ning arutletakse Hepokoski ja Darcy (2006) sonaaditüübi nr. 2 mõiste rakendamise võimalikkuse üle mainitud teoste puhul, samuti rõhutatakse pigem dünaamilise kui staatilise vaate olulisust muusikalise vormi käsitlemisel. [ABSTRACT FROM AUTHOR]

The Jiamusi massif is a major tectonic unit in the eastern part of NE China and composed chiefly of the Early Paleozoic (about 500 Ma) metamorphosed crystalline basement containing Precambrian, even Archean crust and three suites of unmetamorphosed continental marginal sedimentary formations of the Devonian-Lower Carboniferous, the Late Carboniferous-Permian and the Late Triassic, which are similar to those in the Bureya and Khanka massifs in Russia. In the Devonian-Lower Carboniferous, the microcontinent consisting of the Jiamusi and Songnen massifs in China and the Bureya and Khanka massifs in Russia evolved independently, the eastern part of which was a passive continental margin, where a suite of the marine sedimentary-volcanic formation is overlain unconformably on the crystalline basement. The regional stratigraphic break in the middle Carboniferous in the whole northeastern China was related to the collision of the microcontinent with the Argun-Hinggan microcontinent in the west, indicating the formation of a new amalgamated continent (Heilongjiang plate). Therefore, the Late Carboniferous-Permian volcanic-sedimentary formation is the first unitary cover on the Heilongjiang plate. The Late Carboniferous-Permian and the Late Triassic sedimentary formations in the eastern part of the Jiamusi-Bureya-Khanka microcontinent represent the evolutional features of the eastern continental margin of the Heilongjiang plate. Summarily, the eastern margin of the Heilongjiang plate mainly suffered the following evolution stages from the Late Carboniferous to the Late Triassic: (1) the transform or passive continental margin in the Late Carboniferous, characterized by terrestrial facies clastic rocks with interbeded recoverable coal layers; (2) the active continental margin in the Permian marked by the magmatic arc composed mainly of intermediate-acid volcanics and granites; (3) the transform margin in the Early-Middle Triassic indicated by the simultaneous stratigraphic break, and (4) the passive continental margin in the Late Triassic characterized by the marine-terrigenous facies sedimentary formation. [ABSTRACT FROM AUTHOR]

The article discusses the 1901 concert overture "Cockaigne op. 40" by Edward Elgar. It states that the overture is cast as a sonata form of movement with an episodic movement, which is not programmatic. Also mentioned are the formal analysis of the overture, the tension between the desire of Elgar for acceptance by a metropolitan elite and the alienation he felt from it, and alternative conceptions of the city of London, England as portrayed by Elgar.

This observation reports an auditory illusion at play when listening to dotted rhythms. Listeners judge performances as sounding more dotted when played faster and/or staccato even when the dotting ratio is unchanged. This finding means that perception and performance of dotted rhythms are not the same and thus debating the correct dotting ratio as the crucial element in creating a historically informed performance of pieces with prevailing dotted rhythms is futile. The emphasis should rather be on the interaction of performance parameters that contribute to the ‘dottedness’ of an interpretation. [ABSTRACT FROM AUTHOR]

The article focuses on the earliest instrumental compositions of Henry Purcell which survived incomplete in his autograph in the bass part-book Yale University, Beinecke Rare Book and Manuscript Library, Osborn 515. It has been suggested that Matthew Locke's music for violin band may have been the source of inspiration for the first section of "The Stairre Case Overture." It cites evidence that suggests that the composer had the opportunity to hear French overtures in the 1670s. It provides a comparison between Purcells' five-part writing in the overture and his birthday odes for Queen Mary of 1689.

strategic reduction of tension during the development section and deferral of it until later on in the structure. In 'Non-traditional Functions of the Development Section in Sonata Forms by Brahms' (The Music Review, LI/1 [1990], pp. 25-35) David Beveridge explored the latter tendency in the sonata-type movements of Brahms, and the purpose of this article is to investigate the earlier examples of Felix Mendelssohn. Charles Rosen once observed, in relation to the 'Midsummer Night's Dream' Overture, that «with Mendelssohn, the end of the development is often not a climax but the lowest point of tension» (Sonata Forms, New York, W. W. Norton, 1980, pp. 259-260). There are a sufficient number of examples of 'developmental withdrawal' in the works of Mendelssohn - including the first movements of the Octet in Eb major, Op. 20, Symphony no. 2 in Bb major, Op. 52 ('Lobgesang') - to make it a characterising, feature of his style. That 'developmental withdrawal' often precedes substantial, sometimes intense codas in the same movements means that Mendelssohn sometimes seems to be engineering a collaboration between the two devices to achieve endweighting. For such 'collaboration' to take place, however, a palpable connection must exist between development and coda: this does not occur in every instance and the effects of the 'developmental withdrawal' can be purely local and bound up with an apparent desire to uphold the traditional - that is, eighteenth-century - articulation of the onset of the recapitulation using strikingly original means. [ABSTRACT FROM AUTHOR]

The article presents history and criticism of the notation and interpretation of introductory movements of George Frideric Handel's French overtures performed at the keyboard since the eighteenth century. The runs are notated in semiquavers and demisemiquavers in 14 of the overtures. William Crotch's overdotted arrangements do not represent authentic Handelian tradition.

The article focuses on the musical careers of Serge Prokofiev, a composer, and Eugene Szenkar, a conductor. Prokofiev completed the score of his "Russian Overture" on September 25, 1936 and it was performed in the Great Hall of the Moscow Conservatory by Szenkar conducting. The same music was also presented in Eretz Israel Museum in Tel Aviv, Israel.

Examines the premier performance of the opera "Giovanna d'Arco," written by Giuseppe Verdi, at the Tabernacle in Broadway, New York on January 7, 1847. Criticism of the play's epilogue; Conflicts in the symbolic treatment of the opera to the heroine Joan of Arc; Variations in the play's overture.

Felix Mendelssohn's establishment of the concert overture as a domain of lively compositional innovation represents one of the most important achievements of orchestral music from the period immediately following Beethoven's death. In their remarkable ability to evoke lofty extramusical subjects through a purely instrumental medium, Mendelssohn's overtures were christened as vessels of musical progress in a manner that anticipated significantly the claims of the mid-century Lisztian symphonic poem. To grasp more fully the overtures' progressivism, though, we must attend closely to the relationship within them between formal particularity and programmatic implication. This endeavor is especially appropriate to Mendelssohn's Meeresstille und glückliche Fahrt, whose idiosyncratic formal dimension raises pressing hermeneutical questions. Mendelssohn based this work on two poems by Goethe that trace a liberating progression from the deathly immobility of a becalmed sea to the redemptive vitality of a rising wind and the promise of homecoming. While commentators have often noted the overtly pictorial moments of Mendelssohn's overture, only recently has programmatic inquiry turned toward the unfolding of the considerably broad musical voyage itself. But here the analytical privileging of the work's thematic process has supported the image of a journey with little risk. By contrast, a more thoroughly genre-based look at the overture's Glückliche Fahrt portion reveals a voyage laden with perils as well as possibilities. [ABSTRACT FROM AUTHOR]

Introduces the articles on the evolution of music in nineteenth century United States published in the fall 2003 issue of "American Music." Investigation on amateur music productions and performances in New York City described in the diaries of four city residents; Music performance of Russian pianist Anton Rubinstein in the United States; Interrelationship of U.S. and European music through the assessment of a concert overture.