Oscar Hammerstein II. i prikazivanje rase i intersekcijske diskriminacije u američkim mjuziklima od Show boat (1927) do Carousel (1945)

Oscar Hammerstein II (1895-1960), with various collaborators, addressed issues of race and intersectional oppression (here defined as multiple features that can contribute to oppression either socially or individually, and can include factors such as race, age, gender, and social class) in many of his works. This essay investigates such representations in Show Boat (1927, music by Jerome Kern), The New Moon (1928, music by Sigmund Romberg), Sunny River (1941, music by Romberg), Oklahoma! (1943, music by Richard Rodgers), and Carousel (1945, music by Rodgers) as well as selected twenty-first century revivals of Oklahoma! and Carousel. In each show, white hegemony is the norm, and characters of color, if they appear, represent some sort of difference that is made subservient to the white norm. In selected modern revivals, multicultural casting brings such issues, including negative stereotypes, to the fore and allows for new insights into issues of race and intersectional oppression.Oscar Hammerstein II. (1895-1960), s raznim je suradnicima dotaknuo temu rase i intersekcijske diskriminacije (ovdje definiranih kao višestrukih značajki koje mogu pridonijeti ugnjetavanju bilo društveno ili pojedinačno, a mogu uključivati čimbenike kao što su rasa, dob, spol i društvena klasa) u mnogim svojim djelima. Ovaj tekst propitkuje izvedbe u mjuziklima Show Boat (1927, glazba Jeroma Kerna), The New Moon (1928, glazba Sigmunda Romberga), Sunny River (1941, Rombergova glazba), Oklahoma! (1943, glazba Richarda Rodgersa) i Carousel (1945, Rodgersova glazba) kao i odabranim ponovnim postavljanjima u 21. stoljeću mjuzikla Oklahoma! i Carousel. U svakoj izvedbi bjelačka je hegemonija postavljena kao norma, a obojenost, ako se javlja, predstavlja neku vrstu razlike koja je podložnički postavljena prema bjelačkoj normi. Pojedini likovi koji su predmet ovoga teksta uključuju Queenie, Joea, Magnoliu i Julie u mjuziklu Show Boat; Filipa i Roberta u djelu The New Moon; Jean u Sunny River; Julie Jordan, Billyja Bigelowa, Carie Pipperidge i Enocha Snowa u Carouselu; te Curly, Laurey, Juda Fryja, Ado Annie i Willa Parkera u Oklahomi! Glazbeno evociranje afričko-američkog spirituala (»Lordy« i »The Highest Judge of All«) i tanga (»Softly, As in a Morning Sunrise«) igraju važne uloge rase u ovim predstavama. Višerasne postave u 21. stoljeću izazivaju suvremena pitanja o rasi i intersekcijskoj diskriminaciji. Uočljivi primjeri uključuju afroameričke glumce koji igraju likove s nasilnim sklonostima, uključujući Juda Frya u produkciji Oklahoma! iz 2012. u Seattleu i Billyja Bigelowa u obnovljenoj predstavi Carousela na Broadwayu 2018. S druge strane, postavljanje bijelca u ulozi Juda Fryja nasuprot obojenim glumcima u ulogama Curlyja i Laurey, što je bio slučaj u Washingtonu 2012. (Arena Stage), izaziva neka druga pitanja o bjelačkom nasilju prema obojenima. Multikulturalna postava stavlja takva pitanja, uključujući negativne stereotipe, u prvi plan i potiče svijest o problemu rase i intersekcijske diskriminacije

Clinical Issues Surrounding Once-Daily Aminoglycoside Dosing in Children

Aminoglycoside antibiotics are first-line treatment for many infectious diseases in the pediatric population and are effective in adults. The traditional dosing interval in children is every 8–12 hours. Studies in adults reported equivalent efficacy and equal or less toxicity with once-daily regimens. Despite many studies in the adult population, this approach has yet to become standard practice in most pediatric hospitals. Reasons for lack of acceptance of this strategy in children include rapid aminoglycoside clearance, unknown duration of postantibiotic effect, safety concerns, and limited clinical and efficacy data

Imagining China in London musical theatre during the 1890s: The Geisha and San Toy

For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese themselves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese character is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English

Distraction in Verbal Short-Term Memory: Insights from Developmental Differences

The contribution of two mechanisms of auditory distraction in verbal serial short-term memory—interference with the serial rehearsal processes used to support short-term recall and general attentional diversion—was investigated by exploiting differences in auditory distraction in children and adults. Experiment 1 showed that serial rehearsal plays a role in children’s as well as adults’ distractibility: Auditory distraction from irrelevant speech was greater for both children and adults as the burden on rehearsal increased. This pattern was particularly pronounced in children, suggesting that underdeveloped rehearsal skill in this population may increase their distractibility. Experiment 2 showed that both groups were more susceptible to changing- than steady-state speech when the task involved serial rehearsal—indicating that both groups suffer interference-by-process—but that children, but not adults, were also susceptible to any sort of sound (steady or changing) in a task thought to be devoid of serial rehearsal. The overall pattern of results suggests that children’s increased susceptibility to auditory distraction during verbal short-term memory performance is due to a greater susceptibility to attentional diversion; in this view, under-developed rehearsal-skill increases children’s distractibility by exacerbating their under-developed attentional control rather than by increasing interference-by-process

Making Time for the Library: Adventures in Integrating Information Literacy in the Curriculum

This presentation provided an overview of information literacy methods and practices for teaching undergraduate and graduate music students. It was presented at Joint Meeting of the Music Library Association and the Society for American Music in Pittsburgh, Pennsylvania on March 2, 2007