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The Special Issue consolidates new approaches to the study of the EU’s role in the eastern neighbourhood and beyond, informed by post-structuralist traditions in international relations. More specifically, by revisiting the European Neighbourhood Policy’s agenda from the conceptual perspective of ‘the political’ and redefining the notions of ‘othering’, ‘differentiation’ and ‘normalisation’, this volume renders a new and much-needed theoretical and empirical outlook onto the policy developments and their practices. By unpacking and connecting security, regional, institutional, normative and sector-thematic policy dimensions, the book seeks to re-politicise the agenda and re-focus policy revision on understanding the fundamentals of power relations when applied to the EU external relations. In light of the compounding crises, external and internal, one can no longer afford to simply tinker around the edges of the policy content and instruments. A more radical theoretical undertaking is overdue, to re-shape, re-define and re-centre the EU relations with the eastern region especially, put in the context of the new EU’s Global Security Strategy, and the new aspirations for the 2017 European Neighbourhood summit.The chapters originally published as a special issue in East European Politics.

Non-destructive testing (NDT) is a pertinent task in nearly every field of human activity, from the assuring of aircraft integrity to the evaluation of infrastructural decay caused by deterioration or damage. The development of non-destructive methods for quality management results in economic and environmental benefits, in an increase in product reliability, and in improved public safety and security. This book contains over fifty reviewed and edited papers on the innovative developments and new applications in NDT. It covers cutting-edge NDT methods, including optical, acoustic, ultrasonic, and electromagnetic techniques, tomography, radiography, and thermography. Intended for a researchers and practitioners involved with studying, testing and maintaining machinery, products and components in laboratory and industrial environments.

The Special Issue consolidates new approaches to the study of the EU’s role in the eastern neighbourhood and beyond, informed by post-structuralist traditions in international relations. More specifically, by revisiting the European Neighbourhood Policy’s agenda from the conceptual perspective of ‘the political’ and redefining the notions of ‘othering’, ‘differentiation’ and ‘normalisation’, this volume renders a new and much-needed theoretical and empirical outlook onto the policy developments and their practices. By unpacking and connecting security, regional, institutional, normative and sector-thematic policy dimensions, the book seeks to re-politicise the agenda and re-focus policy revision on understanding the fundamentals of power relations when applied to the EU external relations. In light of the compounding crises, external and internal, one can no longer afford to simply tinker around the edges of the policy content and instruments. A more radical theoretical undertaking is overdue, to re-shape, re-define and re-centre the EU relations with the eastern region especially, put in the context of the new EU’s Global Security Strategy, and the new aspirations for the 2017 European Neighbourhood summit.The chapters originally published as a special issue in East European Politics.

The purpose of this book is to give a systematic pedagogical exposition of the quantitative analysis of Wilson lines and gauge-invariant correlation functions in quantum chromodynamics. Using techniques from the previous volume (Wilson Lines in Quantum Field Theory, 2014), an ab initio methodology is developed and practical tools for its implementation are presented. Emphasis is put on the implications of gauge invariance and path-dependence properties of transverse-momentum dependent parton density functions. The latter are associated with the QCD factorization approach to semi-inclusive hadronic processes, studied at currently operating and planned experimental facilities. Contents:IntroductionParticle Number Operators in Quantum Mechanics and in Quantum Field TheoryGeometry of Quantum Field TheoriesBasics of Wilson Lines in QCDGauge-Invariant Parton DensitiesSimplifying Wilson Line CalculationsBrief Literature GuideConventions and Reference FormulaeIntegrationsBibliographyIndex

The objective of this book is to get the reader acquainted with theoretical and mathematical foundations of the concept of Wilson loops in the context of modern quantum fi eld theory. It offers an introduction to calculations with Wilson lines, and shows the recent development of the subject in different important areas of research within the historical context.

Decision makers in large scale interconnected network systems require simulation models for decision support. The behaviour of these systems is determined by many actors, situated in a dynamic, multi-actor, multi-objective and multi-level environment. How can such systems be modelled and how can the socio-technical complexity be captured? Agent-based modelling is a proven approach to handle this challenge. This book provides a practical introduction to agent-based modelling of socio-technical systems, based on a methodology that has been developed at TU Delft and which has been deployed in a large number of case studies. The book consists of two parts: the first presents the background, theory and methodology as well as practical guidelines and procedures for building models. In the second part this theory is applied to a number of case studies, where for each model the development steps are presented extensively, preparing the reader for creating own models.

Decision makers in large scale interconnected network systems require simulation models for decision support. The behaviour of these systems is determined by many actors, situated in a dynamic, multi-actor, multi-objective and multi-level environment. How can such systems be modelled and how can the socio-technical complexity be captured? Agent-based modelling is a proven approach to handle this challenge. This book provides a practical introduction to agent-based modelling of socio-technical systems, based on a methodology that has been developed at TU Delft and which has been deployed in a large number of case studies. The book consists of two parts: the first presents the background, theory and methodology as well as practical guidelines and procedures for building models. In the second part this theory is applied to a number of case studies, where for each model the development steps are presented extensively, preparing the reader for creating own models.

NTAMCS '93 brought to Moscow researchers from areas of computer science and mathematics that traditionally have been apart, but which use similar number theoretic and algebraic methods. An incomplete list of such areas includes cryptography, coding theory, computational algebra and number theory, and numerical analysis. The papers in this volume emphasise the common principles and the essential unity of the computational and mathematical sciences.

PARTICIPATING ARTISTS IN C'EST BON ANTHOLOGY vol. 1 Brian Wood (cover) Radovan Popovic Björn Öberg Arne Bellstorf Mattias Elftorp Ho Che Anderson R Kikuo Johnson Fredrik Strömberg (text) Igor Hofbauer Susanne Johansson Jimmy Jönsson Mia Fredriksson Danijel Savovic Loka Kanarp Chiu Kwong Man Filjio Martin Tom Dieck

How music has influenced mathematics, physics, and astronomy from ancient Greece to the twentieth centuryMusic is filled with mathematical elements. The works of Bach are often said to possess a math-like logic, and Arnold Schoenberg, Iannis Xenakis, and Karlheinz Stockhausen wrote music explicitly based on mathematical principles. Yet Eli Maor argues that it is music that has had the greater influence on mathematics, not the other way around. Starting with Pythagoras, proceeding through Schoenberg, and bringing the story up to the present with contemporary string theory, Music by the Numbers tells a fascinating story of composers, scientists, inventors, and eccentrics who have played a role in the age-old relationship between music, mathematics, and the physical sciences. Weaving compelling stories of historical episodes with Maor's personal reflections as a mathematician and lover of classical music, this book will delight anyone who loves math and music.

Uniting theoretical bases and advancements in practice, the Routledge Handbook of Policy Design brings together leading experts in the academic field of policy design in a pioneering effort of scholarship. Each chapter provides a multi-topic overview of the state of knowledge on how, why, where or when policies are designed and how such designs can be improved.These experts address how a new emphasis on effective policy design has re-emerged ​in public policy studies in recent years ​and ​clarify the role of historical policy decisions, policy capacities and government intentions in promoting a design orientation towards ​policy formulation and policy-making more generally. They examine many previously unexplored aspects of policy designs and designing activities, which focus upon analyzing and improving the sets of policy tools adopted by governments to correct policy problems. Ranging from the fundamentals of policy design and its place in greater policy studies, to new questions regarding policy design content and ​effectiveness, to contemporary design trends such as the use of digital tools and big data, the Routledge Handbook of Policy Design is a comprehensive reference for students and scholars of public policy, public administration and public management, government and business.

In addition to explaining and modeling unexplored phenomena in nature and society, chaos uses vital parts of nonlinear dynamical systems theory and established chaotic theory to open new frontiers and fields of study. Handbook of Applications of Chaos Theory covers the main parts of chaos theory along with various applications to diverse areas. Expert contributors from around the world show how chaos theory is used to model unexplored cases and stimulate new applications. Accessible to scientists, engineers, and practitioners in a variety of fields, the book discusses the intermittency route to chaos, evolutionary dynamics and deterministic chaos, and the transition to phase synchronization chaos. It presents important contributions on strange attractors, self-exciting and hidden attractors, stability theory, Lyapunov exponents, and chaotic analysis. It explores the state of the art of chaos in plasma physics, plasma harmonics, and overtone coupling. It also describes flows and turbulence, chaotic interference versus decoherence, and an application of microwave networks to the simulation of quantum graphs.The book proceeds to give a detailed presentation of the chaotic, rogue, and noisy optical dissipative solitons; parhelic-like circle and chaotic light scattering; and interesting forms of the hyperbolic prism, the Poincaré disc, and foams. It also covers numerous application areas, from the analysis of blood pressure data and clinical digital pathology to chaotic pattern recognition to economics to musical arts and research.

Bela Bartok, who died in New York fifty years ago this September, is one of the most frequently performed twentieth-century composers. He is also the subject of a rapidly growing critical and analytical literature. Bartok was born in Hungary and made his home there for all but his last five years, when he resided in the United States. As a result, many aspects of his life and work have been accessible only to readers of Hungarian. The main goal of this volume is to provide English-speaking audiences with new insights into the life and reception of this musician, especially in Hungary. Part I begins with an essay by Leon Botstein that places Bartok in a large historical and cultural context. Laszlo Somfai reports on the catalog of Bartok's works that is currently in progress. Peter Laki shows the extremes of the composer's reception in Hungary, while Tibor Tallian surveys the often mixed reviews from the American years. The essays of Carl Leafstedt and Vera Lampert deal with his librettists Bela Balazs and Melchior Lengyel respectively. David Schneider addresses the artistic relationship between Bartok and Stravinsky.Most of the letters and interviews in Part II concern Bartok's travels and emigration as they reflected on his personal life and artistic evolution. Part III presents early critical assessments of Bartok's work as well as literary and poetic responses to his music and personality.

This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music. The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published.Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer.

During the 1830s and 1840s the remarkably versatile composer-pianist-organist-conductor Felix Mendelssohn-Bartholdy stood at the forefront of German and English musical life. Bringing together previously unpublished essays by historians and musicologists, reflections on Mendelssohn written by his contemporaries, the composer's own letters, and early critical reviews of his music, this volume explores various facets of Mendelssohn's music, his social and intellectual circles, and his career. The essays in Part I cover the nature of a Jewish identity in Mendelssohn's music (Leon Botstein); his relationship to the Berlin Singakademie (William A. Little); the role of his sister Fanny Hensel, herself a child prodigy and accomplished composer (Nancy Reich); Mendelssohn's compositional craft in the Italian Symphony and selected concert overtures (Claudio Spies); his oratorio Elijah (Martin Staehelin); his incidental music to Sophocles' Antigone (Michael P. Steinberg); his anthem "Why, O Lord, delay forever?" (David Brodbeck); and an unfinished piano sonata (R. Larry Todd). Part II presents little-known memoirs by such contemporaries as J. C. Lobe, A. B. Marx, Julius Schubring, C. E.Horsley, Max Mller, and Betty Pistor. Mendelssohn's letters are represented in Part III by his correspondence with Wilhelm von Boguslawski and Aloys Fuchs, here translated for the first time. Part IV contains late nineteenth-century critical reviews by Heinrich Heine, Franz Brendel, Friedrich Niecks, Otto Jahn, and Hans von Blow.

Strongly influencing European musical life from the 1880s through the First World War and remaining highly productive into the 1940s, Richard Strauss enjoyed a remarkable career in a constantly changing artistic and political climate. This volume presents six original essays on Strauss's musical works--including tone poems, lieder, and operas--and brings together letters, memoirs, and criticism from various periods of the composer's life. Many of these materials appear in English for the first time.In the essays Leon Botstein contradicts the notion of the composer's stylistic "about face" after Elektra; Derrick Puffett reinforces the argument for Strauss's artistic consistency by tracing in the tone poems and operas the phenomenon of pitch specificity; James Hepokoski establishes Strauss as an early modernist in an examination of Macbeth; Michael Steinberg probes the composer's political sensibility as expressed in the 1930s through his music and use of such texts as Friedenstag and Daphne; Bryan Gilliam discusses the genesis of both the text and the music in the final scene of Daphne; Timothy Jackson in his thorough source study argues for a new addition to the so-called Four Last Songs. Among the correspondence are previously untranslated letters between Strauss and his post-Hofmannsthal librettist, Joseph Gregor. The memoirs range from early biographical sketches to Rudolf Hartmann's moving account of his last visit with Strauss shortly before the composer's death. Critical reviews include recently translated essays by Theodor Adorno, Guido Adler, Paul Bekker, and Julius Korngold.

As the twentieth century draws to a close, Arnold Schoenberg (1874-1951) is being acknowledged as one of its most significant and multifaceted composers. Schoenberg and His World explores the richness of his genius through commentary and documents. Marilyn McCoy opens the volume with a concise chronology, based on the latest scholarship, of Schoenberg's life and works. Essays by Joseph Auner, Leon Botstein, Reinhold Brinkmann, J. Peter Burkholder, Severine Neff, and Rudolf Stephan examine aspects of his creative output, theoretical writings, relation to earlier music, and the socio-cultural contexts in which he worked. The documentary portions of Schoenberg and His World capture Schoenberg at critical periods of his career: during the first decades of the century, primarily in his native Vienna; from 1926 to 1933, in Berlin; and from 1933 on, in the U.S. Included here is the first complete translation into English of the remarkable Festschrift prepared for the 38-year-old Schoenberg by his pupils in 1912; it presciently explored the diverse talents as a composer, teacher, painter, and theorist for which he was later to be recognized.The Berlin years, when he held one of the most prestigious teaching positions in Europe, are represented by interviews with him and articles about his public lectures. The final portion of the volume, devoted to the theme Schoenberg and America, focuses on how the composer viewed--and was viewed by--the country where he spent his final eighteen years. Sabine Feisst brings together and comments upon sources which, contrary to much received opinion, attest to both the considerable impact that Schoenberg had upon his newly adopted land and his own deep involvement in its musical life.

The fictional Dr. Strabismus sets out to write a new comprehensive theory of music. But music's tendency to deconstruct itself combined with the complexities of postmodernism doom him to failure. This is the parable that frames The Sense of Music, a novel treatment of music theory that reinterprets the modern history of Western music in the terms of semiotics. Based on the assumption that music cannot be described without reference to its meaning, Raymond Monelle proposes that works of the Western classical tradition be analyzed in terms of temporality, subjectivity, and topic theory. Critical of the abstract analysis of musical scores, Monelle argues that the score does not reveal music's sense. That sense--what a piece of music says and signifies--can be understood only with reference to history, culture, and the other arts. Thus, music is meaningful in that it signifies cultural temporalities and themes, from the traditional manly heroism of the hunt to military power to postmodern "polyvocality."This theoretical innovation allows Monelle to describe how the Classical style of the eighteenth century--which he reads as a balance of lyric and progressive time--gave way to the Romantic need for emotional realism. He argues that irony and ambiguity subsequently eroded the domination of personal emotion in Western music as well as literature, killing the composer's subjectivity with that of the author. This leaves Dr. Strabismus suffering from the postmodern condition, and Raymond Monelle with an exciting, controversial new approach to understanding music and its history.

The world-renowned musicologist Richard Taruskin has devoted much of his career to helping listeners appreciate Russian and Soviet music in new and sometimes controversial ways. Defining Russia Musically represents one of his landmark achievements: here Taruskin uses music, together with history and politics, to illustrate the many ways in which Russian national identity has been constructed, both from within Russia and from the Western perspective. He contends that it is through music that the powerful myth of Russia's "national character" can best be understood. Russian art music, like Russia itself, Taruskin writes, has "always [been] tinged or tainted ...with an air of alterity--sensed, exploited, bemoaned, reveled in, traded on, and defended against both from within and from without." The author's goal is to explore this assumption of otherness in an all-encompassing work that re-creates the cultural contexts of the folksong anthologies of the 1700s, the operas, symphonies, and ballets of the 1800s, the modernist masterpieces of the 1900s, and the hugely fraught but ambiguous products of the Soviet period.Taruskin begins by showing how enlightened aristocrats, reactionary romantics, and the theorists and victims of totalitarianism have variously fashioned their vision of Russian society in musical terms. He then examines how Russia as a whole shaped its identity in contrast to an "East" during the age of its imperialist expansion, and in contrast to two different musical "Wests," Germany and Italy, during the formative years of its national consciousness. The final section, expanded from a series of Christian Gauss seminars presented at Princeton in 1993, focuses on four individual composers, each characterized both as a self-consciously Russian creator and as a European, and each placed in perspective within a revealing hermeneutic scheme. In the culminating chapters--Chaikovsky and the Human, Scriabin and the Superhuman, Stravinsky and the Subhuman, and Shostakovich and the Inhuman--Taruskin offers especially thought-provoking insights, for example, on Chaikovsky's status as the "last great eighteenth-century composer" and on Stravinsky's espousal of formalism as a reactionary, literally counterrevolutionary move.

Once thought to be a provincial composer of only passing interest to eccentrics, Leos Janacek (1854-1928) is now widely acknowledged as one of the most powerful and original creative figures of his time. Banned for all purposes from the Prague stage until the age of 62, and unable to make it even out of the provincial capital of Brno, his operas are now performed in dynamic productions throughout the globe. This volume brings together some of the world's foremost Janacek scholars to look closely at a broad range of issues surrounding his life and work. Representing the latest in Janacek scholarship, the essays are accompanied by newly translated writings by the composer himself. The collection opens with an essay by Leon Botstein who clarifies and amplifies how Max Brod contributed to Janacek 's international success by serving as "point man" between Czechs and Germans, Jews and non-Jews. John Tyrrell, the dean of Janacek scholars, distills more than thirty years of research in "How Janacek Composed Operas," while Diane Paige considers Janacek's liason with a married woman and the question of the artist's muse.Geoffrey Chew places the idea of the adulterous muse in the larger context of Czech fin de siecle decadence in his thoroughgoing consideration of Janacek's problematic opera Osud. Derek Katz examines the problems encountered by Janacek's satirically patriotic "Excursions of Mr. Broucek" in the post-World War I era of Czechoslovak nationalism, while Paul Wingfield mounts a defense of Janacek against allegations of cruelty in his wife's memoirs. In the final essay, Michael Beckerman asks how much true history can be culled from one of Janacek's business cards. The book then turns to writings by Janacek previously unpublished in English. These not only include fascinating essays on Naturalism, opera direction, and Tristan and Isolde, but four impressionistic chronicles of the "speech melodies" of daily life. They provide insight into Janacek's revolutionary method of composition, and give us the closest thing we will ever have to the "heard" record of a Czech pre-war past-or any past, for that matter.

In her new book, Carolyn Abbate considers the nature of operatic performance and the acoustic images of performance present in operas from Monteverdi to Ravel. Paying tribute to music's realization by musicians and singers, she argues that operatic works are indelibly bound to the contingency of live singing, playing, and staging. She seeks a middle ground between operas as abstractions and performance as the phenomenon that brings opera into being. Weaving between opera's "facts of life" and a series of works including The Magic Flute, Parsifal, and Pelleas, Abbate explores a spectrum of attitudes towards musical performance, which range from euphoric visions of singers as creators to uncanny images of musicians as lifeless objects that have been resuscitated by scripts. In doing so, she touches upon several critical issues: the Wagner problem; coloratura, virtuosity, and their critics; the implications of disembodied voice in opera and film; mechanical music; the mortality of musical sound; and opera's predilection for scenes positing mysterious unheard music.An intersection between transcendence and intense physical grounding, she asserts, is a quintessential element of the genre, one source of the rapture that operas and their singers can engender in listeners. In Search of Opera mediates between an experience of opera that can be passionate and intuitive, and an intellectual engagement with opera as a complicated aesthetic phenomenon. Marrying philosophical speculation to historical detail, Abbate contemplates a central dilemma: the ineffability of music and the diverse means by which a fugitive art is best expressed in words. All serious devotees of opera will want to read this imaginative book by s music-critical virtuoso.

Dmitri Shostakovich (1906-1975) has a reputation as one of the leading composers of the twentieth century. But the story of his controversial role in history is still being told, and his full measure as a musician still being taken. This collection of essays goes far in expanding the traditional purview of Shostakovich's world, exploring the composer's creativity and art in terms of the expectations--historical, cultural, and political--that forged them. The collection contains documents that appear for the first time in English. Letters that young "Miti" wrote to his mother offer a glimpse into his dreams and ambitions at the outset of his career. Shostakovich's answers to a 1927 questionnaire reveal much about his formative tastes in the arts and the way he experienced the creative process. His previously unknown letters to Stalin shed new light on Shostakovich's position within the Soviet artistic elite. The essays delve into neglected aspects of Shostakovich's formidable legacy.Simon Morrison provides an in-depth examination of the choreography, costumes, decor, and music of his ballet The Bolt and Gerard McBurney of the musical references, parodies, and quotations in his operetta Moscow, Cheryomushki. David Fanning looks at Shostakovich's activities as a pedagogue and the mark they left on his students' and his own music. Peter J. Schmelz explores the composer's late-period adoption of twelve-tone writing in the context of the distinctively "Soviet" practice of serialism. Other contributors include Caryl Emerson, Christopher H. Gibbs, Levon Hakobian, Leonid Maximenkov, and Rosa Sadykhova. In a provocative concluding essay, Leon Botstein reflects on the different ways listeners approach the music of Shostakovich.

Aaron Copland and His World reassesses the legacy of one of America's best-loved composers at a pivotal moment--as his life and work shift from the realm of personal memory to that of history. This collection of seventeen essays by distinguished scholars of American music explores the stages of cultural change on which Copland's long life (1900 to 1990) unfolded: from the modernist experiments of the 1920s, through the progressive populism of the Great Depression and the urgencies of World War II, to postwar political backlash and the rise of serialism in the 1950s and the cultural turbulence of the 1960s. Continually responding to an ever-changing political and cultural panorama, Copland kept a firm focus on both his private muse and the public he served. No self-absorbed recluse, he was very much a public figure who devoted his career to building support systems to help composers function productively in America. This book critiques Copland's work in these shifting contexts.The topics include Copland's role in shaping an American school of modern dance; his relationship with Leonard Bernstein; his homosexuality, especially as influenced by the writings of Andre Gide; and explorations of cultural nationalism. Copland's rich correspondence with the composer and critic Arthur Berger, who helped set the parameters of Copland's reception, is published here in its entirety, edited by Wayne Shirley. The contributors include Emily Abrams, Paul Anderson, Elliott Antokoletz, Leon Botstein, Martin Brody, Elizabeth Crist, Morris Dickstein, Lynn Garafola, Melissa de Graaf, Neil Lerner, Gail Levin, Beth Levy, Vivian Perlis, Howard Pollack, and Larry Starr.

The American musical has achieved and maintained relevance to more people in America than any other performance-based art. This thoughtful history of the genre, intended for readers of all stripes, offers probing discussions of how American musicals, especially through their musical numbers, advance themes related to American national identity. Written by a musicologist and supported by a wealth of illustrative audio examples (on the book's website), the book examines key historical antecedents to the musical, including the Gilbert and Sullivan operetta, nineteenth and early twentieth-century American burlesque and vaudeville, Tin Pan Alley, and other song types. It then proceeds thematically, focusing primarily on fifteen mainstream shows from the twentieth century, with discussions of such notable productions as Show Boat (1927), Porgy and Bess (1935), Oklahoma! (1943), West Side Story (1957), Hair (1967), Pacific Overtures (1976), and Assassins (1991). The shows are grouped according to their treatment of themes that include defining America, mythologies, counter-mythologies, race and ethnicity, dealing with World War II, and exoticism.Each chapter concludes with a brief consideration of available scholarship on related subjects; an extensive appendix provides information on each show discussed, including plot summaries and song lists, and a listing of important films, videos, audio recordings, published scores, and libretti associated with each musical.