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This chapter contrasts the attitudes toward performance of late-romantic works of Schenker's own time with performance demands of older music and music by the great classical masters. Contrary to general belief, it is shown shows that the greatest expressiveness and freedom are essential in the performance of older music in which, for example, passage work is an intrinsic part of the expressive content. The lost art of improvising and realizing a continuo bass is mentioned along with a discussion of characteristics of individual composers' works.

Constructions are characterized in terms of four basic factors: correspondences, profiling, elaboration, and constituency. Correspondences are the basis for semantic and grammatical integration; they specify the conceptual and phonological overlap between component structures, as well as between the component and composite structures. Semantic integration often involves multiple correspondences. Semantic anomaly arises when corresponding elements have inconsistent properties. Usually the composite structure inherits its profile (and thus its grammatical category) from one of the component structures, which is thus the constructional head (or profile determinant). It is also usual for one component structure to elaborate a schematic substructure (an elaboration site) within the other component. A component which makes salient schematic reference to another in this manner is said to be dependent on it. Organization in relationships of autonomy/dependence (A/D-alignment) is a basic feature of language structure. The difference between complements and modifiers is a matter of whether these component structures are autonomous or dependent with respect to the constructional head. Constituency is the hierarchical aspect of symbolic assemblies. Contrary to standard views, constituency is neither fundamental nor essential to grammar, and while it does emerge, it is neither invariant nor exhaustive of grammatical structure. Grammatical relations (like subject and object) are defined on the basis of semantic factors and correspondences, and are thus independent of particular constituency configurations.

The ten earliest quartets were initially disseminated in manuscript copies. They reached publishers in Paris and Amsterdam only in the 1760s. All are closely related in style, and all have five-movement designs with two dance movements on either side of an extended, central movement which (in all but one instance) constitutes an expressive violin solo. Fast outer movements display textures that engage all four parts thematically. The stylistic range of the dance movements extends from courtly elegance to rough-hewn comedy, and their binary and rounded binary schemes allow for variety of structural detail in the relationship between first and second parts. All ten works demonstrate Haydn's gift for motivic elaboration: an initial phrase is formed from a thematic kernel, and subsequent phrases arise as variants or derivatives, thereby bestowing cohesion on a developing, goal-directed narrative.

Language is both cognitive and sociocultural, consisting in conventionally sanctioned patterns of communicative activity. These patterns take the form of schemas abstracted from usage events by the reinforcement of recurring commonalities. Conventional linguistic units are linked by relationships of composition and categorization (either elaboration or extension) and thus form intersecting networks of great complexity. Expressions are interpreted and assessed for well-formedness through categorization by linguistic units. Through a process of interactive activation, particular units are selected to categorize particular facets of an expression. The total set of categorizing relationships constitutes the expression's structural description, and whether the categorizations involve elaboration or extension determines its degree of conventionality. Despite the absence of explicit prohibitions, this model affords an account of distribution, restrictions, and judgments of ungrammaticality. One aspect of grammatical constructions is their characterization at different levels of specificity, including constructional subschemas incorporating specific lexical items. And since one aspect of lexical items is their occurrence in particular constructions, lexicon and grammar are overlapping rather than disjoint. The model accommodates degrees and kinds of regularity, which decomposes into generality, productivity, and compositionality. Regularities include higher-order generalizations, where sets of categorizations or lexical behaviors are themselves schematized to form productive patterns. Among the phenomena described in this manner are patterns of phonological extension (phonological rules), patterns of semantic extension (e.g. general metonymies), and patterns of morphological realization (like conjugation classes).

This chapter argues that the fact that some key late Roman ecclesiastics were trained as forensic practitioners is crucial to explaining how it was that early ‘canon law’ was elaborated using specific techniques and procedures ‘borrowed’ from Roman law. The various foundational strands of early Judaeo-Christian ‘internal’ ideas and practices, forensic practice and church councils, and forensic practice and the papal elaboration of ‘ecclesiastical’ law are discussed.

This chapter discusses the implications of several kinds of performative and cultural elaborations of balance, mostly focusing on the way that balance is ideologically reinforced through embodied practices and sensory engagement in a certain (Anlo) cultural context. It includes an account of two community rituals that are aimed at health and reconciliation.

The chapter discusses meaning, which is posited to originate from connections across various mental spaces. It is dynamic and involves complex operations such as projection, integration, linking, and blending. Blending is a general and central parabolic activity of the everyday mind which generates blended spaces from which central inferences are constructed. The blended space consists of input spaces which provide projections to the blend and also receives projections back from the projected blend. Thus a model of projection arises that is dynamic, as opposed to the direct, one-way, and positive model presented in the previous chapters. In parabolic blending, input spaces to the blend do not have to be related as source and target and are often rhetorically unequal. Projecting influences from the blend to an input space also involves selection and translation in order to fit the latter. The remaining section summarizes the principles of parabolic blending and discusses the concepts of completion, composition, and elaboration.

This chapter provides an entry point for interested readers into the instructional design literature and introduces issues from this field. It shows how sequence effects relate to instruction and provides some introduction to an important context where order matters. It reviews several of the major instructional design techniques for ordering instructional material, based on the nature of the content and their interrelationships. The chapter describes and discusses useful approaches to ordering material that fit the needs of instructional design in the field. These approaches support the development of new instructional methods beyond the ones presented here, and help validate, illustrate, and teach these design principles. The chapter gives special focus to the Elaboration Theory of Instruction, which provides holistic alternatives to the parts-to-whole sequencing that are quite typical of both education and training, and synthesizes several recent ideas about sequencing instruction into a single coherent framework. The chapter closes with some general guidelines and principles for sequencing, organized by the order in which decisions need to be made.

This chapter examines SFAF’s work devising supports for implementing its comprehensive school reform program at scale, in large numbers of chronically-underperforming schools. The chapter details components of SFAF’s strategy for supporting implementation: an extensive program adoption process; a replication process that combined detailed elaboration of intended practice with extensive scaffolding opportunities; and a developmental sequence intended to take schools from novice to expert users of the program. Further, the chapter continues to develop the paradox from Chapter 1. On the one hand, SFAF’s support for implementation increased the possibility of effecting professional practice and learning in large numbers of underperforming schools. On the other hand, these same supports increased the risk of bureaucratic and/or technocratic interpretations of the program. Finally, the chapter continues to examine enthusiasm and criticism that arose from Success for All’s early efforts: in this case, among the teachers using the program.

Emotions provide crucial raw material for the lifelong task of working up one’s inchoate evaluative sensibility into a mature, discerning, and self-consciously affirmed evaluative outlook upon the world. Call this the task of self-elaboration. The aim of this chapter is to cast light on a conflict that can arise between the work of self-elaboration and the sort of ‘emotional labor’ that is increasingly prevalent, and increasingly essential to success, in the service economy. When one engages in this sort of work, one’s display of emotion, and in many cases one’s emotions themselves, are often alienated both in the sense that they express alien interests and in the sense that one has alienated to one’s employer, in exchange for a wage, a measure of control over one’s emotional register. The chapter argues that this sort of commodification of emotional display impedes the lifelong task of self-elaboration

This chapter aims to demonstrate that religion welfare operates on a continuum where the dividing line between the secular and religious is not so sharp. It reports direct evidence on the lived experience of social welfare in the Middle East, based on the Lebanese case studies and on supplementary examples from Egypt, Iran, and Turkey. The chapter considers the motivations and basic philosophy that underlie religious welfare in Lebanon. It sets the scene by describing how social welfare in Lebanon is conceived, motivated, and conceptualised as policy. It explores four themes. First, it discusses the motivations that inspired social service from the perspectives of individual-based positions and formal institutional standpoints. Second, it identifies the nature of welfare as a philosophical discourse. It discusses how religious welfare is conceptualised from the perspectives of organised religion, sectarianism, and personal faith. Third, the chapter looks at decision-making and policy elaboration processes that translate the philosophical motivations and values into policy objectives. The chapter ends by discussing the extent to which social welfare is of intrinsic value.

Macro-qualitative (MQ) approaches to the study of regime transformation can be defined as those that (a) in order to describe or explain macro-level phenomena (b) predominantly use qualitative data and (c) make claims about these phenomena in terms of set relations. MQ approaches can be static or dynamic and are normally used for single-case or small- to medium-N-sized studies. The set of methods employed in MQ research thus defined ranges from qualitative comparative analysis (QCA) to sequence elaboration and process tracing. Classics in the MQ transformation literature can be interpreted in terms of set theory. For instance, Lipset (1959) famously claimed that there are social conditions that are necessary for the functioning of democracy.

This chapter presents an overview of theories and research on the role of music in television advertising and other persuasive media. Using Petty and Cacioppo’s Elaboration Likelihood Model as a theoretical framework for attitudinal change, the chapter examines the multiple roles music may play in advertising, either as a background element or as an integrated element in an audiovisual medium. Music may increase or decrease motivation and ability to elaborate on a persuasive message, thereby guiding a person to use a central or peripheral route to processing the content of the advertisement. Music may also provide information (e.g., affect-as-information) in the persuasive message that is processed within either route. To delineate these effects, music as a means to attract attention, facilitate recall, and construct meanings is also examined. Findings of these strands of research are applied to audio branding, understanding musical fit, enhancing implicit learning, and the creation of virtual atmospheres on the Internet.

This chapter examines later cases in the marriage debate and shows how the procreation argument developed in American jurisprudence. As opponents pressed the procreation argument to its most logical extremes, it underwent a period of construct elaboration. The argument began to focus attention on children, childhoods, and gender socialization, thus changing the cultural value and meaning of marriage. As this chapter demonstrates, developing the procreation argument made clear that it could not withstand increasing scrutiny and, instead, began to crumble under its own weight. Marriage, it seemed, existed for the sole purpose of justifying and making sense of careless heterosexual reproduction.

The introduction argues that important, often obscured, aspects of postwar gay male life on film become legible when moving beyond a tight focus on issues of representation to consider how films and other associated texts have worked as forms of mediated elaboration. This emphasis allows for an elucidation of how affective dimensions of cultural production and performance not based solely in character development may work to extend certain ways of seeing, feeling and thinking. The introduction explores how a focus on spatiality, in particular, brings legibility to the importance of location and geography in the case studies explored throughout the book. It establishes the need for an analysis of mise-en-scène that emphasizes space as a means of understanding how the specter of the closet has rendered illegible forms of sociosexual contact that do not fit within popular teleological historical accounts organized around a powerful rhetorical conflation of the dichotomies pre-Stonewall/post-Stonewall and closeted/out. In arguing for an approach that is sensitive to this historical obfuscation, the introduction explores how phobic responses to HIV/AIDS have encouraged a moralized understanding of pre-1980s gay cinema as problematic site of sexual excess, resulting in a scholarly occlusion of this body of work.

Thanks to developments in particle physics, astronomy, and genetics, as well as international travel, finance, and communication the cultural horizon of the 21st century is acquainted with both the immensely large and the sub-atomically small. Composers responded to this new imaginative horizon with works that express both extremes of scale, and of superabundant resources and extravagance. This chapter considers these responses in a number of ways, from the musicircus-type spectacles of Lisa Bielawa and Alvin Curran to the electroacoustic microsound compositions of Horacio Vaggione and Barry Truax, from Glen Branca’s massed guitars to Pierre Boulez’s proliferating elaborations, and from Claus-Steffen Mahnkopf’s complexism to the extrahuman augmentations of the electronic music studio.

Chapter 10 proposes one philosophical perspective on why adolescents make music. Using Ellen Dissanayake’s writings, five intersections are described that connect art and the adolescent experience, namely, (1) mutuality, (2) belonging and acceptance, (3) finding and making meaning, (4) acquiring a sense of competence, and (5) elaboration. Each intersection weaves adolescents words and understandings to form a philosophy of adolescent music-making. At the end of the chapter, ritualization is introduced to explain how adolescents make their music-making special. Adolescents tell about annual traditions and special events that evoke powerful memories At the end of the chapter, a figure is presented for realizing relationships between and among music-makers.

This chapter examines the emergence and evolution of institutional logics at the institutional field level of analysis. It integrates the practice literature with research on theories, narratives, and vocabularies of practice. It develops a typology of change in field-level institutions logics that distinguishes transformational changes from replacement, blending, and segregation, from developmental changes such as assimilation, elaboration, expansion, and contractions of logics. The chapter illustrates how institutional field-level logics are both embedded in societal-level logics and subject to institutional field-level change processes that generate distinct instantiations of societal-level institutional logics.

This chapter addresses gender differences in narrative development and in narrative identity. A discussion of how narrating family stories is particularly important to females is included, as well as the lack of stories about mothers in family conversations.