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Bristow’s stature in New York as a composer, conductor, and organist was unrivaled during the 1870s. He continued to perform with the two orchestras and to conduct several society choirs. The number of new compositions slowed during the 1870s, but his significant works included Great Republic: Ode to the American Union (1870-1876), Pioneer: A Grand Cantata (1872), and his programmatic Arcadian Symphony (1872). An increasingly number of his compositions were performed during the decade, including a revival (unsuccessful) of Rip Van Winkle. He enjoyed a third Grand Testimonial Concert and the performance of his Arcadian Symphony in a Baltimore concert of American music (both 1875).

Bristow married Harriet Crane (1853) and began to teach in the New York Public Schools (1854). He was conductor of the New York Harmonic Society (1851-1863) and organist for several churches. Three major works were premiered: his opera Rip Van Winkle (1855, by the Pyne and Harrison Company) and his symphonies nos. 2 and 3 (1856 and 1859, both by the Philharmonic Society). He also wrote the Winter’s Tale Overture (1855). During the 1850s Bristow’s activities as a teacher, performer, and composer grew apace, as did his reputation. He was awarded an honorary Doctor of Music degree (1858) and enjoyed a testimonial concert (1859).

Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).

Bristow organized two piano and melodeon businesses--the first a disaster, the second more successful. He provided testimonials to many instrument manufacturers (Steinway, Chickering, Bradbury, and Weber pianos) and other music-related endeavors. He was also associated with the United States Mutual Pianoforte Association (1867), a nonprofit that made pianos available to the general public at low prices. Bristow also served as a musical-instrument judge at the 1876 Centennial Exposition and became swept up in a controversy about the judging process. He was defended by some New York critics but was deemed guilty by association by many and must have rued the day he agreed to take on the task.

In the spring of 1856, the critic Émile Girac published a review of George Frederick Bristow's Symphony No. 2, theJullien Symphony, inThe Albion.What he wrote is revealing; it reads in part:But do you know how much is expressed by those two little words theJullien Symphony?They mean simply that Jullien did more for Concert music in three months, than the Philharmonic Society has accomplished since Mr. U.C. Hill created it and brought it before the world. [Jullien] gave us Mozart, Beethoven, and Mendelssohn, as we have never heard them interpreted in New York. He taught us the art of shades and effects in music …. He [also] revealed to us the powers of Bristow, Fry, and Eisfeld, and did far more for their reputation than was ever done by the Society, which owed so much at least to the first and last of these noble and courageous musicians. … [T]his is the true meaning of Bristow's symphony.

In 1607, Marc Lescarbot returned to Paris from a year’s journey to the French settlement of Port Royal on the Northeastern coast of North America, setting out to publish a slim volume of poems and performance texts he would name The Muses of New France (1609). The ‘Muses,’ described by Lescarbot in his introduction, are invented personifications of ‘Aboriginal’ arts and knowledge that serve as fictive emissaries of the author’s pro-colonial argument. Lescarbot’s Muses and his History of New France (also written in 1609)1 were often sold and bound together in a single volume, and they continually cite, reference, and reinforce one another, providing blueprints in their prefaces, margins, and expository passages for the author’s triumphalist associations of performance with history. Both works appeared in multiple editions in the author’s lifetime and were translated into English and German, circulating accounts of French exploration and settlement in today’s Canada and Quebec as well as Florida, the Carolinas, Maine, Mexico, Brazil, and Peru.

The authors describe the adaptation of a hierarchical management-control framework to the design of intelligent real-time scheduling systems. Originally developed for the analysis of organizations where dynamics are governed solely by the reactions of human decision makers, the control framework provides insights concerning design requirements for decision systems that react in human-like fashion within narrow domains of expertise. The framework emphasizes the dynamic balance of autonomy and decentralization required to achieve planned goals within a hierarchical organization. Applying this framework, design specifications for knowledge-based scheduling systems are developed, which are responsive to organizational dynamics as required for schedule control and replanning. An illustration is given that addresses kitchen scheduling in full-service restaurants. © 2006 Wiley Periodicals, Inc. Hum Factors Man 16: 385–408, 2006.

The history of music in nineteenth-century America, and the place of music within American culture of the period, is an area of scholarly inquiry that recently has received increased attention. It is also, as the varied articles collected in this issue illustrate, a complex topic and an area ripe for much additional research. The four articles deal with different aspects of nineteenth-century American music history and culture; in each, however, there are also areas of overlap and intersection. All four authors use as a starting point issues that have already been the subject of some scholarly attention, and examine these topics either more thoroughly or from a new theoretical or contextual point of view. The resulting aggregate should help readers to understand better a complicated and under-explored world, for all four articles highlight the complexity of musical life in America and explore some of the many ways that cultural life in the United States reflected and resonated with that of Europe. All four authors, furthermore, either hint at or explicitly mention areas that are ripe for further research.

A construct consisting of eight dispositional sexual motives was proposed to expand upon and integrate earlier theory and research. The eight motives are desire for (a) feeling valued by one's partner, (b) showing value for one's partner, (c) obtaining relief from stress, (d) providing nurturance to one's partner, (e) enhancing feelings of personal power, (f) experiencing the power of one's partner, (g) experiencing pleasure, and (h) procreating. Based on this formulation, a self‐report questionnaire was developed to measure stable interest in the eight incentives hypothesized to influence sexual motivation and behavior. Initial factor analyses supported the proposed model in that items clustered predominantly into the theoretically proposed dimensions. The questionnaire was revised, and two subsequent factor analyses supported the earlier factor structure. AMORE scales were moderately correlated with erotophobic versus erotophilic attitudes, attitudes about uncommitted sex, sensation‐seeking tendencies, ...

Integrated manufacturing operations typically are organized along hierarchical lines. Characterized by product aggregation and time horizon, hierarchical decompositions aim at easing problems associated with the complexity and scale of the manufacturing function taken as a whole. Static models have been developed and employed which facilitate the analysis and functioning of these organizations. Existing models are valuable aids in assisting goal-planning functions, but provide little guidance for directing the pursuit of goals. This paper presents a new hierarchical model of integrated manufacturing operations based on concepts of management control. The model is congruent with commonly used static planning models, while at the same lime depicting real-time, goal-achievement efforts within a dynamic operating environment. Emphasizing the interactions between goal planning and goal achievement, the dynamic model provides a means of assessing the effects of decentralization and autonomy on the goal...

A software package is being developed to improve the situation awareness of network managers by application of virtual reality (VR) techniques. The situation awareness virtual environment for command, control, and communications networks (SaveC3) package gathers network and, in a military application, battlefield status information, from disparate sources and displays the information as text and pictures. The visualization makes use of simple "glyphs" or status icons, along with tactical overlays (battle plans) and unit locations on three-dimensional terrain. The display can be by VR headset or by a three-dimensional perspective representation on a two-dimensional screen.

In many industries, design for manufacture (DFM) has become a central concept for survival in increasingly competitive global markets. One of the important lessons of DFM is that consideration of manufacturing issues early in the design phase can reap substantial benefits. These include savings in set-up and production costs, reduction of lead times required to bring a new product to market, reduction of parts inventories and associated overhead, and improvements in overall product quality and reliability. This paper describes an effort recently initiated at the University of Virginia and SEMATECH to examine the application of DFM to the design and fabrication of integrated circuits. The DFM philosophy and related methodology, as these have evolved for numerous mechanical and electronic products, are discussed. Existing DFM concepts are considered in light of the unique features of integrated circuit design and fabrication. Some directions for further study are outlined.

The history of musical comedy begins in confusion. edith borroff Most histories of American musical theatre give short shrift – at best – to the ‘origin of the species’, to use Edith Borroff's apt phrase. Despite lofty ambitions (titles that claim coverage ‘from the beginning to the present’), most authors are content to offer a brief essay about the antecedents of musical comedy, usually including definitive identification of ‘the first American musical’ ( The Black Crook, Little Johnny Jones, Evangeline, Show Boat, The Beggar's Opera, The Wizard of the Nile or any number of other works), before turning, with an almost discernible sigh of relief, to musical theatre of the twentieth century. The reasons for the brevity and for the disagreement on the ‘first’ musical become readily apparent as soon as one attempts to sort out the myriad different types of musical theatrical forms that materialised, metamorphosed, became popular, disappeared, re-emerged and cross-fertilised prior to the twentieth century. To put it simply, for the scholar in search of a clear lineage to the forms of the twentieth century, musical theatre in the eighteenth – and even more so in the nineteenth – century was a tangled, chaotic mess. This was not the impression at the time, of course. To the contrary, a nineteenth-century American, especially the resident of a large city like New York, found musical theatrical life during the time to be gloriously rich, varied and ever-changing; it was a world that was entertaining, interesting, exciting and innovative to an extent that should elicit a twinge of envy from the modern reader. But the job of the historian is to clarify and attempt to put into some kind of order the messiness of a bygone era. And the richness of that period makes the job both difficult and important.

Music is part of everyday life in late twentieth-century America, due primarily to the technology of recorded sound. We are surrounded by it: we have radios to wake us in the morning and to entertain us while we drive our automobiles, background music on television and in movies, ‘atmosphere’ music in elevators and restaurants, and collections of musical recordings in our homes. Because most of the music heard today is recorded, we assume that the pervasiveness of music in our lives is, indeed, a twentieth-century phenomenon. There is evidence to suggest, however, that music was almost as commonplace for late nineteenth-century urban Americans as it is for us today. The popularity of sheet music and of ubiquitous parlour pianos are obvious manifestations of amateur music making by the generation of our grandparents and great-grandparents. Less well known, however, is the fact that Americans of the latter half of the nineteenth century, especially urban Americans, were in frequent contact with professional performing musicians, who played not only at functions where we would expect to find music but also, as a matter of course, at events with which we do not normally associate music and musicians.

Supply plans developed by electric power utilities are vital to the continuing welfare of their customers and of the nation as a whole. There is a need for careful utility planning that consists of at least three kinds of activity: demand and technological forecasting, analysis and evaluation of all technological options, and public participation throughout the process. Current utility planning has not made full use of modern planning and decision-making techniques, especially with respect to options analysis and public participation. A new synthesis of technology assessment (TA), group idea generation techniques, and decision analysis is developed for this purpose. This synthesis provides an appropriate and consistent methodology for utility planning, which overcomes many of the inadequacies of current practice.