Alexander Street Press Research Articles

Online Biographical Dictionary of the Woman Suffrage Movement in the United States

The 2020 centennial of the ratification of the Nineteenth Amendment inspired an impressive array of books, articles, museum exhibits, and public humanities projects encouraging us to revisit, revise, and, in some cases, revolutionize our understanding of women's long (and ongoing) fight for the vote. At the forefront of the new digital projects stands the Online Biographical Dictionary of the Woman Suffrage Movement in the United States (Obd), edited by Thomas Dublin and Kathryn Kish Sklar. The Obd is connected with the Women and Social Movements Database (Wasmd), launched by Sklar in 1997 and published by Alexander Street Press. What makes the Obd so useful, however, is that Dublin and Sklar negotiated with the publisher to offer the resource both as part of the subscription-only Wasmd and as a stand-alone Web site available for free to anyone with an Internet connection. The result is a monumental biographical database comprising what will soon be more than 3,700 women suffragists. Most of these women were engaged in suffrage and other reform efforts at the local and state levels, so their names will be new to historians and laypeople. For user convenience, more well-known national leaders are also included in the database via links to their biographical entries in Notable American Women (1971), in partnership with the Arthur and Elizabeth Schlesinger Library on the History of Women in America at Harvard University. The entries are organized into three parts, mirroring the suffrage movement's divisions: Militant Women Suffragists—The National Woman's Party (Nwp); Black Women Suffragists; and Mainstream Suffragists—The National American Woman Suffrage Association (Nawsa).

Open Music Library

Reviewed by: Open Music Library Bonna J. Boettcher Open Music Library. [Alexandria, VA]: Alexander Street Press: A ProQuest Company, 2016–. https://openmusiclibrary.org/ (Accessed 27 June 2018). [Requires a Web browser and an Internet connection. Searching and open access content are free. Users at institutions subscribing to fee-based Alexander Street Press products receive access to additional content provided by the publisher.] Open Music Library (OML) is an arm of Alexander Street: A ProQuest Company, aiming to provide a platform to gather both free and fee-based online resources in the discipline of music. According to the site, "The Open Music Library is an initiative from Alexander Street to build the world's largest free index of digital resources for the study of music." (https://openmusiclibrary.org/about/, accessed 12 July 2018) As of 27 June 2018, the home page indicates that more than 215,000 people, 202,000 scores, 4,500 videos, and 1,105,900 articles are linked from the site. In addition to Alexander Street content, the site includes material from several national libraries (see https://openmusiclibrary.org/partners/), the Library of Congress, and content that has been uploaded by contributors. The home page of the site consists of a large search box with no options for advanced or faceted searching. Scrolling down the page, we find the scope, a variety of Popular Topics tags, What's New and Featured sections, and finally the footer with more information about the OML project. The top of the page includes tabs that link directly to People, Journals, Works, Scores, Videos, Audio, Forum, and a login option for those who have established personal accounts on OML. There are many paths to the site's contents, including the search box, the featured sections on the opening page, or the section links. Beginning with the search box, entering "Jennifer Higdon" leads to a results screen with a variety of filters in the left-hand column, including options to filter by only open access content and to exclude reviews. The results include a one entry of the content type "People" that displays the first lines of Wikipedia's entry for Higdon, as well as links to related materials in all categories of content. Clicking the People link leads to a page that serves as a sort of portal to Higdon content and that includes a link to the full Wikipedia entry on Higdon, plus links to albums featuring her compositions and a list of compositions. Interestingly, filtering by open access removes the People result (and consequently, removes the link to the Wikipedia entry), leaving only a journal entry (which is behind the Music Periodicals Database paywall) and a video from Works & Process at the Guggenheim. The People tab allows browsing through those included in OML, but not in any discernible order, which appears to be random, rather than alphabetical or chronological. The Works tab highlights a random assortment of works, includes a pie chart of the chronological distribution of the [End Page 326] works, and includes a set of featured genres, which link to additional tables of works, organized by title. (The alphabetization includes the usual stop words, such as A, An, The, etc.) The Scores tab begins with a set of "popular tags," followed by a handful of featured composers. The Videos tab allows browsing through the 4,654 videos included, although they are presented in no discernible order. The Audio tab features five "radio stations" (Martha Argerich, Marian Anderson, Ursula Mamlok, Leonard Bernstein, and Modest Mussorgsky), a handful of links to ensembles and playlists, and a search box. Finally, there is the "…" tab, which when clicked expands to display links to Lists, including playlists, announcements, free downloads, etc.; the Forum for discussion of OML topics; Books, currently including Google Scholar links to 26 books; and several categories that appear to be under development, including Ephemera, Libretto, Performance, and Instruments. For each of those categories, OML staff have added questions prompts for idea of how the categories might be expanded and made more usable. The site appears to be IP-range sensitive, and for those links that reside behind subscription paywalls, access is allowed if the user's institution subscribes. When I...

Women's History and Digital Media: Uniting Scholarship and Pedagogy

Women's History and Digital Media: Uniting Scholarship and Pedagogy Shelley E. Rose (bio) Thomas Dublin and Kathryn Kish Sklar. "Black Women Suffragists."Women and Social Movements in the United States, 1600–2000. Alexander Street Press. ISSN 2164-537X (Basic Edition); ISSN 2164-5361 (Scholar's Edition). http://wass.alexanderstreet.com. P. Gabrielle Foreman. Colored Conventions Project. http://coloredconven-tions.org/. "History of Women's Struggle in South Africa."South African History Online. http://www.sahistory.org.za/article/history-womens-struggle-south-africa. In the twenty-fifth anniversary issue of the Journal of Women's History( JWH), historian Claire Bond Potter asks, "Has the Internet made a difference to the practice of women'shistory? If so, what difference has it made?" 1Potter emphasizes the potential and challenges of a range of digital resources for women's and gender history, focusing on matters of access, creation of community, and the role of such "traditional" academic arenas as print journals and the standard of sole authored works in the process. This digital media review essay marks the beginning of a new JWHinitiative, connecting the traditional and digital realms of publishing while enhancing a sense of community among scholars of women's and gender history from diverse backgrounds and career paths. The Journal of Women's Historyjoins such peer-reviewed journals as the American Historical Review, the Journal of American History, Western Historical Quarterly, and Bulletin of the History of Medicinein vetting digital media. In a timely intervention, the historian Cameron Blevins calls for historians to seize and shape the current wave of reviews. He observes that peer-review of digital projects ranges from informal Twitter dialogues and blog posts to print journals and, in his analysis, falls into three general categories: pedagogy and public engagement, academic scholarship, and data and design criticism. 2Limiting a digital media review to only one or two of these categories, however, potentially obscures a major contribution of digital projects. 3This review therefore focuses on the primary strength [End Page 157]of digital media projects: the ability to bridge the gap between scholarship and pedagogy. Currently, many digital media reviews reinforce a false dichotomy between scholarship and pedagogy. The Journal of American History( JAH), for example, sponsored by the Organization of American Historians, began publishing "web site reviews" as early as June 2009 in collaboration with the educator resources site History Mattersjointly sponsored by American Social History Project and the Roy Rosenzweig Center for History and New Media. The JAHeditors explicitly name educators as their primary review audience. 4The American Historical Association (AHA) creates a similar separation between digital media scholarship and pedagogy. In 2016, the AHA Todayblog launched the excellent "Teaching with #DigHist" series, edited by historian and high school teacher John Rosinbum, which discusses the use of a range of digital projects in the secondary and university-level classroom. In terms of scholarship, Alex Lichtenstein's 2016 introduction to American Historical Review's "AHR Exchange: Reviewing Digital History," characterizes the AHR'sstrategy of pairing digital media reviews with responses from digital editors as an "opportunity to defend their approach and to clarify how the digital medium made it possible for them to push scholarship in new interpretive directions." 5This distinct focus on scholarly contributions in the traditional journal aligns with the AHA "Guidelines for the Professional Evaluation of Digital Scholarship by Historians," released in June 2015, where the terms "teaching" and "pedagogy" do not appear in the main section "Forms and Functions of Digital Scholarship." 6On the AHA website, however, these scholarship guidelines are found under the site heading "Teaching and Learning," which indicates the need for more focused discussions in the historical profession on the role of digital media projects in scholarship and teaching. Digital media consumers represent a broad audience, including academics who identify strongly with both scholar and educator communities. Early adopters of digital media, furthermore, are cognizant of statistics that reveal significant numbers of K-12 educators utilizing primary and secondary sources made available through large scale projects like German History in Documents and Images( GHDI) and the Library of Congress's American Memory. 7Data from...

Berliner Philharmoniker Digital Concert Hall

Reviewed by: Berliner Philharmoniker Digital Concert Hall Lisa Hooper Berliner Philharmoniker Digital Concert Hall [Berlin, Germany]: Berliner Philharmoniker, (2016–). http://www.digitalconcerthall.com/ (accessed 30 December 2016). [Requires a Web browser and Internet connection or personal device and Internet/data connection. Pricing: varies by institutional or individual subscription.] Introduction The Berliner Philharmoniker Digital Concert Hall is a Web-based database of streaming video performances, documentaries, and interviews by and related to the Berlin Philharmonic. This resource first became available in beta form in October 2015. Beta testing ended in January 2016, and the resource became available by subscription that spring. The resource Web site does not clearly define its scope but it is self-evident that this is a product of the Berlin Philharmonic. On the How It Works page, it is noted that “each season around 40 concerts are broadcasted live and they can also be viewed at a later date in the concert archive. The archive already contains hundreds of recordings with all the great artists of classical music. There are also fascinating documentaries and bonus films.” (https://www.digitalconcerthall.com/en/ info, accessed 30 December 2016). Pricing & Access Digital Concert Hall does not publicly share its pricing index, instead requiring institutions to complete a questionnaire to receive a “personalized quote.” Information taken into account includes institution type (university, conservatory, school, other), total FTE enrollment, the number of students majoring or minoring in music, the number of students attending music classes, and the number of students using music resources. Similar information about institutional personnel is required, including the number of faculty, number of librarians, and number of support staff as well as how these groups use musical resources. More common information such as number of concurrent users and subscription duration (one, two, or three years) is also considered. Content Streaming video content begins in 1966 and continues to the present with live concert streams that are subsequently added to the archive. Content is batched into date ranges. The earliest content, 1966 to 1979, contains seventeen concerts and two documentaries all with Herbert von Karajan. The period 1980 to 1989 only contains three items, but all three may be considered significant performances in the orchestra’s history. Seventeen concerts, conducted variously by Claudio Abbado, Daniel Barenboim, James Levine, Bernard Haitink, Sir Simon Rattle, and Sergiu Celibidache, are in the 1990 to 1999 batch. The time period of 2000 to 2008, contains thirty-three concerts conducted by Simon Rattle, Mark Elder, Neeme Järvi, Daniel Barenboim, Seiji Ozawa, Pierre Boulez, Mariss Jansons, Claudio Abbado, Plácido Domingo, Lorin Maazel, and Kent Nagano. From 2008 on performances are organized by season, with thirty-five performances in the 2008/9 season and later seasons containing forty-two to fifty items each. The current 2016/17 season contains twenty-three concerts with the promise to grow. Some content is also available on CD or DVD. A comparison of Digital Concert Hall and the Berliner Philharmoniker Recordings Shop (https://www.berliner-philharmoniker-recordings.com, accessed 27 January 2017), linked in the page header, reveals a limited degree of overlap. [End Page 761] For example, both include video of Rattle’s Sibelius symphony cycle (BPHR 150071, OCLC accession number 925527825). Conversely, the interview with Harnoncourt available in the Recordings Shop as a bonus DVD to the conductor’s complete Schubert recordings (BPHR 150061, OCLC accession number 959284299) is sadly omitted from the Digital Concert Hall. Historical recordings may be available via Alexander Street Press’s Music Online as streaming audio only. However, content originally released on the Berliner Philharmoniker label is not duplicated by other streaming resources. All of the conducting giants, and many more, that worked with the orchestra since the mid-60s are represented. The database reveals a preference for traditional musical fare: Beethoven (61 performances), Brahms (54), Mahler (39), and Mozart (38). Although far fewer, works from the late twentieth and twenty-first centuries are represented as well, with compositions by Luciano Berio (12), Elliot Carter (3), George Crumb (1), Luigi Dallapiccola (1), Jonathan Dove (1), Osvaldo Golijov (1), Paul Hindemith (6), Kaija Saariaho (1), and TMru Takemitsu (1), among others. The resource undoubtedly has commercial drivers behind it. A direct link...

Somewhere to Run to, Nowhere to Hide

Stephen Rhind-Tutt of Alexander Street Press described his perspective on historical trends in the information industries, particularly publishing, and extrapolates them to the future. The presentation begins with an examination of the current challenges facing the information industries. This is followed by a definition of technology forecasting and its application to the information industries, showing how the Internet lends itself to particular types of development and the wants and needs of information customers drive change. The likely direction of such change in the information industry is outlined. Members of the industry must choose to embrace and evolve with these changes in order to remain relevant.

Alexander Street Press Platform Review

Alexander Street Press Platform Review

Content Coding of Psychotherapy Transcripts Using Labeled Topic Models.

Psychotherapy represents a broad class of medical interventions received by millions of patients each year. Unlike most medical treatments, its primary mechanisms are linguistic; i.e., the treatment relies directly on a conversation between a patient and provider. However, the evaluation of patient-provider conversation suffers from critical shortcomings, including intensive labor requirements, coder error, nonstandardized coding systems, and inability to scale up to larger data sets. To overcome these shortcomings, psychotherapy analysis needs a reliable and scalable method for summarizing the content of treatment encounters. We used a publicly available psychotherapy corpus from Alexander Street press comprising a large collection of transcripts of patient-provider conversations to compare coding performance for two machine learning methods. We used the labeled latent Dirichlet allocation (L-LDA) model to learn associations between text and codes, to predict codes in psychotherapy sessions, and to localize specific passages of within-session text representative of a session code. We compared the L-LDA model to a baseline lasso regression model using predictive accuracy and model generalizability (measured by calculating the area under the curve (AUC) from the receiver operating characteristic curve). The L-LDA model outperforms the lasso logistic regression model at predicting session-level codes with average AUC scores of 0.79, and 0.70, respectively. For fine-grained level coding, L-LDA and logistic regression are able to identify specific talk-turns representative of symptom codes. However, model performance for talk-turn identification is not yet as reliable as human coders. We conclude that the L-LDA model has the potential to be an objective, scalable method for accurate automated coding of psychotherapy sessions that perform better than comparable discriminative methods at session-level coding and can also predict fine-grained codes.

Memoirs of a Musical Object, Supposedly Written by Itself: It-Narrative and Eighteenth- Century Marketing

Dedication (1) To the Nobility, Gentry, and the Public at large, who have witnessed my talents, and raised me from obscurity to the proud eminence on which I now stand, I dedicate my following maiden essay in literature. [ ... ] I have been patronized by the first rank this vast empire has to boast of; to whom, as well as all my Patrons and Friends, I beg leave to return my most ardent thanks; and while I breathe, possessed of my mental powers, which from my youth, and lack of experience, are but now in the bud, I will on every occasion that calls them into action, show an earnest intention to render them effective and impressive, from an active display of their native energies. In me the world will see, and posterity may read, a lesson in my existence and labours, that time, assiduity, and patience, led on by perseverance, will ultimately surmount every obstacle that may retard the progress of genius. (2) --Toby, the Sapient Pig (1817) Apology to the Reader As most articles begin with a self-effacing rhetorical flourish, here is my apologia: I am no ordinary author. While the person who typed this text has indeed signed her name, the story she offers is not her own; it is mine. I present myself in the manner of many of the texts that I will discuss: as an object, unfolding its life the voice of another. I address you, dear reader, both and as a medium. You know my kind well, though you may never before have heard one of us speak. I suspect that you have spent countless hours staring at, and learning from, the likes of me, without realizing that there might be, simultaneously, a sentient force staring at and learning from you. Yes, you are accustomed to looking through me and my brethren, searching for information about historical context and meaning, as Bill Brown has said. (3) Now I ask you to look at In Which the Object Reveals Itself As the reader has surely guessed my Sphynx-like riddle by now, I will venture to present myself. I am a published score from 1779 and have varied contents: I include an Italian trio and a French trio, both in a number of guises--for keyboard, guitar, and several combinations of voices. I have been told that it is not indiscreet to append to such a memoir a portrait of oneself, so, in keeping with tradition, I am enclosing Figures 1-4. [FIGURE 1 OMITTED] [FIGURE 2 OMITTED] [FIGURE 3 OMITTED] [FIGURE 4 OMITTED] A Mysterious Moment Explained I was visited in the Beinecke Library at Yale University on a recent fall afternoon. Imagine my joy at being brought forth from the airless sterility into the open, touched by human hands for the first time in decades. The warmth, the breath, the moisture, all created quite a shock--a little death, if you will--through which I found new life, one in which, to my surprise, I could speak! O great joy! And speak I did, quite a bit, requiring my new friend repeated visits in order to take down all of my musings. She never seemed bothered, as she told me, in the words of the outspoken fan of the material, poet Francis Ponge: ideas give me a queasy feeling, nausea. Objects in the external world, on the other hand, delight me. (4) In Which the Music Explains its Provenance to Those Who Are Generally Interested in the Provenance of Old Pieces of Paper Yes, I am music. Specifically, I am seven pages of two of the finest little ditties this side of the Thames--or perhaps I should say, around these parts, the Hudson? At least that's the kind of reputation I used to have. I understand that Richard Brinsley Sheridan's play The Critic (Drury Lane, 1779) is not the draw that it was in my day, although the British Broadcasting Corporation recorded a performance in 1992 that is available in many libraries Alexander Street Press's Theater in Video database. A version of my contents can be found in Act I, for which I was created by Tommaso Giordano as incidental music. …

Digital Media Reviews

This quarterly column offers reviews of free and fee-based music resources in a variety of digital media, including online subscription services and databases, World Wide Web sites, mobile applications, CDROM products, and music-related software of any kind. Some reviews may cover a number of related sources together. Excluded from this column are reviews of media in purely digital audio format that would normally be reviewed as sound recordings.Dance in Video: Volume I. [Alexandria, Virginia]: Alexander Street Press, 2008-. http://alexanderstreet.com/products/dance-video (Accessed 29 May 2013). [Requires a Web browser, Adobe Flash Player, an audio- enabled device, and an Internet connection with a minimum bandwidth of 400kbps. Annual subscription ranges from $1,172 to $2,647; perpetual rights start at $10,000 plus a $125 annual access fee and range up to $25,000 plus a $500 annual access fee; pricing for both subscriptions and perpetual rights is dependent upon library size and budget. Discounts are available for consortial purchases; unlimited simultaneous users.]Introduction & ContentDance in Video: Volume I has been pre- sented by Alexander Street Press as con- taining 500 hours of video footage provid- ing an overview of 20th Century concert dance, including the forerunners and pio- neers of modern dance, covering ballet, tap, jazz, contemporary, experimental, and improvisation1 but the actual content seems to be heavily focused on traditional ballet, while only providing in-depth cover- age of a few particular choreographers in more modern dance form, and only a smat- tering of videos having to do with dance styles of particular regions and cultures. It contains videos dating between 1960 and 2012, with the bulk of the content from 1980-2012. Some of the footage is readily available on DVD, but in comparison to the institutional prices for DVDs, the Dance in Video database is a bargain (for example, the videos from Charles Dennis's Alive and Kicking series alone would cost more than $11,000 if purchased on DVD.)2Within Dance in Video, there are more than seven hundred individual videos faceted into many categories, the broadest being Performance (443), Choreography and Composition (326), History and Philosophy of Dance (195), Instruction (121), and Dance Theory (88). The collec- tion includes performances by companies such as Merce Cunningham Dance Com- pany, The Royal Ballet, Pilobolus, The American Ballet Company, Doug Varone and Dancers, and Eiko and Komo. One of the more interesting collections of videos included are a series of thirty-six Master- classes provided by the George Balanchine Foundation, in which ballet greats such as Allegra Kent and Maria Tallchief can be ob- served teaching Balanchine's choreography of particular roles to younger dancers.Interface DesignAlexander Street Press has been in the process of rolling out a new interface for its collections since fall 2013.3 The initial release has both simple and advanced searching capabilities, with robust faceted searching which appears on the left-hand sidebar of search results to further refine results. The ability to create custom video clips and playlists has been retained in the new platform, which allows one to book- mark and share custom playlists of videos, but as of the time of this review, this feature was only working for onsite users. In a per- sonal communication Alexander Street Press let the author know they were looking into this issue, and they suspect it involves a proxy issue for remote users. There is an extensive list of known issues with the new Alexander Street Platform posted on their website.4The video controls provided are intu- itive, including play/pause, fast forward, and rewind buttons, as well as a volume control slider. There is also a button that allows the user to jump back in thirty sec- ond increments. The layout of the screen can toggle between three views: default, thumbnails, and full-screen. …

Women and Social Movements, International--1840 to Present

Women and Social Movements, International—1840 to Present Get access http://wasi.alexanderstreet.com/. Created and maintained by Thomas Dublin, Kathryn Kish Sklar, and Alexander Street Press. Reviewed June–July 2013. Journal of American History, Volume 100, Issue 4, March 2014, Pages 1308–1309, https://doi.org/10.1093/jahist/jau161 Published: 01 March 2014

Ati-atihan Lives. 2012. Directed, written, and produced by Patrick Alcedo. In Aklanon and English. 55 minutes. Colour, DVD. Distributed by Alexander Street Press (http://www.aademicvideostore.com).

Ati-atihan Lives. 2012. Directed, written, and produced by Patrick Alcedo. In Aklanon and English. 55 minutes. Colour, DVD. Distributed by Alexander Street Press (http://www.aademicvideostore.com).

Classical Music in Video (review)

For information regarding the scope of this column, consult the headnote in the September 2013 issue. The dates of access for each review of an online source indicate the dates during which the reviewer was evaluating the resource. All Web sites were last accessed to verify availability on 1 August 2013.Classical Music in Video [Alexandria, VA]: Alexander Street Press, 2012-. http://clmv.alexanderstreet.com/ (Accessed May 2013). [Requires a Web browser, Adobe Flash Player, an audio-enabled device, and an Internet connection with a minimum bandwidth of 400 kbps. Pricing: annual subscription from $1,024 to $2,570 depending on library size or perpetual rights for $25,000 plus a $500 annual access fee; discounts are available for consortial purchases; unlimited simultaneous users.]IntroductionUsers familiar with Alexander Street Press's family of music streaming products, such as Classical Music Library, Jazz Music Library, Opera in Video, and others, will welcome Classical Music in Video, a relatively new addition to this group. As of this writing, Classical Music in Video provides access to 732 recorded performances delivered by streaming video. Classical Music in Video currently contains recordings from seventeen different publishers, and includes recent recordings from publishers such as EuroArts and Masterclass Media Foundation, and historical recordings from Bel Canto Society and Entertainment One, Ltd.NavigationUsers may browse for recordings by many different access points-available on the left side of the home screen, or from the menu bar across the top of all screensincluding people with responsibility for the recording (All People), composer, ensembles, genres, operatic roles (Roles), time periods, recording venues (Venues), and video titles (Videos). The actual browsing is done on separate screens, depending on which access point is selected for browsing. Users may also search for recordings by means of a basic search box available from all screens of the site, which allows the user to search by any keyword, or to narrow the search to People, Subtitles, and Title fields. The Advanced Search screen allows the user to perform precise searches. This screen will search many data fields simultaneously, and provides users with the assistance of controlled vocabulary through pull-down menus or, for large sets of controlled vocabulary, Select Terms links. Classical Music in Video offers straightforward browsing by title. The title list displays video recordings arranged in numerical order (for titles that begin with numbers), followed by alphabetical order. A navigation bar across the top of the screen allows users to jump to the beginning of each letter or to the numerical section. Users can also easily browse for people. One can browse for all indexed people at once or by one role at a time. Users can limit roles for browsing purposes to only composers, librettists, performers, directors, conductors, choreographers, or designers. Users can also link directly to the list of composers from the home page or the navigation bar under Browse. Within each list of people, occupations are listed, with some listed generically as Performer, and some with more specific occupations, such as Tenor, Pianist, or Musical conductor.Users may browse for ensembles alpha-betically. Clicking on an ensemble name on the Browse Ensembles screen will take the user to an ensemble page that links to a list of the video recordings featuring that ensemble. Some ensemble pages also contain a historical article about the ensemble (called a Biography) from All Music Guide.1 Users may also browse by genre. The list of genres is arranged hierarchically with two levels. The list of top levels is arranged alphabetically, and within each top level is at least one second-level genre. Individual video recordings can be found by clicking on the top-level or second-level genre headings. The top-level genres include such terms as Chamber, Contemporary, Dance, Instrumental, and Vocal + choral. …

Classical Music in Video

Classical Music in Video

British and Irish Women's Letters and Diaries: 1500 to 1950201317Edited by Melissa Hardie and Elizabeth Heckendorn Cook. British and Irish Women's Letters and Diaries: 1500 to 1950. Alexander, VA: Alexander Street Press 2008‐. Contact publisher for pricing information URL: http://alexanderstreet.com/products/british‐and‐irish‐womens‐letters‐and‐diaries Last visited August 2012

British and Irish Women's Letters and Diaries: 1500 to 1950201317Edited by Melissa Hardie and Elizabeth Heckendorn Cook. <i>British and Irish Women's Letters and Diaries: 1500 to 1950</i>. Alexander, VA: Alexander Street Press 2008‐. Contact publisher for pricing information URL: http://alexanderstreet.com/products/british‐and‐irish‐womens‐letters‐and‐diaries Last visited August 2012

Nursing Education in Video

Alexander Street Press is a relative newcomer to the world of health sciences libraries. Academic librarians know this company mostly for its full-text products in the social sciences, arts, and humanities, as well as its vast online music libraries. In recent years, Alexander Street Press has expanded its product line to include streaming videos in a variety of subjects: criminal justice, history, ethnography, dance, and health sciences. Several products are available in the latter group in the areas of sports medicine and exercise science, rehabilitation therapy, counseling and psychotherapy, health issues and their societal impacts, and nursing education.

Trends in Patron Use of Physical Media Materials and Subscription Online Media Databases at the University of Louisville: A Ten-Year Study

This study analyzes circulation trends of physical media materials (CDs, LPs, DVDs, and VHS tapes), as well as usage data of subscription online streaming media databases at the University of Louisville for the ten-year period of 2002–2011. As patron use of the library's subscription online streaming media databases such as Naxos Music Library and Alexander Street Press Classical Music Library has increased each year over the past decade, the circulation of physical media items has decreased significantly during the same time period.

The Romantic Era Redefined

The Romantic Era Redefined

World History in Video

World History in Video

Opera in Video (review)

Opera in Video [Alexandria, VA]: Alexander Street Press, 2008--. http://opiv.a1exandcrsreet.com/ (Accessed October 201 1). [Requires a Web browser (Windows 98 or highei Apple version OSX/OSIO or higher) and an Internet connection. Pricing: animal subscription from $I 100 to $2495 per year or perpetual rights from $10,000 to $25,000, depending on library type, size, and materials budget; unlimited simultaneous user.] Alexancler Street Press's database Opera in Video is designed to support academic libraries that serve music programs, Offering 500 hours and 290 works. it covers the span of operatic history, including contemporary works. he database also covers a wide range of performing styles, with singers Irons I he earls. 20th century as well as more recent stars. Most of the videos offered have been released previously in DVD and Or VHS formats from such labels as Kultur. Opus Art.c. and Bel Canto Society, btu Opera in Viden also includes a substantial collection from the BBC that has not been released in the I. S. in hard copy. While it does not offer every available performance of a given opera or even all operas that have been released on DVD. Opera in Video does include at least one performance of operas that are likely to be included in music history; classes at the undergraduate level. The database is constructed to work as a teaching tool. Selections--either complete operas or individual scenes--can he added to playlisis for specific course requirements. One may browse names (singers. conductor's. stage directors and designers. choreographers, composers, libreltists), as well as venues, ensembles. roles, genres, eras of composition. anct the nature of the video (performance. documentary, biography, animation. interview). Advanced searching offers limiters for language, subtitle options. and recording date. Terms can be combined using Boolean operators to refine the search. The videos are streamed (not downloaded) at 400 kbps in the standard viewing mode and 800 kbps in the enlarged mode, which is approximately one third of the computer's screen to allow for indexing Of the tracks at the sidle, which provide instant access to a particular scene. 'niece is no zoom option and I Found no way to enlarge the image to the fall screen. The load lime is generally quick. Playlists are easy to t irate and access to them can be restricted to the creator, students enrolled in a class, or anyone who has access to the database, either within the institution or elsewhere. Each indexed chapter in We video has an to playlist icon. Should one decide that Lucia's entire mad scene is too long, or if one wants just the 13 section of a Handel do (afro aria, one can use the make clip Option to shorten an excerpt or jump to a particular section. The list. creator can add annotations for each excerpt as well. Thumbnail images from the beginning of each indexed scene are available for viewing, and there is even a Print Screen button that opens a more printer-friendly version of the screen. The sound and image quality varies (swath according to the date of the film or performance. Most of the selections are of more recent vintage and derive from actual stage productions. …

Filmakers Library

Filmakers Library