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The book describes how Edward Tolman developed a theory of purposive behaviour within the behaviourist era of American psychology.
Part of Dorchester (extinct now) established as Stoughton on 22 Dec. 1726.
Beginning in 1924, Proceedings are incorporated into the Apr. no.
Between 1959 and 1968, New England saw a folk revival emerge in more than fifty clubs and coffeehouses, a revolution led by college dropouts, young bohemians, and lovers of traditional music that renewed the work of the region's intellectuals and reformers. From Club 47 in Harvard Square to candlelit venues in Ipswich, Martha's Vineyard, and Amherst, budding musicians and hopeful audiences alike embraced folk music, progressive ideals, and community as alternatives to an increasingly toxic consumer culture. While the Boston-Cambridge Folk Revival was short-lived, the youthful attention that it spurred played a crucial role in the civil rights, world peace, and back-to-the-land movements emerging across the country. Fueled by interviews with key players from the folk music scene, I Believe I'll Go Back Home traces a direct line from Yankee revolutionaries, up-country dancers, and nineteenth-century pacifists to the emergence of blues and rock 'n' roll, ultimately landing at the period of the folk revival. Thomas S. Curren presents the richness and diversity of the New England folk tradition, which continues to provide perspective, inspiration, and healing in the present day.
In the summer of 1972, a group of young people in Bloomington, Indiana, began a weekly gathering with the purpose of reviving traditional American old-time music and dance. In time, the group became a kind of accidental utopia, a community bound by celebration and deliberately void of structure and authority. In this joyful and engaging book, John Bealle tells the lively history of the Bloomington Old-Time Music and Dance Group -- how it was formed, how it evolved its unique culture, and how it grew to shape and influence new waves of traditional music and dance. Broader questions about the folk revival movement, social resistance, counter culture, authenticity, and identity intersect this delightful history. More than a story about the people who forged the group or an extraordinary convergence of talent and creativity, Old-Time Music and Dance follows the threads of American folk culture and the social experience generated by this living tradition of music and dance.
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Volume 2 of 3. This 3-volume anthology of 194 articles (with 102 maps and illustrations) published between 1974 and 1999 in We Proceeded On, The quarterly journal of the Lewis and Clark Trail Heritage Foundation. Contributors include Stephen Ambrose, John Logan Allen, and Paul Russell Cutright among other professional and amateur Lewis and Clark scholars. Vol. 1 ISBN 1582187622, Vol. 2 ISBN 1582187649 Vol. 3 1582187665.
Tracing the development of tap dancing from ancient India to the Broadway stage in 1903, when the word "Tap" was first used in publicity to describe this new American style of dance, this text separates the cultural, societal and historical events that influenced the development of Tap dancing. Section One covers primary influences such as Irish step dancing, English clog dancing and African dancing. Section Two covers theatrical influences (early theatrical developments, "Daddy" Rice, the Virginia Minstrels) and Section Three covers various other influences (Native American, German and Shaker). Also included are accounts of the people present at tap's inception and how various styles of dance were mixed to create a new art form.