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Books on the topic 'Choir participation'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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1

Bütschi, Danielle. Le raisonnement dans les processus démocratiques: Le questionnaire de choix. Paris: Harmattan, 1999.

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2

Canada, Canada Environnement. Choix terre-à-terre: Conseils pour que votre quartier soit l'un des voisinages en santé. Ottawa, Ont: Environnement Canada, 1998.

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3

Canada. Parlement. Chambre des communes. Comité permanent des finances. En marche vers l'avenir: Priorités et choix pour l'économie du XXIe siècle : rapport du Comité permanent des finances. Ottawa, Ont: Comité permanent des finances, 2004.

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4

Canada. Dept. of Finance. Facing choices together : response to pre-budget consultations =: Aborder les choix ensemble : réponse aux consultations pré-budgétaires. Ottawa, Ont: Dept. of Finance = Ministère des finances, 1994.

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5

Lieberman, Myron. Public school choice: Current issues, future prospects. Lancaster, Pa: Technomic Pub. Co., 1990.

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6

White, Brad, and Tim Lautzenheiser. Choir Director's Communication Kit. Hal Leonard Corp, 2000.

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7

Dalton, Russell J. The Political Leanings of the Choir. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733607.003.0010.

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Do unequal levels of participation across social groups correspond to unequal policy preferences in the political voices of the active citizenry? Across the established democracies, the politically active lean toward the Left at each level of social status. The end result is that the political biases of upper-social-status individuals are moderated by those who are politically active. However, this pattern varies. For traditional economic issues, there is a conservative bias among activists controlling for their social status. For cultural issues such as gay rights and protection of immigrants, political activists are more liberal than their social-status peers. This asymmetry in political voice across different issues is an under-recognized aspect of democratic participation.
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8

Lakschevitz, Eduardo. Conducting Corporate Choirs in Brazil. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.14.

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Corporate choirs represent a large part of choral music-making in Brazil. Many Brazilian companies hire choral directors to develop group singing activities with their employees, thanks in part to the recent Music Education Bill. These directors face very particular challenges that are rarely considered in their training at colleges and universities. Nonetheless, they are a significant part of the work of choral directors in Brazil. Leading a peripheral activity in relation to the company’s core business, lack of rehearsal time, volunteer singer participation, inappropriate physical conditions, management that is not akin to the arts field, and easy access to contemporary urban activities and gadgets are some factors that create these particular challenges. The corporate choir director must bridge these factors with musical procedures of their work, and approach with a more critical view issues such as repertory choice, conducting techniques, and rehearsal procedures.
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9

Jean-Pierre, Vittori, and Gazut André, eds. Le choix des larmes: Algérie, 1954-1962. Issy-les-Moulineaux: Arte, 2002.

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10

Galeries nationales du Grand Palais (France), ed. Anciens et nouveaux: Choix d'oeuvres acquises par l'etat ou avec sa participation de 1981 a 1985. Paris: Ministère de la culture, Editins de la Réunin des es nationaux, 1985.

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11

Schuessler, Alexander A. A Logic of Expressive Choice. Princeton University Press, 2000.

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12

Schuessler, Alexander A. A Logic of Expressive Choice. Princeton University Press, 2000.

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13

Zulueta-Fülscher, Kimana. Les Constitutions provisoires: Des outils de maintien de la paix et de renforcement de la démocratie. International Institute for Democracy and Electoral Assistance, 2021. http://dx.doi.org/10.31752/idea.2021.47.

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Ce document d’orientation a pour objectif de combler une lacune importante dans la littérature politique et universitaire concernant les processus d’élaboration et le contenu des constitutions provisoires dans des contextes de conflit. Il explique que, à la différence des accords de paix et des dispositifs provisoires, les constitutions provisoires tirent leur force de leur caractère exécutoire. Il se penche sur la diversité des constitutions provisoires post-1990 en termes de structure et de rôle joué dans les processus de paix. Une des principales conclusions que l’on peut tirer est que, malgré des différences majeures liées à la relation entre le contexte national et les choix en matière de procédure et de conception, les constitutions provisoires peuvent offrir le temps ou l’opportunité pour parvenir, à terme, à un consensus. Elles sont susceptibles de contribuer à une culture de constitutionnalisme participatif et traitent les questions de séquencement des élections et de renforcement des institutions clés dans la mise en place de cadres institutionnels.
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14

Anciens et nouveaux: Choix dʼœuvres acquises par l'Etat, ou avec sa participation, de 1981 à 1985 : Paris, Galeries nationales du Grand Palais, 5 novembre 1985-3 février 1986. Paris: Ministère de la culture, Editions de la Réunion des musées nationaux, 1985.

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15

Preston, Katherine K. George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.001.0001.

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George Frederick Bristow (1825-1898), a pillar of the nineteenth-century New York musical community, was educated, lived, and worked in New York for his entire life. A skilled performer (piano, organ, violin, conducting), he was a decades-long member of the Philharmonic Societies of New York and Brooklyn, and conducted the Harmonic Society, Mendelssohn Union, numerous church choirs, and pickup choral and instrumental ensembles organized for special events. He taught music privately and in the public school system. Bristow’s professional activities were those of a highly skilled urban journeyman musician--typical of many who worked in America during the period. Bristow was a steadfast and outspoken supporter of American composers throughout his career. This started in 1854 with his participation--along with William Henry Fry and editor Richard Storrs Willis--in a months-long journalistic battle that centered on the Philharmonic Society’s lack of support for American composers, an activity that has dominated his historical reputation. But he was also a prolific composer: of five symphonies, two oratorios, an opera, many secular and sacred choral pieces, chamber music, songs, and works for piano and organ. As a quiet and self-effacing individual, Bristow was not a self-promoter. But many of his contemporaries regarded him as a skilled performer, a generous colleague, and the most important American classical composer during much of the mid-century period.
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16

Laver, Michael John. Private Desires, Political Action: An Invitation to the Politics of Rational Choice. Sage Publications Ltd, 1997.

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17

Private Desires, Political Action: An Invitation to the Politics of Rational Choice. Sage Publications Ltd, 1997.

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