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Books on the topic 'Composts collectifs'

Author: Grafiati
Published: 21 January 2023

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1

Foley, Kevin. The complete composite of Michigan beer cans, 1936-1999. [Grand Rapids, Mich.?: Kevin Foley?, 2005.

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2

Berlin, Irving. Irving Berlin Collection. Washington, D.C: Library of Congress Photoduplication Service, 1993.

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3

Hemming, Roy. Discovering great music: A new listener's guide to the top classical composers and their best recordings. 2nd ed. New York: Newmarket Press, 1994.

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4

Cobbe, Alec. Composer instruments: A catalogue of the Cobbe Collection of keyboard instruments with composer associations. [East Clandon]: Cobbe Collection Trust in association with the National Trust, 2000.

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5

Copland, Aaron. Aaron Copland collection: Scrapbooks, 1924-1942. Washington, D.C: Library of Congress Photoduplication Service, 1994.

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6

Hemming, Roy. Discovering great music: A new listener's guide to the top classical composers and their masterworks on CDs, LPs, andtapes. New York: Newmarket Press, 1992.

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7

International Symposium on Advanced Processing and Manufacturing Technologies for Structural and Multifunctional Materials and Systems (4th 2010 Daytona Beach, Fla.). Advanced processing and manufacturing technologies for structural and multifunctional materials: A collection of papers presented at the 34th International Conference on Advanced Ceramics and Composites, January 24-29, 2010, Daytona Beach, Florida. Edited by Ohji T. (Tatsuki), Singh M. (Mrityunjay), Mathur Sanjay, American Ceramic Society, and International Conference on Advanced Ceramics and Composites (34th : 2010 : Daytona Beach, Fla.). Hoboken, N.J: Wiley, 2010.

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8

Bizet, Georges. Georges Bizet letters in the Nydahl collection. Stockholm, Sweden: Kungl. Musikaliska akademien, 1988.

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9

Hemming, Roy. Discovering great music: A new listener's guide to the top classical composers and their masterworks on CDs, LPs, and tapes. New York: Newmarket Press, 1988.

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10

Joliette, Musée d'art de. Temps composés: La donation Maurice Forget. Joliette, Quebec: Musée d'art de Joliette, 1998.

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11

Elka, Spoerri, Baumann Daniel 1967-, and Adolf-Wölfli-Stiftung, eds. Adolf Wölfli: Draftsman, writer, poet, composer. Ithaca: Cornell University Press, 1997.

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12

Haynsworth, Toby. Eugene Bonner, Tar Heel composer of opera. Rock Hill, SC: Winthrop College, Manuscript Collection, 1991.

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13

Hegberg, Bruce A. Yard waste programs: Existing regulations, collection, composting, compost characteristics and land application. Chicago, Ill. (Box 6998, Chicago 60680): University of Illinois Center for Solid Waste Management and Research, Office of Technology Transfer, School of Public Health, 1990.

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14

Surrans, Alain. Le regard du musicien. Paris: Bibliothèque musicale Gustav Mahler, 1993.

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15

Lindeman, Carolynn A. Women composers of ragtime: A collection of six selected rags by women composers reprinted from the original sheet music. Bryn Mawr, Pa: T. Presser, 1985.

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16

Directorate, Canada Drugs. Blood collection and blood component manufacturing =: Collecte de sang et préparation des composés sanguins. Ottawa, Ont: Health and Welfare Canada = Santé et bien-être social Canada, 1992.

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17

Jezic, Diane Peacock. Women composers: The lost tradition found. 2nd ed. New York: Feminist Press at The City University of New York, 1994.

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18

Night music. New York: New American Library, 2003.

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19

G, Cobb Margaret, and Miller Richard 1926-, eds. The poetic Debussy: A collection of his song texts and selected letters. 2nd ed. Rochester, N.Y: University of Rochester Press, 1994.

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20

Pacific Rim Conference on Ceramic and Glass Technology (8th 2009 Vancouver, B.C.). Innovative processing and manufacturing of advanced ceramics and composites: A collection of papers presented at the 8th Pacific Rim Conference on Ceramic and Glass Technology, May 31-June 5, 2009, Vancouver, British Columbia. [Westerville, Ohio]: American Ceramic Society, 2010.

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21

1960-, Denis Jean-François, ed. Q/Résonance: Magnétothèque du Groupe électroacoustique de Concordia = Concordia Electroacoustic Composers' Group tape collection. Montréal, Canada: Le Groupe, Dép. de musique, Université Concordia, 1988.

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22

Pearce, Kenneth L. Mereological Idealism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746973.003.0012.

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According to common sense, some but not all collections of objects are unified into larger wholes. For instance, a certain collection of pieces composes a person’s desk, but there is no object composed of that person’s left ear and the Eiffel Tower. Mereological idealism is the view that our conceptualizing activity is responsible for this unification: a collection of objects composes a whole if and only if those objects are co-apprehended by some mind under some concept. This chapter develops this view in detail and defends it against objections. Additionally, the chapter argues that mereological idealism is able to solve certain well-known problems faced by other theories of composition: the vagueness problem, the causal exclusion problem, and the problem of alternative conceptual schemes.
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23

Press, Microsoft. Multimedia Composer Collection. Microsoft Press, 1994.

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24

Dragons Composed. Memphis, Tennessee: Dark Oak Press & Media, 2009.

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25

(Editor), Kevin Gallagher, and Meg Bezucha (Editor), eds. Greatest Hits: Twelve Years of Compost Magazine. Zephyr Press (AZ), 2006.

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26

Menken, Alan. Alan Menken Songbook (Composer Collection). Hal Leonard Corporation, 2003.

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27

Hill, McGraw. Spotlight on Music, Composers Collection. McGraw-Hill Education, 2005.

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28

The Essential Collection Great Composers Gold. Music Sales, 2008.

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29

Ten Great American Composers (Collective Biographies). Enslow Publishers, 2002.

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30

Paul, R. Kevin. Complete Guide to Collecting Composer Coins. Lulu Press, Inc., 2015.

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31

Anderson, Virginia, ed. Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.001.0001.

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This collection of interviews, published for the first time, advances our knowledge of musical thought, technique, education, life, and work in American composition in and around 1972. That year the composer Barney Childs began to conduct a series of interviews (or “conversations,” as he called them) with a diverse set of American new music composers who were then around thirty-forty years old. The composers determined the topics and content of the conversations, resulting in honest assessments of their concerns at the time of the interview, delivered with personal observations, humor, and passion. Childs was unable to interest publishers in his book, as the composers were young and just established, so he put them away. After intensive restoration, the surviving twenty-three conversations and fragments (Childs mentioned twenty-five completed interviews of a planned thirty-two) include many composers who have influenced the course of American concert music in the years since. Their styles are varied and include minimalism and imminent postminimalism, serialism, electronics, opera, pop and jazz crossovers, multimedia, and other areas of musical activity. Their conversations, enhanced and contextualized for present-day readers in essays by experts on the life and music of each composer, offer a unique glimpse into the state of being American in musical life in 1972, and a perspective on how American music became what it is today.
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32

Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.
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33

Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.001.0001.

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This multi-author collection, the second to be published in an unprecedented four-volume series of analytical essays on music by women composers from the twelfth to the twenty-first centuries, presents detailed studies of compositions written up to 1900 by Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth-Claude Jacquet de La Guerre, Marianna Martines, Fanny Hensel, Josephine Lang, Clara Schumann, and Amy Beach. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of one representative composition or a small number of comparable compositions, linking analytical observations with broader considerations of music history, gender, culture, or hermeneutics. These essays, many by leading music theorists, are grouped thematically into three sections, the first focused on early music for voice, the second on seventeenth- and eighteenth-century keyboard music, and the third on lieder and piano music. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early music, theory, history, or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners—an endeavor of discovery for all those interested in music composed before 1900.
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34

Boulanger, Nadia. Women Composers Guide to the Microfilm Collection. Primary Source Media, 1998.

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35

Staff, Hal Leonard Corp, and Inc Staff G. Schirmer. Clarinet Collection: 15 Pieces by 14 Composers. Leonard Corporation, Hal, 2007.

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36

The Steinway Collection: Paintings of Great Composers. Amadeus Press, 2005.

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37

Cranford, Paul. Lighthouse Collection of Newly Composed Fiddle Tunes. Mel Bay Pubns, 2008.

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38

Donner, Kit, and Hal Leonard Corp Staff. Horn Collection: 14 Pieces by 11 Composers. Leonard Corporation, Hal, 2009.

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39

Wierzbicki, James. Mavericks. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0010.

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This chapter focuses on the concept of “maverick,” a term as American as the Stars and Stripes that the notion of the “maverick composer” is likewise unique to the United States. An important handful of American composers in the postwar years demonstrated a comparable lack of interest not in music but in the traditional business of music-making. As much as they could, they avoided the universities that supported so many of the modernists. They avoided, too, the opera companies and symphony orchestras that through commissions and performances supported so many of the mainstreamers. Occasionally, they banded together in collectives whose members pursued similar goals and thus were mutually influential. However, most of the time, the maverick composers of the Fifties marched to the beats of very different drummers.
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40

Platte, Nathan. Music Director Differences. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0006.

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In the productions leading up to Gone with the Wind, Selznick tried working with different composers to cultivate a sustainable partnership. These efforts included trial productions with Alfred Newman (The Prisoner of Zenda) and Oscar Levant (Nothing Sacred), and ultimately led to Selznick’s hiring Lou Forbes as a permanent music director in 1937. Forbes’s responsibilities included securing permissions to use preexistent music, assembling preview scores (known now as “temp tracks”), supervising final scores, serving as a liaison between Selznick and the composer, monitoring recording sessions, and watching the budget. This chapter surveys the films leading up to Forbes’s tenure and his initial productions, which involved coordinating the collective efforts of multiple composers, including Hugo Friedhofer, Max Steiner, Robert Russell Bennett, and Franz Waxman. Forbes’s thoughtful contributions to films like Intermezzo illuminate the otherwise neglected role of the Hollywood music director.
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41

Recipes for disaster / composed by the CrimethInc Collective. Atlanta,GA: CrimethInc, 2004.

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42

The Cello Collection 13 Pieces By 12 Composers. G. Schirmer, 2009.

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43

Parry, Charles Hubert Hastings. Studies of Great Composers: Cambridge Library Collection. Music. Independently Published, 2019.

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44

Kunieda, Minoru, Toshiyuki Kanakubo, Koichi Kobayashi, and Tetsushi Kanda. Strain Hardening Cementitious Composites: Special Collection of SHCC5. Springer International Publishing AG, 2022.

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45

Parry, Charles Hubert Hastings. Studies of Great Composers: Cambridge Library Collection. Music. Independently Published, 2019.

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46

The Flute Collection 16 Pieces By 11 Composers. G. Schirmer, 2007.

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47

Carnatic music composers: A collection of biographical essays. Hyderabad, [India]: Triveni Foundation, 1994.

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48

Berlin, Irving. Irving Berlin Collection. Hal Leonard Corporation, 1998.

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49

Directorate-General, European Commission Environment, ed. Success stories on composting and separate collection. Luxembourg: Office for Official Publications of the European Communities, 2000.

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50

The composer composes the future so that the composition leaves the traces of the future which the future won’t leave, Hong-Kai Wang. Taipei, Taiwan: TheCube Project Space, 2012.

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