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Books on the topic 'Electronic score'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

L, Wilson Johnny, ed. High score!: The illustrated history of electronic games. McGraw-Hill/Osborne, 2002.

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L, Wilson Johnny, ed. High score!: The illustrated history of electronic games. 2nd ed. McGraw-Hill/Osborne, 2004.

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3

Wolff, Christoph. Mozart's Requiem: Historical and analytical studies, documents, score. University of California Press, 1994.

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4

1952-, Holloway Simon, ed. Fourth-generation systems: Their scope, applicationsand methods of evaluation. Chapman and Hall, 1990.

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5

Simon, Holloway, ed. Fourth generation systems: Their scope, application and methodsof evaluation. Kogan Page, 1988.

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6

Martin, Holmes. European integration: Scope and limits. Palgrave, 2001.

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7

Reich, Steve. The four sections: For orchestra. Hendon Music, 1991.

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8

Reid, Wendy. Glass walls: For string quartet & tape. Sound/Image Unlimited, 1986.

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9

Davidovsky, Mario. Synchronisms: No. 10, guitar and tape. C.F. Peters, 1995.

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10

Smith, Alison Jane. Electronic interlending in the East Midlands: The scope for the electronic delivery of inter-library loans between public libraries in the East Midlands. Loughborough University, 1997.

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11

Bates, Mason. Mass transmission: For SATB chorus, piano, synthesizer and electronica. Aphra Music, 2013.

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12

Huurros, Milla. The emergence and scope of complex system/service innovation: The case of the mobile payment services market in Finland. Helsinki School of Economics, 2007.

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13

Senn, Dan. Rivus. Smith Publications, 1987.

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14

DeLio, Thomas. Against the silence--: For percussion ensemble and 4-channel computer generated tape : 1985-86. Smith Publications, 1987.

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15

Reich, Steve. Electric counterpoint: For guitar and tape or guitar ensemble. Hendon Music, 1990.

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16

Makeen, Makeen Fouad. Copyright in a global information society: The scope of copyright protection under international, US, UK, and French law. Kluwer Law International, 2000.

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17

Albright, William. Symphony for organ: Organ solo with percussion (or pre-recorded tape). Henmar Press, 1993.

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18

Ali, Kamyab, Iowa. Dept. of Transportation., and Iowa State University. Center for Transportation Research and Education., eds. Red light running in Iowa: The scope, impact, and possible implications. Center for Transportation Research and Education, Iowa State University, 2000.

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19

Kreiger, Arthur. Meeting places: Flute (alto flute), clarinet (bass clarinet), piano, percussion, violin, violoncello, and tape. C.F. Peters, 1996.

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20

United States. Congress. Senate. Committee on Homeland Security and Governmental Affairs. Subcommittee on Oversight of Government Management, the Federal Workforce, and the District of Columbia. The perils of politics in government: A review of the scope and enforcement of the Hatch Act : hearing before the Oversight of Government Management, the Federal Workforce, and the District of Columbia Subcommittee of the Committee on Homeland Security and Governmental Affairs, United States Senate, One Hundred Tenth Congress, first session, October 18, 2007. U.S. G.P.O., 2008.

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21

Reich, Steve. Double Sextet: Study Score. Boosey & Hawkes, Incorporated, 2011.

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22

Digital Score. Taylor & Francis Group, 2019.

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23

DeMaria, Rusel, and Johnny L. Wilson. High Score!: The Illustrated History of Electronic Games, Second Edition. 2nd ed. McGraw-Hill Osborne Media, 2003.

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24

DeMaria, Rusel, and Johnny L. Wilson. High Score!: The Illustrated History of Electronic Games, Second Edition. McGraw-Hill Osborne Media, 2003.

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25

Adams, John. John's Book of Alleged Dances: Study Score. BOOSEY & HAWKES US, 2007.

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26

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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27

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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28

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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29

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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30

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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31

The Digital Score. Routledge, 2019.

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32

DeMaria, Rusel. High Score! Expanded: The Illustrated History of Electronic Games 3rd Edition. CRC Press, 2018.

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33

Vear, Craig. Digital Score: Musicianship, Creativity and Innovation. Taylor & Francis Group, 2019.

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34

Vear, Craig. Digital Score: Musicianship, Creativity and Innovation. Taylor & Francis Group, 2019.

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35

DeMaria, Rusel. High Score: La historia ilustrada de los videojuegos/The illustrated history of electronic games. McGraw-Hill Interamericana, 2002.

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36

coach), Brock Terry (Business, ed. Klout matters: How to engage customers, boost your digital influence : and raise your klout score for success. McGraw-Hill, 2014.

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37

Speakings: For Large Orchestra and Electronics, Full Score. Faber Music, Limited, 2020.

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38

Brend, Mark. The Sound of Tomorrow. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501382888.

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London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by t

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39

Thiru, Krishnan. The Scope and Quality of Electronic Patient Records in Primary Care. VDM Verlag Dr. Müller, 2011.

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40

Mirchandani, Sharon. Fragments. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0003.

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This chapter focuses on Marga Richter's shorter, more fragmented works that had little or no development and were not as expansive as her earlier (and later) pieces. Unlike other U.S. composers in the 1960s such as Edgard Varèse and Milton Babbitt, Richter did not gravitate toward total serialism, electronic music, or chance music, although she reluctantly responded to the trend of composing sparse, economical, and atonal works. An encounter with composer William Sydeman at the Bennington Composers Conference was influential in steering Richter toward the prevailing attitudes of the day. This

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41

McGraw-Hill. Glencoe Accounting: 1st Year Course, Electronic Learning Center Student CD-ROM Package. Glencoe/McGraw-Hill, 1999.

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42

McGraw-Hill. Glencoe Accounting: 1st Year Course, Electronic Learning Center Student CD-ROM Package. 4th ed. Glencoe/McGraw-Hill, 1999.

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43

Electronic messaging: A report of the Ad Hoc Subcommittee on Scope of the UCC. The Association, 1994.

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44

Adams, John Luther. Ilimaq: For four percussionists (or one percussionist with digital relay) and electronic sounds. 2017.

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45

Canto ostinato: For keyboard instruments : 1976-79. Donemus, 2010.

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46

Myers, Carla S. Copyright and Course Reserves. ABC-CLIO, LLC, 2022. http://dx.doi.org/10.5040/9798216184911.

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With the guidance of this book, academic librarians wishing to provide print, electronic, and streaming media (music and film) course reserve services for their campus communities can do so in compliance with U.S. copyright law. Many academic libraries offer print and electronic course reserve services that encourage learning by connecting students and faculty with less expensive and supplementary educational materials. Unfortunately, there are many misconceptions regarding how U.S. copyright law affects course reserve services; as a result, many academic libraries restrict the scope of the se

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47

Joongi, Kim. 2 The Arbitration Agreement. Oxford University Press, 2017. http://dx.doi.org/10.1093/law/9780198755432.003.0002.

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This chapter provides an overview of arbitration agreements in particular—what they entail and how these agreements are formed. Arbitration after all begins with an arbitration agreement between parties to settle a dispute by means of arbitration. Korea’s 2016 Arbitration Act adopts the Model Law definition of an arbitration agreement. It provides that, alongside written requirements, electronic expressions of intent such as those made by email and telex, and other expressions by electronic means, can also be considered as arbitration agreements if the intent of the parties can be confirmed. F

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48

Weinel, Jonathan. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0001.

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This introduction to Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media outlines the background, aims, and scope of the book. The chapter begins by introducing altered states of consciousness through a description of visual hallucinations, which may have provided a basis for some of the oldest-known artworks. Next, a brief historical overview of altered states is given, from ancient shamanic traditions and cults, to modern-day use of psychedelic drugs such as LSD. The use of altered states in these contexts has resulted in a variety of associated art, liter

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49

Barber, Cyril J., and Robert M. Krauss. Introduction To Theological Research. 2nd ed. Univenity Press of America,® Inc., 2000. https://doi.org/10.5040/9780761875314.

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An indispensable guide for undergraduate, graduate, or seminary students, this book provides valuable insight into the best reference tools available for Bible research. Not only do the authors provide general information on atlases, concordances, lexicons, dictionaries, and the like, but they also evaluate their usefulness. Titles reviewed range from theologically conservative to theologically liberal in their orientation. Electronic databases are included within the scope of the book's coverage. A highly useful resource, the book will certainly find a permanent place on the desk of anyone in

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50

Gerard, McMeel. Part V Deposit-Taking and Consumer Credit Conduct of Business, 17 Regulation of Consumer Credit Business by the Financial Conduct Authority. Oxford University Press, 2014. http://dx.doi.org/10.1093/law/9780198705956.003.0017.

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This chapter discusses the Financial Conduct Authority's (FCA) regulation of the consumer credit industry. It begins with an introduction to the consumer credit regime. It then details the scope of regulated credit-related activities, covering the rules for entering into a regulated credit agreement; entering into a regulated consumer hire agreement; operating an electronic system in relation to lending; credit broking; and debt adjusting, debt-counselling, debt-collecting and debt administration. This is followed by discussions of the authorisation, supervision, and enforcement of credit-rela

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