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Books on the topic 'Fer compose'

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Published: 4 June 2021
Last updated: 2 February 2022

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1

Hai, Wang, and Chen Xiuhua, eds. Fei ji fu he cai liao jie gou qaing du fen xi: Strength analysis of composite aircraft structures. Shanghai Shi: Shanghai jiao tong da xue chu ban she, 2011.

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2

Fei ji fu he cai liao jie gou fen xi yu you hua she ji. Beijing: Ke xue chu ban she, 2011.

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3

Sheng wu zhi fei qi wu dui fei guo cheng yu tiao kong. Beijing: Zhongguo huan jing ke xue chu ban she, 2010.

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4

Omambia, David O. COMPASS gender policy. Blantyre, Malawi: Community Partnerships for Sustainable Resource Management in Malawi, 2003.

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5

1941-, Gundersen Egil A. Johannes Hanssen: Valdresmarsjens far. Skien: E.A. Gundersen, 2004.

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6

Duo gong neng dui fei fu he jun ji. Beijing Shi: Hua xue gong ye chu ban she, 2009.

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7

Chao tu jie dui fei, lü fei de ji chu zhi shi & shi yong zhi zuo fa. Taizhong Shi: Chen xing chu ban you xian gong si, 2015.

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8

Xin cai liao chan ye fa zhan fen xi ji ce lüe yan jiu. Beijing: Ke xue chu ban she, 2013.

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9

Siddals, Mary McKenna. Compost stew: A recipe for the environment. Berkeley: Tricycle Press, 2010.

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10

Moscovitch, Edward. Mental retardation programs: How does Massachusetts compare? Boston, Mass: Pioneer Institute for Public Policy Research, 1991.

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11

From Beethoven's final years: "The quartet has me in deathly fear ...". Bonn: Verlag Beethoven-Haus, 2001.

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12

Beidou, Xi, and Zhao Yue, eds. Sheng huo la ji wei sheng wu qiang hua dui fei ji shu. Beijing: Zhongguo huan jing ke xue chu ban she, 2008.

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13

Edlund, Lena. The marriage market: How do you compare? Stockholm: Stockholm School of Economics, Economic Research Institute, 1996.

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14

Wen xin chu fang ka fei zuo. Taibei Shi: Yuan shen chu ban she you xian gong si, 2000.

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15

Skreien, Norvall. Lars Søraas: Far og sønn : skolesangens og kirkesangens herolder. Oslo: Lunde Forlag, 2005.

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16

Jenny, Pearson, ed. As far as the eye can sing. London: Women's Press, 1992.

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17

L, Martin Deborah, Gershuny Grace, and Minnich Jerry, eds. The Rodale book of composting. Emmaus, Pa: Rodale Press, 1992.

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18

Yang, Jiaming. Fu he cai liao ban de fei xian xing wan qu. Bei jing: Guo fang gong ye chu ban she, 2006.

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19

Faulkner, William. Sheng yin yu fen nu. Zhonghe Shi: Shu hua chu ban shi ye you xian gong si, 2000.

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20

Beal, Amy C. Having Faith, 1936–1940. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0003.

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This chapter discusses Beyer's music in the late 1930s. During this period, Beyer's life seemed to balance precariously between a private struggle with poverty and being on the brink of public recognition. Beyer received some support from WPA projects around this time. On May 19, 1937, Beyer had her second Composers' Forum-Laboratory event, shared with composer Walter Helfer. She continued to compose prolifically; in 1937 alone she wrote eight works, including two chamber pieces, three pieces for choir, and three works for orchestra. Around 1938, Beyer was included in a small group that would comprise a “Promotion Committee” for the New Music Quarterly Recordings (NMQR), and she communicated regularly about the New Music recordings project with Harrison Kerr, Otto Luening, and Gerald Strang, who had taken over the direction of New Music Society events.
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21

Eccles, John. Incidental Music, Part 2. Edited by Estelle Murphy. A-R Editions, 2021. http://dx.doi.org/10.31022/b220.

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John Eccles's active theatrical career spanned a period of about sixteen years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than seventy plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone. This edition includes music composed by Eccles for plays beginning with the letters H–P. These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).
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22

Barton, Gregory A. The Compost Wars. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199642533.003.0006.

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After the death of Gabrielle Howard from cancer, Albert married her sister Louise. Louise had been pressured to leave Cambridge as a classics lecturer as a result of her pro-peace writings during the First World War. After working for Virginia Wolf, she then worked for the League of Nations in Geneva. Louise was herself an expert on labor and agriculture, and helped Albert write for a popular audience. Albert Howard toured plantations around the world advocating the Indore Method. After the publication of the Agricultural Testament (1943), Albert Howard focused on popularizing his work among gardeners and increasingly connected his composting methods to issues of human health.
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23

Vandromme, Pol. Jacques Brel : L'exil du Far West. La Table ronde, 1998.

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24

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.
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25

Siwe, Thomas. Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.001.0001.

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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advances as well as for the global conflicts that disrupted the lives of millions. Both had significant impact on the arts. Tape recorders, synthesizers, and computers became useful tools for the avant-garde composer. Artists, exiled from their homelands by the war’s devastation, arrived in the Americas with new ideas to share. On the West Coast of the United States, composers found that percussion music was an ideal accompaniment for a nascent modern dance movement. The end of World War II brought monumental change to higher education and to music education in the States. College-trained percussionists became an important resource for the modern composer, who contributed new solo and ensemble works to the percussion canon. The twentieth century witnessed the rise of the percussive arts to a status equal to that of other instrumental groups.
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26

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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27

Salieri, Antonio. Mass in D Major. Edited by Jane Schatkin Hettrick. A-R Editions, 1994. http://dx.doi.org/10.31022/c039.

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Although Salieri achieved his greatest fame as an opera composer, he also composed over a hundred sacred works, including five masses. This edition presents Salieri's first orchestral mass, written in 1788 for a celebration of the return of Emperor Joseph II from battle with the Turks. A work of impressive beauty, the Mass in D Major is a landmark in the history of music at the Vienna court chapel, where Salieri presided as Hofkapellmeister for thirty-six years.
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28

Snyder, Jean E. “Composer by Divine Right”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0015.

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This chapter examines a selection of art songs that won Harry T. Burleigh renown through their performance by an impressive roster of American and European opera and recital singers, making him one of the most respected American art song composers of the first quarter of the twentieth century. Burleigh's best-known art songs were published by G. Ricordi Music Publishing Company for more than three and a half decades. The first five years of G. Ricordi's publications (1914–1919) represent the majority of the strongest, most memorable, and most enduring of his art song oeuvre. In addition to a dozen or so art songs, more sacred songs appeared in the 1920s, especially from 1924. There were several songs written for historically black colleges such as Talladega College, several novelty songs, and a number of arrangements of folksongs and operatic choruses for choral ensembles. Two songs are especially notable: “Lovely Dark and Lonely One” (1935) and “In Christ There Is No East or West” (1940).
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29

Wilson, Catherine. 4. Living, loving, dying. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199688326.003.0004.

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‘Living, loving, dying’ asks what is life? It considers the origins of life, self-assembly, or epigenesis of complex organisms, generation, and renewal. According to Epicureanism, living things are composed of the same material particles that compose all substances and objects. All such entities come into existence gradually as their parts are built up, and all are dissolved in time into their constituent particles in the cosmic flux, where they become material for the generation of new living and non-living entities. Lucretius described a ‘fixed limit’ to the duration and powers of every individual thing except the atom. For the Epicurean philosopher, generation and dying are symmetrical processes.
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30

On the distribution of assimilated iron compounds other than hæmoglobin and hæmatins in animal and vegetable cells. [S.l: s.n., 1987.

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31

On the distribution of assimilated iron compounds other than hæmoglobin and hæmatins in animal and vegetable cells. [S.l: s.n., 1987.

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32

Watson, Marilyn. Showing Students How to Compose a Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867263.003.0011.

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Laura made her students’ lives in the classroom as positive as she could by creating a classroom community that met her students’ needs for autonomy, belonging, and competence. She helped them become aware that they were in the process of composing not only their current, but also their future, lives. Through the study of biographies and the opportunity to meet and interview successful members of their community, she provided models of possible future lives. She taught the academic, social, emotional, and moral understandings her students would need to compose happy, productive, and good lives. She nurtured in them the understanding that they are in control of their lives and that they have the capacity to compose successful lives, even in the face of hardship.
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33

Psaroudakes, Stelios. Mesomedes’ Hymn to the Sun. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0006.

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This chapter investigates the relationship between the lyrics and the music of Mesomedes’ Hymn to the Sun. There are many instances of word painting in music. The chapter argues that Mesomedes’ Hymn to the Sun is a piece of music well thought through by the composer. The song’s melodic contours reflect and accentuate the meaning of the words, which can affectively be brought forth in sound if the performer is musically sensitive and is aware of the word-melody relationships. It is argued that the song was most probably composed for monodic performance.
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34

Dressler, John. Granville Bantock (1868-1946). Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954798.001.0001.

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This volume is the first published study to bring together a variety of materials which represent the life and works of Sir Granville Bantock (1868-1946), British composer, arranger, editor, music department administrator, competitive singing promoter and adjudicator, world traveler, lover of life, literature and philosophy, radio talk presenter, champion of works of other rising British composers over his own, husband and father. His works alone total over 600, yet many remain in manuscript housed for access at the Cadbury Special Collections Library on the campus of the University of Birmingham. The reader will find citations of reviews of his music, reviews of performances during his lifetime and beyond as well as reviews of recordings both then in now in contemporary and modern newspapers and journals. Commercial and archival recordings are noted and locations given. Manuscripts that remain extant are identified and located. Up to and including 10 representative national and international live performances are noted for each work with names and venues provided. Within the Works section of the book are subcategories by medium for which they were composed for easy identification with minimal information the reader has at hand prior to opening the volume. The sketchbooks are also detailed with what materials are contained in each. Within the Bibliography section are citations of obituaries, writings by GB, dissertations, and pertinent files at: the BBC, Worcestershire Archive, Liverpool Record Office and Trinity Laban Conservatoire to name a few.
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35

Publishng, Movie &. T. V. Guru. Don't Panic! I'm a Professional Composer : Customized 100 Page Lined Notebook Journal Gift for a Busy Composer: Far Better Than a Throw Away Greeting Card. Independently Published, 2020.

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36

Glixon, Jonathan E. Transitions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190259129.003.0004.

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This chapter investigates the rituals of transition in the lives of Venetian nuns: the clothing ceremony (or vestizione), the profession, and the consecration, as well as those for the election of an abbess and funerals. Music, often quite elaborate, was an essential part of these ceremonies, which made them very attractive to Venetians and visitors. The chapter identifies and discusses the rare surviving examples of large-scale music for these ceremonies, and also the fairly extensive eighteenth-century repertory, perhaps unique to Venice, of settings of the versetti, the dialogues between novice and celebrant, which may have been performed by the young nun herself, composed by well-known composers such as Galuppi, Furlanetto, and Grazioli. Although none of her music for such occasions is extant, there is evidence that Barbara Strozzi composed settings for at least one convent.
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37

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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38

Mattern, Joanne. Gymnastics: The Vault (Compete Like a Champion). Rourke Publishing, 1999.

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39

Beal, Amy C. Compositional Beginnings, 1933–1936. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0002.

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This chapter examines Beyer's compositional beginnings. Aside from several solo pieces composed in 1931 and 1932—a piano waltz and two solo clarinet suites, respectively—Beyer composed several chamber pieces during 1933. She continued making strides in her compositional work and developed new working methods. By December 1934, Beyer was gaining recognition for her music, but no money. Like most musicians during the Depression, Beyer struggled financially. However, despite foreclosures and other threats, the year 1935 brought some relief through the Works Progress Administration and its associated initiatives, and it is probably during this time that she taught piano under the auspices of the Federal Music Project. Eventually, Beyer had the first of her two Composers' Forum-Laboratory concerts on May 20, 1936, during which a number of her pieces were performed.
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40

Smyth, Ethel. Serenade in D Major for Orchestra. Edited by John L. Snyder. A-R Editions, 2021. http://dx.doi.org/10.31022/n084.

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Ethel Smyth's first orchestral work, the Serenade in D Major for Orchestra, was composed in 1889 (and possibly early 1890) and was premiered at a Crystal Palace concert on 26 April 1890. The work was received well by the audience and garnered positive notices in the press. This critical edition is based on a photocopy of the autograph manuscript, now in the Royal College of Music Library, with reference also to a fair copy of the score, now in the British Library. The extensive critical notes document the changes made by the composer, as well as editorial and performance suggestions made by both the composer and August Manns, who conducted the premiere performance. The present whereabouts of Ethel Smyth's autograph score for her Serenade in D Major are unknown. The facsimile supplement presents a photocopy of the score that was made, according to the label on the cover, in August 1993, and which is now in the Royal College of Music Library. The introduction to this edition includes a biographical sketch of August Manns, conductor of the premiere performance.
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41

Doffman, Mark, and Jean-Philippe Calvin. Contemporary Music in Action. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0016.

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This chapter looks at collaborative work between composers and performers in an educational setting, and using the case study of a postgraduate programme at the Royal College of Music in London, it explores the values and meanings attached to creative collaboration for students preparing to enter the world of work. The study showed how students found this sort of collaborative work to be potentially career-enhancing and creatively fulfilling. The study also found however that composer–performer roles were demarcated strongly enough to constrain the degree of collaboration and learning to satisfy all the participants. The chapter concludes with questions about the degree to which such programmes challenge the assumptions and roles of performers and composers. How do conservatoires both prepare students for the world of work and provide models that might challenge that world?
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42

Snyder, Jean E. A Singer-Composer Learns His Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0014.

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This chapter examines Harry T. Burleigh's work as a composer during the period 1896–1913. Burleigh's 200-plus vocal and instrumental works brought him national and international renown in the first half of the twentieth century. Burleigh's songs reflected his thorough knowledge of the prevailing forms and musical idioms of the European and American art song, both as a singer and as a composer. All his songs were written for the recital or concert stage, and they often set the same lyrics. Two of Burleigh's compositional output are choral arrangements of spirituals—“Deep River” and “Dig My Grave”—that were written for Kurt Schindler's Schola Cantorum. Also, it was not unusual for Burleigh himself to appear in concert or recital with other song composers. This chapter considers Burleigh's compositions published from 1896 to 1903 and from 1904 to 1913, including art songs, plantation songs, piano sketches, and sacred songs.
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43

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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44

Merrill's Marauders (Feb.-May 1944). United States Government Printing Office, 1999.

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45

Parvini, Neema. Shakespeare's Moral Compass. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474432870.001.0001.

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This ground-breaking study fearlessly combines latest research in evolutionary psychology, historical scholarship and philosophy to answer a question that has eluded critics for centuries: what is Shakespeare’s moral vision? At a political and cultural moment in which many of us are taking stock and looking for meaning, and in which moral outrage and polarisation seem endemic, this book radically reimagines how we might approach great works of literature to find some answers.
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46

Platte, Nathan. The Start of Selznick International Pictures. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0005.

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In 1935, Selznick left MGM to become an independent producer. His company, Selznick International Pictures, was to specialize in prestige films like those he had produced at MGM. His first project as an independent, Little Lord Fauntleroy (1936), emphasized this continuity. Like David Copperfield, one of his last films at MGM, Fauntleroy was a sentimental adaptation of a nineteenth-century novel depicting a boy’s coming of age. Selznick International Pictures, however, had to find a different composer. Because Herbert Stothart was contractually bound to MGM, Selznick borrowed previous collaborator Max Steiner from RKO as chief music director and composer for the new company. Selznick and Steiner worked well together on Fauntleroy and the exotically situated The Garden of Allah (1936). Mutual goodwill, however, dissolved on A Star Is Born (1937), for which Selznick rejected much of Steiner’s music. The resultant break forced Selznick to expand his circle of preferred composers.
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47

Mattern, Joanne. Gymnastics: Training and Fitness (Compete Like a Champion). Rourke Publishing, 1999.

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48

Mattern, Joanne. Gymnastics: Uneven Parallel Bars (Compete Like a Champion). Rourke Publishing, 1999.

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49

Yencken, David, and Debra Wilkinson. Resetting the Compass. CSIRO Publishing, 2001. http://dx.doi.org/10.1071/9780643091733.

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Resetting the Compass: Australia's Journey Towards Sustainability Updated Edition sets out Australia's environmental problems in their global context and explains what is now needed to fix them. It also illustrates how ecological sustainability can be achieved together with economic, social and cultural sustainability. The book examines the pressures on our environment from population growth, consumption patterns and technological change. The specific actions needed to deal with each of the problems identified are described in detail. This Edition includes: Assessments from the Intergovernmental Panel on Climate Change. Figures related to Australia's emissions from the National Greenhouse Gas Inventory. Assessments of conditions and trends from the National Land and Water Audit. Estimates of the volume of vegetation clearing and new information on wind farms. This book is essential reading for politicians and public servants; business leaders and managers; environmentalists; academics and students in environmental courses; and all those interested in environmental issues.
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50

Hardy, Thomas, and Linda M. Shires. Far from the Madding Crowd. Edited by Suzanne B. Falck-Yi. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199537013.001.0001.

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‘I shall do one thing in this life – one thing for certain – that is, love you, and long for you, and keep wanting you till I die.’ Gabriel Oak is only one of three suitors for the hand of the beautiful and spirited Bathsheba Everdene. He must compete with the dashing young soldier Sergeant Troy and respectable, middle-aged Farmer Boldwood. And while their fates depend upon the choice Bathsheba makes, she discovers the terrible consequences of an inconstant heart. Far from the Madding Crowd was the first of Hardy’s novels to give the name of Wessex to the landscape of south-west England, and the first to gain him widespread popularity as a novelist. Set against the backdrop of the unchanging natural cycle of the year, the story both upholds and questions rural values with a startlingly modern sensibility. This new edition retains the critical text that restores previously deleted and revised passages.
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