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Books on the topic 'Hip Score'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Lambrou, Evan C. AIDS: Scare or scam? Vantage Press, 1994.

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2

Slim, Iceberg. Long white con: The biggest score of his life. Cash Money Content, 2012.

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3

Association of Nurses in AIDS Care. HIV/AIDS nursing: Scope and standards of practice. Nursesbooks.org, 2007.

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4

Lindquist, Robert. Spinnin: How to score a hit as a mobile DJ for fun and profit. T.N.T. Productions, 1987.

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5

Nyman, Michael. The man who mistook his wife for a hat: Chamber opera. Chester Music, 1996.

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6

Great Britain. Department of the Environment for Northern Ireland. Motor Insurers' Bureau: Compensation of victims of uninsureddrivers : text of an agreement dated the 20th December 1989 between the Department of the Environment for Northern Ireland and the Motor Insurers' Bureau together with some notes on its scope and purpose. Her Majesty's Stationery Office, 1990.

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7

Guest, Ann Hutchinson. Nijinsky's Faune restored: A study of Vaslav Nijinsky's 1915 dance score : L'après-midi d'un faune and his dance notation system : revealed, translated into labanotation and annotated. Gordon and Breach, 1991.

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8

Coghlan, Michael. The properest day: S.A.T.B., flute and piano ; It was a lover and his lass : T.B., flute and piano ; Under the leaves so green : S.A.T.B. and piano ; Orpheus with his lute : S.A. unison choir or solo voice, flute and piano ; Spring round : S.A.T.B., flute and piano. G.V. Thompson Music, 1996.

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9

John Ward and his magnificent collection. Golden Legend, 2010.

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10

Emily, Anderson, ed. The letters of Mozart and his family. 3rd ed. Macmillan Press, 1985.

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11

1719-1787, Mozart Leopold, and Anderson Emily, eds. The letters of Mozart and his family. Norton, 1985.

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12

Authority, Qualifications and Curriculum. Developing the school curriculum: Advice to the Secretary of State and his response on the broad nature and scope of the review of the National Curriculum.. QCA, 1999.

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13

Association, British Columbia Civil Liberties. AIDS discrimination in Canada: A study of the scope and extent of unfair discrimination in Canada against persons with AIDS, and those known or feared to be HIV positive. The Association, 1989.

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14

Horne, Gerald. Red Scare Rising. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041198.003.0006.

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This chapter explores how Claude Barnett took a position as a kind of consultant with the U.S. Department of Agriculture (USDA) in Washington in 1942. At once the position brought him into closer contact with policymakers at a fraught moment and exposed him to a business—agriculture—that was ubiquitous globally. Moreover, part of his portfolio was arranging for the importation of labor from the Caribbean to plantations in Florida, which provided him with more contacts in a region where he already had established a toehold, specifically in Haiti. This then created a further opening for him to c

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15

Lambrou, Evan C. AIDS: Scare or Scam? Vantage Pr, 1994.

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16

Ench, Murvet. Tense Without Scope/86102. Indiana Univ, 1986.

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17

Jacobson, Marion S. The Accordion in New Scores. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0015.

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This chapter focuses on the work of contemporary composer and accordionist William Schimmel and his experimental use of the piano accordion. Schimmel's somewhat odd choice of instrument—which is not an accepted “concert instrument,” from the music academy's point of view—unshackles him from some classic compositional constraints, giving him the freedom to explore the piano accordion's unique tonalities and textures. Schimmel's interpretations not only give a new voice to classic works but release meanings hitherto concealed by strict adherence to the musical score. By opening up new possibilit

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18

Hail the day that sees him rise: Vocal score. Oxford University Press, 2013.

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19

Callaghan, Madeleine. ‘Painted fancy’s unsuspected scope’. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940247.003.0001.

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This chapter readsQueen Mab, Poetical Essay on the Existing State of Things and the Esdaile Notebook as representative of the range and ambition of Shelley’s early poetry. Exploring the aesthetic power and pleasure embedded in these poems, this chapter explores Shelley’s poetic as well as his polemical faculty. Focusing on previously neglected works, the early work is shown to be deeply significant in its own right, not only for its later echoes in Shelley’s more mature poetry. Particular attention is paid to Shelley’s letter to Elizabeth Hitchener of 16 October 1811, where the performance of

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20

Moreno, Rui. Organ failure scoring. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199600830.003.0030.

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The general outcome prediction models were not, by design, developed to track individual patients. They provided an indication of death risks for groups of ICU patients. Hence, investigators created organ failure scores. Instruments, such as Sequential Organ Failure Assessment (SOFA), Multiple Organ Dysfunction Score, or Logistic Organ Dysfunction Score are designed to evaluate separately the six most important organ systems in critically-ill patients sequentially, taken on a daily basis. Easy to perform, designed to be done at bedside, they do not forecast ICU or hospital mortality (apart fro

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21

publishing, Elegant and creative. Score Sheets: Pickleball Score Book for Referee, Funny Gift Idea and Cool Present for Her/him / 110 Pages, 6 X9. Independently Published, 2020.

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22

Platte, Nathan. “Together” for the Last Time in Since You Went Away. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0010.

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Rather than one score, Since You Went Away has slightly more than two: a rejected attempt by concert composer Alexandre Tansman and another by Max Steiner that includes multiple versions of many cues. In addition to these scores, Selznick’s notes on the score are voluminous, reflecting his desire to match his two consecutive “Best Pictures” (Gone with the Wind and Rebecca) while also contributing to the war effort through patriotic filmmaking. The result is a mixed but engrossing effort, characterized by biographer David Thomson as Selznick’s most personal film. The producer’s investment is ev

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23

HIV/AIDS Nursing: Scope and Standards of Practice. American Nurses Association, 2006.

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24

Platte, Nathan. Success in Spite of Itself. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0011.

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Detailed production files about the musical score for Spellbound reveal an intense and fraught collaboration among music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and, producer David O. Selznick. In contrast to Rebecca, for which Hitchcock assumed a back seat in the scoring, his music directions for Spellbound are more specific—and contrary to Selznick’s. Granville, whose influence stretches from the preview score to the final dubbing of Rózsa’s theremin-infused score, sought to reconcile these differences. Her editing is deftly effective—not only maintaining t

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25

DeLapp-Birkett, Jennifer. Government Censorship and Aaron Copland’s Lincoln Portrait during the Second Red Scare. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.20.

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Aaron Copland suffered during the Second Red Scare that swept the United States after World War II. When Congressman Fred Busbey announced that the House Committee on Un-American Activities (HUAC) had compiled “a long record of questionable affiliations” proving Copland a “communist sympathizer” or “fellow traveler,” the 1953 Eisenhower inaugural committee cancelled a planned performance of Copland‘s Lincoln Portrait, and the allegations became national news. Copland’s progressive politics of the 1930s, his involvement in the 1949 Waldorf Peace Conference, and his association with the State De

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26

Joyce, James M. Accuracy, Ratification, and the Scope of Epistemic Consequentialism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779681.003.0011.

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Joyce focuses on trade-off objections to epistemic consequentialism. Such objections are similar to familiar objections from ethics where an intuitively wrong action (e.g., killing a healthy patient) leads to a net gain in value (e.g., saving five other patients). The objection to the epistemic consequentialist concerns cases where adopting an intuitively wrong belief leads to a net gain in epistemic value. Joyce defends the epistemic consequentialist against such objections by denying that his version of epistemic utility theory is properly thought of as a species of epistemic consequentialis

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27

Remembering Shakespeare: The Scope of His Achievement from 'Hamlet' Through 'the Tempest'. Guernica Editions, Incorporated, 2016.

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28

Renz, Ursula. The Concept of the Individual and Its Scope. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199350162.003.0004.

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This chapter discusses the implications of Spinoza’s concept of individual bodies, as introduced in the definition of individuum in the physical digression. It begins by showing that this definition allows for an extremely wide application of the term; accordingly, very different sorts of physical entities can be described as Spinozistic individuals. Given the quite distinct use of the terms divisibilis and indivisibilis in his metaphysics, however, the chapter argues that the physical concept of individuality is not universally applied in the Ethics but reserved for physical or natural-philos

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29

Hal Leonard Publishing Corporation (COR). "My Heart Will Go On" and 23 More Songs from Hit Movies. Hal Leonard Corporation, 1998.

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30

Caps, John. Allegheny River Launch. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0002.

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This chapter details the early life of Henry Mancini. Born in Cleveland, Ohio, in 1924 as Enrico Nicola Mancini, the young Henry would grow up just over the Pennsylvania border in the steel town of West Aliquippa, where two great rivers, the Allegheny and the Monongahela, come together to become the Ohio River. The first time Mancini became aware of the music score behind a movie was during a trip to the local movie theater with his father in 1935. Something in the grandiose score to a picture called The Crusaders, composed by Rudolf Kopp, made him pay attention to the role that music was play

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31

Goldmark, Daniel, and Kevin C. Karnes, eds. Korngold and His World. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.001.0001.

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Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical

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32

Wade, Stephen. Bill Stepp. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0001.

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This chapter focuses on Kentuckian Bill Stepp, who worked as a logger in his younger days, then later turned his energies to fiddling for neighborhood hoedowns. Stepp is the creative source of an American anthem. In 1942 his rendition of the tune “Bonaparte's Retreat” became incorporated, nearly note for note, in the score of Rodeo, Aaron Copland's acclaimed modern ballet. By the early 1970s it appeared as “Hoedown,” an FM radio hit for Emerson, Lake, and Palmer, a symphonically oriented English rock band. Later, it formed the soundtrack for the beef growers' commercial, and finally, in this,

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33

Kimball, Robert. Cole Porter at Yale. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040092.003.0001.

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This chapter focuses on Porter's years (1909–13) at Yale. Looking back at these years, the musical comedy scores Porter wrote for his fraternity, Delta Kappa Epsilon, and for the annual smokers of the Yale Dramat were the most significant aspect of his college experience for his subsequent career in the musical theater. With his five show scores—Cora (1911), And the Villain Still Pursued Her (1912), The Pot of Gold (1912), The Kaleidoscope (1913), and Paranoia, which he wrote for his alma mater while a student at the Harvard School of Music in 1914—Porter transformed musical comedy at Yale fro

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34

Rondinone, Troy. The Shot. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037375.003.0011.

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This chapter focuses on George Parnassus who, by the late 1950s, had become one of the most powerful figures in boxing. He came to be known as a specialist in developing Latino talent. In 1957 the Olympic Auditorium's matchmaker, Babe McCoy, lost his license (for fixing fights), and Parnassus, whose reputation by then had garnered him great local respect, was recruited as his replacement. Parnassus was looking for the next Latino sensation. He had managed Los Angeles native Art “The Golden Boy” Aragon in the 1950s, had set him up for a losing title fight against Carmen Basilio in 1958, and the

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35

Leonard, Kendra Preston. Richard III. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.24.

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In keeping with the early modern belief that physiognomy was directly related to the mind, and that nonnormate bodies were the exterior markers of equally malformed and sinful minds, Shakespeare’s hunchbacked, limping Richard III is utterly without morals. Laurence Olivier’s cinematic adaptation ofRichard IIIand its score by William Walton support this thesis. While the film’s score contains some synchronous music that imitates Richard’s nonnormate physical movements, it is more concerned with his interior actions. The score thus engages with Richard’s disabilities on multiple levels, offering

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36

Kuzmic, Boris, and Jim Gorant. Fit for Golf : How a Personalized Conditioning Routine Can Help You Improve Your Score, Hit the Ball Further, and E. McGraw-Hill, 2004.

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37

Fit for Golf : How a Personalized Conditioning Routine Can Help You Improve Your Score, Hit the Ball Further, and E. McGraw-Hill, 2004.

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38

Storrie, Stefan. The Scope of Berkeley’s Idealism in the 1734 Edition of the Three Dialogues. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198755685.003.0011.

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Berkeley expresses his idealism in a number of different ways, ranging from the more modest claim that sensible things are nothing but ideas, to the more ambitious claim that the only things that exist at all are minds and ideas. This paper traces Berkeley’s attempts to move from the former to the latter claim. The central thesis will be that in the 1734 editions Berkeley shifts his approach to the question of what kinds of things exist, from an intuitive semantic approach towards a method of proof that is in line with the experimental scientific method. Berkeley’s treatment of absolute space

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39

Smith, Steven C. Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.001.0001.

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During a seven-decade career that spanned from 19th-century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to establish and codify the language of film music. Composers today like John Williams use the same techniques perfected by the classically trained Steiner, in his scores for such motion pictures as Casablanca, King Kong, Gone with the Wind, The Searchers, Now, Voyager, the Astaire-Rogers musicals, and more than two hundred other titles. Steiner’s private life was as tumultuous as the films he scored. B

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40

Webber, Andrew Lloyd. The Andrew Lloyd Webber sheet music collection: 25 of his greatest songs. 2017.

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41

Winkler, Kevin. Control. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0012.

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This chapter describes how Bob Fosse’s successes during the previous decade allowed him even greater control over his projects in the 1980s. Star 80, his film about the murder of a Playboy Playmate, which he wrote and directed, was a failure both critically and commercially. Its subject matter was grisly, and Fosse’s straightforward presentation offered no resolutions or bromides. When he returned to Broadway, it was with Big Deal, written, directed, and choreographed by him, with a score made up of 1930s standards. Big Deal was the purest distillation of Fosse’s theatrical vision, but its sli

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42

Platte, Nathan. Selznick beyond Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0014.

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Selznick’s co-productions with elite European filmmakers contrast noticeably with his Hollywood work. The Third Man’s hyper-stylized cinematography and solo zither score by Anton Karas resemble no other Selznick film, partly because Selznick’s role was much reduced. But with subsequent European co-productions the producer sought to reinsert himself into the music. This chapter traces these battles as they unfolded on the soundtrack, with Selznick reasserting his creative voice through re-edited versions distributed only in the United States. Most striking is the case of Stazione Termini, which

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43

Gow, James, and Benedict Wilkinson. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190851163.003.0021.

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Under Freedman’s leading influence, in the wake of Michael Howard, a distinctive working method – a school of thought, an approach – has been pioneered for thirty years, but not given a name. While Howard certainly recognized that how political and military leaders thought about the world affected their decisions and behavior, Freedman extended this intellectual apparatus with his knowledge of social and political theory, and the sociology of knowledge, expanding the intellectual scope and breadth of research and education about war, strategy and policy. Aspects of his work are clearly shared

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44

publishing, Elegant and creative. Pickleball Scorebook: Journal / Notebook Pickleball Score Sheets Funny and Cute Gift for a Referee Birthday Present for Him/her Who Loves This Sport. Independently Published, 2020.

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45

Caps, John. Frustration. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0014.

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This chapter focuses on Mancini's work on the large-scale space alien film Lifeforce (1985). Mancini's handwritten sketches for his score to the film reveals how important the job was to him, coming at this stage of his career. At last someone was offering him the kind of blockbuster science fiction epic that John Williams, Jerry Goldsmith, and even the young guys like James Horner (Brainstorm [1984]) and Alan Silvestri (The Abyss [1989]) were getting. With Lifeforce he might join the new ruling class of film composers on its own terms. However, the film was being supervised by Cannon Pictures

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46

Still, William Grant. And they lynched him on a tree. 2018.

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47

Matthews, Nathan R. Orchestrators in their Own Words. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0009.

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This chapter looks closely at the practice of turning Sondheim’s original scores into fully realized orchestrations. Sondheim delivers his scores to his orchestrators with every note composed. While he has close relationships with his orchestrators and reviews every measure of the music with them, he does not involve himself in terms of specific instruments. The orchestras for the original Broadway productions of his shows had more musicians than producers are willing to fund in the twenty-first century. In the new millennium, Sondheim embraces the evolution of theatrical economics and consequ

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48

Caps, John. Looking Back, Looking On. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0018.

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This chapter discusses the legacy of Henry Mancini. Mancini should be remembered for three contributions to popular culture: first the reinventing, the freshening of film scoring in the 1960s. Mancini offered to the young Kennedy-era generation his own bright and clear sophisticated style—as clean and courteous as mainstream pop, but as cool and knowing as modern jazz. His second contribution was his repackaging of the melodic material from those colorful scores into jazz-pop record albums for home listening (coinciding with the invention of the stereo vinyl disc and high-fidelity recording te

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49

Caps, John. The Music Factory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0004.

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This chapter details events following Mancini's employment as a Universal Studios staff composer in 1952. The Universal Studios staff composers were a highly organized, well-oiled team, able to score any sort of film, any story or setting, albeit with fairly generic music and always in a rush. Mancini's daily routine at Universal, studying the clichés of Hollywood storytelling music, was the perfect on-the-job training for his career to come. Among his first assignments was to score the studio's glamorous two-reeler films with titles like The World's Most Beautiful Girls, Fun for All, and Caly

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50

Neta, Ram. The Motivating Power of the A Priori Obvious. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797074.003.0010.

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How does moral reasoning motivate? Michael Smith argues that it does so by rationally constraining us to have desires that motivate, but the plausibility of his argument rests on a false assumption about the relation between wide-scope and narrow-scope constraints of rationality. Michael Huemer argues that it does so by generating motivating appearances, but the plausibility of his argument rests on a false assumption about the skeptical costs of a thoroughgoing empiricism. The chapter defends an alternative view, according to which moral facts can be a priori obvious, and our a priori knowled

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