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Готові списки джерел за темами / Community composts / Книги

Книги з теми "Community composts"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Community composts.

Автор: Grafiati

Опубліковано: 21 січня 2023

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1

International Conference on Woodfiber-Plastic Composites (8th 2005 Madison, Wis.). Eighth International Conference on Woodfiber-Plastic Composites (and other natural fibers): May 23-25, 2005, Monona Terrace Community & Convention Center, Madison, Wisconsin, USA. Madison, WI: Forest Products Society, 2005.

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2

Massachusetts. Dept. of Environmental Protection. Composting Program. Home composting handbook: How to promote home composting in your community. Toronto, Ont: Recycling council of Ontario, 1990.

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3

Christopher, Thomas. Compost this book!: The art of composting for your yard, your community, and the planet. San Francisco: Sierra Club Books, 1994.

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4

Foss, Peter J. IPCC guide to community composting: Help fight the war on waste, create an excellent source of free compost, and protect wildlife. Dublin: Irish Peatland Conservation Council, 1997.

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5

Mead, Michele. Community education through citizen participation: Volunteering with Skagit County Public Works and the Master Composer/Recycler Program. Bellingham, WA: Huxley College of Environmental Studies, Western Washington University, 1996.

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6

Rambo, A. Terry, Thanh Lâm Nguyễn, and Đức Viên Trần. Farming with fire and water: The human ecology of a composite swiddening community in Vietnam's northern mountains. Kyoto: Kyoto University Press, 2009.

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7

Friedrich, Geiger, John Eckhard 1959-, and Dresdner Zentrum für Zeitgenössische Musik., eds. Musik zwischen Emigration und Stalinismus: Russische Komponisten in den 1930er und 1940er Jahren. Stuttgart: Verlag J.B. Metzler, 2004.

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8

Yupanqui, Atahualpa. Hombres y caminos: Yupanqui, afiliado comunista. Rosario, Provincia de Santa Fe, República Argentina: Editorial Fundación Ross, 2012.

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9

Țugui, Pavel. Scriitori și compozitori în luptă cu cenzura comunistă. București: Albatros, 2006.

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10

Dibble, Jeremy. John Stainer: A life in music. Woodbridge, UK: Boydell Press, 2007.

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11

Hauska, Hans. Von Stalin zu Hitler: Ein Schicksal aus den Zeiten des Terrors : Aufzeichnungen, Briefe und Dokumente. Berlin: Bostelmann & Siebenhaar, 2003.

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12

Payne, Binet. The worm cafe: Mid-scale vermicomposting of lunchroom wastes : a manual for schools, small businesses and community groups. Kalamazoo, Mich: Flower Press, 1999.

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13

Demuth, Marion, and Frank Geissler. Musik, Macht, Missbrauch: Kolloquium des Dresdner Zentrums für zeitgenössische Musik 6.-8. Oktober 1995. Dresden: Dresdner Zentrum für Zeitgenössische Musik, 1999.

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14

Laycock, Jolyon. A changing role for the composer in society: A study of the historical background and current methodologies of creative music-making. Oxford: Peter Lang, 2005.

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15

Branchini, Chiara, and Lara Mantovan. A Grammar of Italian Sign Language (LIS). Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-474-5.

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A Grammar of Italian Sign Language (LIS) is a comprehensive presentation of the grammatical properties of LIS. It has been conceived as a tool for students, teachers, interpreters, the Deaf community, researchers, linguists and whoever is interested in the study of LIS. It is one output of the Horizon 2020 SIGN-HUB project. It is composed of six Parts: Part 1 devoted to the social and historical background in which the language has developed, and five Parts covering the main properties of Phonology, Lexicon, Morphology, Syntax and Pragmatics. Thanks to the electronic format of the grammar, text and videos are highly interconnected and are designed to fit the description of a visual language.

16

Geiger, Friedrich. Musik in zwei Diktaturen: Verfolgung von Komponisten unter Hitler und Stalin. Kassel: Bärenreiter, 2004.

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17

Eisler, Hanns. A Rebel in Music: Selected Writings. Edited by Manfred Grabs. London: Kahn & Averill, 2006.

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18

Huynh, Pascal. Lénine, Staline et la musique: Musée de la musique, 12 octobre 2010-16 janvier 2011. Paris: Fayard, 2010.

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19

Diezel, Peter. Schnittstelle Moskau: Gemeinsame und getrennte Wege : Curt Trepte, Luisrose Fournes, Hans Hauska : Aufzeichnungen, Briefe, Dokumente. Berlin: Edition Schwarzdruck, 2008.

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20

Barnes, Julian. The noise of time: A novel. New York: Vintage Books, 2017.

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21

Zhu, Xingwen. ZnO bao mo zhi bei ji qi guang, dian xing neng yan jiu. 8th ed. Shanghai Shi: Shanghai da xue chu ban she, 2010.

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22

Society, Forest Products. Seventh International Conference on Woodfiber-Plastic Composites (and Other Natural Fibers: May 19-20, 2003, Monona Terrace Community & Convention Cen. Forest Products Society, 2004.

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23

Kenyon, Ghislaine, and Peter Wiegold. Beyond Britten: The Composer and the Community. Boydell & Brewer, Incorporated, 2015.

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24

Kenyon, Ghislaine, and Peter Wiegold. Beyond Britten: The Composer and the Community. Boydell & Brewer, Incorporated, 2015.

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25

Kenyon, Ghislaine, Peter Wiegold, and Amoret Abis. Beyond Britten: The Composer and the Community. Boydell & Brewer, Incorporated, 2015.

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26

McSweeney, James. Community-Scale Composting Systems: A Comprehensive Practical Guide for Closing the Food System Loop and Solving Our Waste Crisis. Chelsea Green Publishing, 2019.

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27

McSweeney, James. Community-Scale Composting Systems: A Comprehensive Practical Guide for Closing the Food System Loop and Solving Our Waste Crisis. Chelsea Green Publishing, 2019.

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28

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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Анотація:

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.

29

Burnard, Pamela, Valerie Ross, Laura Hassler, and Lis Murphy. Translating Intercultural Creativities in Community Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.6.

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The term ‘intercultural’ (as in ‘intercultural creativity’) acknowledges the complexity of locations, identities, and modes of expression in a global world, and the desire to raise awareness, foster intercultural dialogue, and facilitate understanding across and between cultures. In a globalized world faced with unprecedented challenges, intercultural communication and dialogue is considered key to facilitating possibilities that, previously, might not have been available to us. In this chapter, we identify how intercultural creativity can be recognized and evaluated in the practice of community musicians. The notion of ‘translation’ is related to the interrogation, not only of what intercultural creativity is, but also how it is experienced. This chapter features the work of Netherlands-based Musicians without Borders and UK-based Music Action International, and the voice of a Malaysia-based composer working in an intercultural environment. We examine collaboration between diverse communities and musicians. The chapter concludes with implications for educating and developing the community musician.

30

Laycoc, Jolyon. A Changing Role for the Composer in Society. Peter Lang Publishing, 2005.

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31

Caroline, Shenaz Hossein, and Christabell P.J., eds. Community Economies in the Global South. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198865629.001.0001.

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People everywhere engage in social and solidarity economics to help themselves, community, and society on their own terms. Through a specific form of mutual aid, we examine the people who conscientiously organize financial cooperatives known as rotating savings and credit associations (ROSCAs) to bring positive changes to their own lives as well as others. ROSCAs are an ancient practice which are well documented, especially among Global Majority people. This book spotlights people in Latin America, Africa, Southeast Asia, and Asia who organize and use ROSCAs, commoning and similar cooperative systems, which are made up of voluntary members who cooperatively make regular contributions to a fund that is given in whole or in part to each member in turn. These collective money structures vary greatly across countries in the Global South, composed of ordinary people belonging to similar class origins. People who take up these systems decide on the rules jointly and in the interests of the collective, the members. The book is organized into case studies, and each case engages with J. K. Gibson-Graham’s community economies theory, as well as drawing on local theories and ideas to recognize distinct cultural contexts. This edited collection is the first of its kind organized by scholars concerned about empirical research, and mostly written by Global Majority scholars and activists to write stories using community economies theories about how people, no matter where they live, do their part to make business inclusive.

32

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 2011.

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33

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 1995.

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34

Gerald, Kennedy J., ed. Modern American short story sequences: Composite fictions and fictive communities. Cambridge: Cambridge University Press, 1995.

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35

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 2009.

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36

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 2011.

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37

Laycoc, Jolyon. A Changing Role for the Composer in Society. Peter Lang Publishing, 2005.

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38

Baker, David, and Lucy Green. Disability Arts and Visually Impaired Musicians in the Community. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.1.

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This chapter reports on a multifaceted ‘disability arts scene’ in music worldwide that comprises visually impaired (i.e., blind and partially sighted) instrumentalists, singers, composers, producers, and others across a range of musical styles and genres. Some such musicians work alone but are usually deeply involved in networks. Others join community music ensembles that can be made up of musicians with a range of disabilities including visual impairments, or that consist entirely of visually impaired people. When promoting their community music participation, some visually impaired musicians draw on the history and traditions of the blind in music across the world, and thus exists the lore concerning special dispensations in the absence of sight. Yet there are also visually impaired musicians who distance themselves from that self-identity. The chapter explores how members of this unique socio-musical group consider the aforesaid ‘scene’ and its integral community music, and how their interpretations correspond or clash; it introduces key matters of accessibility, independent mobility, identity, musical approach and media, notions of discrimination, and social inclusion.

39

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 techniques) that put his memorable tunes and orchestral inventiveness directly into people's lives and gave him, unlike past film composers, fame under his own name. Third was his reintroduction of lyricism into popular music—of carefully composed, personally expressive, harmonically interesting melody writing that had flourished once, then dried up in the 1950s when a cold war reigned between capitalism and communism as between one war-torn generation and their anxious offspring.

40

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.

41

Snyder, Jean E. Foremost Musician and Engaged Citizen. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0008.

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This chapter examines how Harry T. Burleigh came to represent African Americans as their premiere baritone and leading composer while also establishing a reputation as an engaged citizen in the first decades of the twentieth century. It first considers Burleigh's active participation in the life of the black community in New York and other cities on the eastern seaboard, lending the weight of his renown to benefit numerous social and educational causes, including efforts to improve the health and general welfare of African Americans. It then discusses Burleigh's connection with the city's black church community, including St. Philip's Episcopal Church and other Episcopal congregations, along with his relationships with Booker T. Washington, Afro-British composer Samuel Coleridge-Taylor, and W. E. B. Du Bois. The chapter also describes Burleigh's position regarding the lynchings and race riots in various parts of the country.

42

Muldrow, Diane, and Spiffy Entertainment. Nature Cat : Can You Dig It?: Soil, Compost, and Community Service Storybook for Kids Ages 4 to 8 Years. Little Bee Books Inc., 2022.

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43

Muldrow, Diane, and Spiffy Entertainment. Nature Cat : Can You Dig It?: Soil, Compost, and Community Service Storybook for Kids Ages 4 to 8 Years. Little Bee Books Inc., 2022.

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44

Society, Ithaca College Environmental, ed. 82 simple actions you, as a member of the IC community, can take to help protect our environment. [Ithaca, NY]: Ithaca College Environmental Society, 2005.

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45

Roley, Scott, and James Isaac Elliott. God's Neighborhood: A Hopeful Journey in Racial Reconciliation and Community Renewal. InterVarsity Press, 2004.

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46

Vezuli, Aleksander. Confessions of an Albanian Composer: A Difficult Musical Life under a Communist Regime and Immigration. Independently Published, 2022.

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47

Vezuli, Aleksander. Confessions of an Albanian Composer: A Difficult Musical Life under a Communist Regime and Immigration. Independently Published, 2022.

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48

Cohen, Matthew Isaac. Gamelanesque effects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0009.

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Standard accounts of gamelan’s internationalization focus on the growth of gamelan as an ‘ethnic ensemble’ in university and community settings, in touring gamelan troupes, and in intercultural abduction. To complicate this narrative, this chapter examines the Polish composer-pianist Leopold Godowsky and the American composer Henry Eichheim, who approached gamelan to convey impressions of a distant land in the manner of the travelogue, and the place of gamelan in the development of universalist musical theories and practices in American early-twentieth-century educational settings. During this period, audiences were rarely exposed directly to gamelan music; instead they experienced distant approximations or interpretations. Such ‘gamelanesque’ music provided a fantasy of the musical ‘Other’ and anti-modern escapism.

49

Ansari, Emily Abrams. The Sound of a Superpower. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.001.0001.

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Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson, and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile, a method of harmonic organization that some considered more Cold War–appropriate—serialism—began to rise in status. For many composers and historians, the Cold War had effectively “killed off” musical Americanism. In this book, the author offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. She shows that the ideological conflict brought both challenges and opportunities. Some leftist Americanist composers struggled greatly in this new artistic and political environment, especially as American nationalism increasingly meant American exceptionalism. But composers of all political stripes would find in the federal government a new and unique channel through which to ensure the survival of musical Americanism, as the White House sought to use American music as a Cold War propaganda tool and American composers as cultural diplomats. The Americanists’ efforts to safeguard the reputation of their style would have significant consequences. Ultimately, they effected a rebranding of musical Americanism, with consequences that remain with us today.

50

Dibble, Jeremy. John Stainer: A Life in Music (Music in Britain, 1600-1900) (Music in Britain, 1600-1900). Boydell Press, 2007.

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