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1

Office, General Accounting. Competitive contracting: The understandability of FAIR Act inventories was limited : report to the Chair, Subcommittee on Oversight, Investigations, and Emergency Management House Committee on Transportation and Infrastructure. Washington, D.C. (P.O. Box 37050, Washington 20013): GAO, 2000.

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2

Woods, Philip A. School choice and competition: Markets in the public interest. London: Routledge, 1998.

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3

", France Commission "Compétitivité française. France, le choix de la performance globale: Rapport de la Commission "Compétitivité française". Paris: La Documentation française, 1992.

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4

Rigaux, M. Labour law or social competition law?: On labour in its relation with capital through law : Francqui Chair lectures. Antwerp: Intersentia, 2009.

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5

Labour law or social competition law?: On labour in its relation with capital through law : Francqui Chair lectures. Antwerp: Intersentia, 2009.

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6

D, Wiersema Frederick, ed. L' exigence du choix: Trois disciplines de valeur pour dominer ses marchés. Paris: Village mondial, 1995.

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7

Grand, Julian Le. The other invisible hand: Delivering public services through choice and competition. Princeton, NJ: Princeton University Press, 2008.

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8

Ward-Steinman, Patricia Madura. Choral Pedagogy Responds to the Media. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.2.

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Pop choral music has changed during the 21st century due to the enormous popularity of contemporary a cappella and commercial network TV shows such as Glee, The Voice, The Choir, The Sing-Off, American Idol, and the Clash of the Choirs. Choir students watch these shows and are influenced by them in terms of vocal tone, repertoire, showmanship, and competitive spirit. What is the proper pedagogical response? Should the media shape/influence choral pedagogy, or should traditional pedagogy develop the pop-influenced singer? This chapter addresses these questions and includes viewpoints of choral teachers throughout the age and experience spectra—from first-year teachers who are very familiar with these shows to competition-winning show choir directors and leaders in the field of choral music who have witnessed the effects of these programs on choral interest, enrollment, attitudes, and achievement in school choral programs.
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Hicks, Michael. “My Tabernacle ‘Mormon’ Choir”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0003.

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This chapter discusses the activities of the Mormon Tabernacle Choir under the direction of its conductor, Evan Stephens. In 1890 Mormons outgrew two fads, one doctrinal, the other musical. First was the idea that the world would end between December 1890 and December 1891. This commonplace belief, which helped nurture Mormon ferocity in the face of anti-polygamy legislation, derived from a statement Joseph Smith had made in 1835. In musical terms, entering the mainstream meant full commitment to standard musical notation and a letting-go of the musical fad of the Tonic sol-fa method. In 1891, William D. Davies, Welsh cultural ambassador from the New York newspaper Y Drych, toured Utah, heard Stephens's Choir and pronounced it the best choir in the world. This chapter considers the controversies faced by the Choir during Stephens's term as well as its concerts, domestic tours, and the competitions it joined. It also examines how the Choir continued its mission of public visibility without even leaving Salt Lake City.
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10

Annito, Abate, and Archirpina (Association), eds. Le Gambe dell'architettura: Idee per una sedia in legno : concorso di design. Napoli: CLEAN, 1992.

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11

Repose: An exhibition of better folding chairs. [Vancouver]: Charles H. Scott Gallery, 1998.

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12

Ltd, ICON Group. CHORI CO., LTD.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series). 2nd ed. Icon Group International, 2000.

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13

Ltd, ICON Group. CHOIL ALUMINIUM MANUFACTURING CO., LTD.: International Competitive Benchmarks and Financial Gap Analysis (Financial Performance Series). 2nd ed. Icon Group International, 2000.

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14

All Together Now: A Novel. Back Bay Books, 2016.

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15

Hornby, Gill. All together now: A novel. 2015.

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16

(Afterword), Alain Enthoven, ed. The Other Invisible Hand: Delivering Public Services through Choice and Competition. Princeton University Press, 2007.

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17

Gaulier, Armelle, and Denis-Constant Martin. Cape Town Harmonies: Memory, Humour and Resilience. African Minds, 2017. http://dx.doi.org/10.47622/9781928331506.

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"Cape Town's public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the research tools one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive mother city. Various of its constituent parts sound different from each other [T]here is the sound of the singing men and their choirs (teams they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. [] There are texts of the hallowed Dutch songs but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city." Shamil Jeppie, Associate Professor, Department of Historical Studies, University of Cape Town
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18

Reed, Mitch. Blessings of the Father: Book One. iUniverse, Inc., 2007.

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