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Books on the topic 'Insight'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Stockport, Mind Arts Project, ed. Insight. Stockport: MAPS, 2003.

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2

Nightingale, Earl. Insight. Chicago: Nightingale-Conant Corp., 1988.

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3

Hamilton, David. Insight (Insight S.). Zondervan, 1997.

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4

Hamilton, David. Insight (Insight S.). Zondervan, 1997.

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5

Hamilton, David. Insight (Insight S.). Zondervan, 1997.

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6

Hamilton, David. Insight (Insight S.). Zondervan, 1997.

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7

Normandy Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1999.

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8

Finland Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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9

Mackenzie, Kerry, and Natalie Minnis. Insight Guide Chile: INSIGHT GUIDES (Insight Guides). 4th ed. Insight Guides, 2004.

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10

Lisbon Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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11

Tunisia Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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12

Jordan Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1994.

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13

Malta Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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14

Barbados Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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15

Insight Guide: Ecuador (Insight Guides) (Insight Guides). APA Publications, 1992.

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16

Thailand Insight Guide (Insight Guides) (Insight Guides). APA Publications, 2000.

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17

Brittany Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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18

Oxford Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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19

Hamilton, David G. Insight (Insight for Adults). Marshall Pickering, 1997.

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20

Hamilton, David G. Insight (Insight for Adults). Marshall Pickering, 1997.

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21

Klein, Wilhelm. Insight Burma (Insight guides). 7th ed. Hungry Minds Inc,U.S., 1990.

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22

Hamilton, David G. Insight (Insight for Adults). Marshall Pickering, 1997.

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23

Klein, Wilhelm. Insight Burma (Insight guides). Hungry Minds Inc,U.S., 1990.

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24

HK. Insight Australia (Insight Guide). Hungry Minds Inc,U.S., 1985.

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25

HK. Insight Australia (Insight Guide). Hungry Minds Inc,U.S., 1985.

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26

Hamilton, David G. Insight (Insight for Teens). Zondervan, 1997.

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27

Hamilton, David G. Insight (Insight for Teens). Zondervan, 1997.

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28

Hamilton, David G. Insight (Insight for Adults). Marshall Pickering, 1997.

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29

Insight: The Insight Series. Createspace Independent Publishing Platform, 2011.

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30

Begby, Y. Insight of Today: Dagens Insikt. Balboa Press, 2013.

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31

Begby, Y. Insight of Today: Dagens Insikt. Balboa Press, 2013.

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32

Begby, Y. Insight of Today: Dagens Insikt. Balboa Press, 2013.

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33

Insight Guide Australia: INSIGHT GUIDES (Insight Guides Australia). 6th ed. Insight Guides, 2004.

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34

South India Insight Guide (Insight Guides) (Insight Guides). APA Publications, 1992.

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35

Dusseldorf Insight Guide (Insight Guides) (Insight City Guide). APA Publications Pte Ltd,Singapore, 1992.

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36

Insig Scandinavia Insight Guide Scandinavia. Insight Guides, 2012.

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37

Aubrey-Burden, Amanda, and Kieran Gething. Insight. Independently Published, 2020.

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38

Wallace, John. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0001.

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John Wallace traces his life as a musician from his earliest experiences in informal ensemble playing to recent activities such as running a major European conservatoire. Noting that he is a ‘product of an instinctive, informal learning community of closely interacting humans with asymmetric age groupings’, he describes himself as a musician who is still ‘in the making’.

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39

Manning, Jane. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0008.

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As a vocalist and specialist in new music, Jane Manning engages with diverse influences that contribute to her own approach to preparing performances: coming to a brand new score and beginning to make sense of it, dialogue with the composer, considering previous interpretations where these exist, and seeking characterization that has personal integrity yet meticulously respects the score—and all of which is underpinned by attention to vocal technique.

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40

Doğantan-Dack, Mine. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0009.

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This Insight emphasizes an aspect of being a classical musician that has become particularly challenging in our contemporary culture: namely, the development of a personal artistic voice, the most vital aspect of which is the cultivation of expressive freedom. Mine Doğantan-Dack notes that the two areas that provided her with the tools needed to develop a critical approach were philosophy and music theory.

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41

Castro, Ricardo, and Helena Gaunt. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0010.

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Ricardo Castro’s contribution discusses ways in which peer-to-peer collaboration and exchange between teachers and students may support individual development within studio teaching and enable creative trajectories for all concerned. This perspective is combined with commitment to offering a musical education to all children regardless of background, such that they have the opportunity to undertake the creative journey that this can embody.

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42

Lopez-Real, Carlos. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0016.

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Carlos Lopez-Real explores his own ‘pathway to creative performance’ in holistic terms, considering issues to do with identity, ‘constantly evolving practice’, shifts of focus in his artistic journey, and various types of uncertainty along the way. In particular, he contemplates his various roles and activities as improviser, composer, performer and educator, along with his individual artistic voice and a further artistic voice embedded within a collective of musicians, a community of practice.

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43

Faultless, Margaret. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0017.

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Margaret Faultless considers the influences on her career as a professional performer of musical encounters and discussions with colleagues, including both verbal and nonverbal communication on and off the platform. Noting that the latter can be expressed through body language, in small and large musical ensembles alike, she observes that for her ‘the most sophisticated communication in such contexts takes place through the music itself’.

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44

Reid, Helen. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0018.

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In considering the experiences that shaped her life as a musician and as a pianist, Helen Reid describes and assesses the implications of an injury that she suffered which nearly ended her career before it had begun. Despite the physical and emotional hardships that she endured, she no longer views this period as entirely negative: instead, she sees it as a positive experience that enabled her to grow as a person, musician and teacher.

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45

van Els, Susanne. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0024.

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The creative process extends in Susanne van Els’s Insight from the act of making music right through to aspects of programming and CD production. It articulates an exciting symbiotic relationship between these distinct activities, each feeding the other, and firmly dispels any myth of performance and production mindsets being mutually exclusive.

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46

Uitti, Frances-Marie. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0025.

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Frances-Marie Uitti charts a lifelong discovery of the potential of an instrument, in this case the cello, through multiple collaborations with composers and through her own ground-breaking exploratory work, including the creation of altogether new instruments. At the heart of this process, she reveals the development of her musical ear which then translates to a distinctive artistic voice.

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47

Tan, Melvyn, and John Rink. Insight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0026.

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Melvyn Tan notes that learning music is a lifelong process. He describes his own experiences as a student engaged in hours of practising, as a ‘novice performer’ who started to learn how to gauge his performances, and as one interested in historical pianos as well as modern instruments. He notes that success is not always possible and that much time is needed to develop one’s artistic voice.

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48

Ahumada, Jorge L. Insight. Routledge, 2012. http://dx.doi.org/10.4324/9780203157848.

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49

Vallée-Tourangeau, Frédéric, ed. Insight. Routledge, 2018. http://dx.doi.org/10.4324/9781315268118.

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50

Hamilton, David G. Insight. Zondervan, 1997.

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