Relevant bibliographies by topics / Rebecca Saunders

Academic literature on the topic 'Rebecca Saunders'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Rebecca Saunders"

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Jones, Gabriel. "Rebecca Saunders - Rebecca Saunders, Solo. Sterev, Wilker, Ahonen, Müller, Schafleitner, Lindenbaum. Kairos, 0015098KAI." Tempo 75, no. 297 (June 28, 2021): 83–84. http://dx.doi.org/10.1017/s004029822100005x.

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Neves, Luiz Augusto Salles das, and Raquel Stefanello. "Edith Rebecca Saunders e a hereditariedade no final do século XIX." História da Ciência e Ensino: construindo interfaces 18 (October 5, 2018): 4. http://dx.doi.org/10.23925/2178-2911.2018v18i1p4-11.

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ResumoO presente artigo trata das Mulheres em Ciências e se refere ao trabalho desenvolvido no século XIX, por uma pesquisadora da área da Botânica chamada Edith Rebecca Saunders, da Newham College, Inglaterra que foi convidada pelo Professor Willian Bateson, de Cambridge, para desenvolver trabalhos de hibridação em plantas, com a finalidade de estudar a descontinuidade das espécies. Edith Saunders não só desenvolveu o trabalho como se destacou dos demais membros do grupo pela sua capacidade de condução de experimentos controlados. Mesmo que o trabalho de Mendel não fosse ainda conhecido pelo grupo e por Edith Saunders, essa pesquisadora conduziu seus cruzamentos que levaram a conclusões semelhantes as de Mendel. Quando seu grupo, dirigido por Willian Bateson, tomou ciência dos resultados mendelianos, os trabalhos desenvolvidos por Edith Saunders agregaram respostas mais precisas na pesquisa da hereditariedade. Além disso, descobriu, juntamente com Punnet, outra interação genética que até então não havia sido relatada. Seu reconhecimento como pesquisadora abriu espaço para que outras mulheres, posteriormente, pudessem constituir grupos de pesquisa e trabalhar em ciência.Palavras-chave: Becky Saunders; Bateson; Genética.AbstractThis article deals with Women in Sciences and refers to the work developed in the 19th century by a botanist researcher named Edith Rebecca Saunders, of Newham College, England, who was invited by Professor William Bateson of Cambridge to develop hybridization works in plants to study the species discontinuity. Edith Saunders not only developed the work but also emphasized the other members of the group by their ability to conduct controlled experiments. Even though Mendel's work was not yet known by the group and by Edith Saunders, this researcher conducted her crosses which led to conclusions similar to Mendel's. When his group, led by William Bateson, becomes aware of Mendelian results, the works developed by Edith Saunders add more precise answers in the research of heredity. In addition, he discovers, along with Punnet, another genetic interaction that hitherto had not been reported. Her recognition as a researcher made room for other women to be able to form research groups and work on science.Keywords: Becky Saunders; Bateson; Genetics.
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Adlington, Robert. "The Music of Rebecca Saunders: Into the Sensuous World." Musical Times 140, no. 1868 (1999): 48. http://dx.doi.org/10.2307/1004495.

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Abram, Omri. "TIMBRE-BASED COMPOSITION, MULTIPLE PERSPECTIVES AND AMBIGUITY IN REBECCA SAUNDERS’ COMPOSITIONAL STYLE." Tempo 75, no. 297 (June 28, 2021): 20–34. http://dx.doi.org/10.1017/s0040298221000206.

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AbstractThis article takes up Rebecca Saunders’ comments on the significance of timbre in her work to develop a timbre-centred analytical technique for two of her compositions, Ire (2012), for cello and ensemble, and Still (2011), for violin and orchestra. Two overarching principles are identified: the organisation of the pieces’ sounds into clearly differentiated categories, which can also overlap in different ways, and the use of a phrase-based logic in the pieces’ formal construction. Alongside the timbral construction, stable pitches acquire formal significance by virtue of their rarity and conspicuousness. I also elaborate on the ways in which perceptual ambiguity is fruitfully exploited in these works.
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Jones, Stephanie. "Georg Friedrich Haas and Rebecca Saunders premieres, Huddersfield Contemporary Music Festival 2016." Tempo 71, no. 280 (March 3, 2017): 88–89. http://dx.doi.org/10.1017/s0040298217000158.

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The first weekend of the 2016 Huddersfield Contemporary Music Festival saw an eclectic and vibrant mix of musical events. Artistic director Graham McKenzie promised a festival that was going to be ‘undoubtedly characterised by the bringing together of often quite disparate forces, to create new sounds, new experiences, and new approaches to music making’, and the opening days also manifested a strong sense of artistic difference and distance as well. The presence of Georg Friedrich Haas, this year's Composer in Residence, and Rebecca Saunders seemed to fire up such underlying dynamic energies. Throughout the weekend both composers took part in public interviews and both had UK and world premieres, yet they only presented in parallel: the programming kept them apart. In turn, the weekend amplified various levels of similarity and divergence between the two composers, exposing some fascinating creative tensions.
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Hunt, Edmund. "Birmingham Contemporary Music Group, CBSO Centre, Birmingham. Causton, Usui, Žuraj, Saunders. 15 December, 2019." Tempo 74, no. 293 (June 10, 2020): 86–88. http://dx.doi.org/10.1017/s0040298220000054.

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Located at the end of a quiet side street in the middle of Birmingham, the CBSO centre is the venue for many of BCMG's concerts throughout the year. If the venue seems somewhat hidden away, concealed behind a Victorian red brick façade, the music that takes place inside is certainly not insular. As one of the world's leading contemporary music ensembles, BCMG's longstanding commitment to commissioning new work, and to fostering relationships with composers, has continued since 2016 under the artistic directorship of Stephan Meier. The final UK concert of 2019, Migrating Sounds, provides clear evidence of the ensemble's aims. Of the four works performed, Richard Causton's Transients and Vito Žuraj's Tension for two ensembles were world premieres, Rebecca Saunders’ Scar was a UK premiere, and Shiori Usui's Deep was commissioned by BCMG in 2014. The pieces by Causton and Saunders were also ‘sound investment commissions’, part funded by many individuals who, in return for their support, receive various rewards, including rehearsal and reception invitations. The concert was conducted by Michael Wendeberg.
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Conway, Paul. "London, Wigmore Hall and R.A.M.: String Quartets by Hans Abrahamsen, Rebecca Saunders, Colin Matthews, Graham Williams and John Hawkins." Tempo 67, no. 264 (April 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000156.

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Due to Hurricane Sandy, the New York-based JACK Quartet were unable to cross the Atlantic to join forces with the Arditti Quartet at London's Wigmore Hall on 31 October 2012 for the British premières, now postponed, of 2012-S for two string quartets by James Clarke and the string octet Kampf zwischen Karneval und Fasten by Mauro Lanza. In lieu, the Ardittis substituted James Clarke's String Quartet No. 1 (2002–03) and Wolfgang Rihm's String Quartet No. 13 (2011), joining the first performances in the UK, as originally advertised, of quartets by Danish composer Hans Abrahamsen and British-born, Berlin-domiciled Rebecca Saunders.
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McMullan-Glossop, Eva. "Hues, Tints, Tones, and Shades: Timbre as Colour in the Music of Rebecca Saunders." Contemporary Music Review 36, no. 6 (November 2, 2017): 488–529. http://dx.doi.org/10.1080/07494467.2017.1452697.

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Levay, Matthew, Francesca Bratton, Caroline Krzakowski, Andrew Keese, Sophie Corser, Catriona Livingstone, Mark West, et al. "XIV Modern Literature." Year's Work in English Studies 98, no. 1 (2019): 858–1020. http://dx.doi.org/10.1093/ywes/maz011.

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Abstract This chapter has eight sections 1. General. 2 British Fiction Pre-1945; 3. British Fiction 1945 to the Present; 4. Pre-1950 Drama; 5. Post-1950 Drama; 6. British Poetry 1900–1950; 7. British Poetry Post-1950; 8. Irish Poetry. Section 1 is by Matthew Levay; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Catriona Livingstone; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders and William Baker; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Karl O’Hanlon.
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White, Nancy Marie. "Early Pottery: Technology, Function, Style, and Interaction in the Lower Southeast. Rebecca Saunders , Christopher T. Hays." Journal of Anthropological Research 61, no. 2 (July 2005): 270–72. http://dx.doi.org/10.1086/jar.61.2.3630885.

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Books on the topic "Rebecca Saunders"

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Reviews, Cram101 Textbook. Outlines & highlights for saunders nursing survival guide: Ecgs and the heart by rebecca k ... [Place of publication not identified]: Academic Internet Publish, 2011.

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Tradup, Janetta Freeman. Study guide to accompany Child health nursing: a comprehensive approach to the care of children and their families [by] Debra Broadwell Jackson and Rebecca B. Saunders. Philadelphia: Lippincott, 1993.

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Program, Siemens Arts, ed. Neue Musik in der Schule: Fünf Unterrichtseinheiten zu den Komponisten Louis Andriessen, Pierre Boulez, Helmut Lachenmann, Wolfgang Rihm, Rebecca Saunders. München: Siemens Art Program, 2005.

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Book chapters on the topic "Rebecca Saunders"

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Nonnenmann, Rainer. "Saunders, Rebecca." In Komponisten Lexikon, 529. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_267.

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"REBECCA SAUNDERS (B. 1967)." In The Courage of Composers and the Tyranny of Taste, 178–84. Boydell & Brewer, 2017. http://dx.doi.org/10.2307/j.ctvc16nd6.32.

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Neves, Luiz Augusto Salles das, Raquel Stefanello, Renata Smith Avinio, and Kelen Haygert Lencina. "EDITH REBECCA SAUNDERS E A HEREDITARIEDADE NO FINAL DO SÉCULO XIX." In Genética: Molecular, Humana e Médica, 67–74. Atena Editora, 2021. http://dx.doi.org/10.22533/at.ed.6202102077.

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