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Libros sobre el tema "Intervention"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 7 de julio de 2024

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1

C, Herrmann Howard, ed. Interventional cardiology: Percutaneous noncoronary intervention. Totowa, N.J: Humana Press, 2005.

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2

C, Herrmann Howard, ed. Interventional cardiology: Percutaneous noncoronary intervention. Totowa, N.J: Humana Press, 2005.

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3

McCloskey, Dochterman Joanne, Bulechek Gloria M y Iowa Intervention Project, eds. Nursing interventions classification (NIC): Iowa Intervention Project. St. Louis: Mosby Year Book, 1992.

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4

Hoover, John J. Response to intervention: Curricular implications and interventions. Boston: Pearson, 2011.

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5

Hoover, John J. Response to intervention: Curricular implications and interventions. Boston: Pearson, 2011.

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6

Cook, Robin. Intervention. New York: Penguin USA, Inc., 2009.

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7

Cook, Robin. Intervention. [Waterville, Me.]: Large Print Press, 2010.

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8

Blackstock, Terri. Intervention. Waterville, Me: Thorndike Press, 2009.

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9

Blackstock, Terri. Intervention. Waterville, Me: Thorndike Press, 2009.

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10

Cook, Robin. Intervention. Waterville, Me: Thorndike Press, 2009.

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11

Cook, Robin. Intervention. New York: G.P. Putnam's Sons, 2009.

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12

Center for Substance Abuse Prevention (U.S.), ed. Intervention. [Rockville, Md.?]: Center for Substance Abuse Prevention, U.S. Dept. of Health and Human Services, Public Health Service, Substance Abuse and Mental Health Services Administration, 1993.

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13

Stirling, Donald. Intervention. [Toronto]: Lugus, 1996.

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14

Cook, Robin. Intervention. Detroit: Large Print Press/Gale Cengage Learning, 2010.

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15

Center for Substance Abuse Prevention (U.S.), ed. Intervention. [Rockville, Md.?]: Center for Substance Abuse Prevention, U.S. Dept. of Health and Human Services, Public Health Service, Substance Abuse and Mental Health Services Administration, 1993.

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16

Cook, Robin. Intervention. Waterville, Me: Thorndike Press, 2009.

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17

Cook, Robin. Intervention. New York: G.P. Putnam's Sons, 2009.

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18

Breton, André. Documents 34 - Intervention surréaliste: Intervention surréaliste. Brussels: Didier Devillez Editeur, 1998.

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19

McMillan, Greg. The early intervention handbook: Intervention in literacy. Edinburgh: City of Edinburgh Council, Education Dept, 1998.

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20

Lieblich, Eliav. Intervention in Civil Wars: Intervention and Consent. [New York, N.Y.?]: [publisher not identified], 2012.

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21

Melnyk, Bernadette Mazurek y Dianne Morrison-Beedy, eds. Intervention Research. New York, NY: Springer Publishing Company, 2012. http://dx.doi.org/10.1891/9780826109583.

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22

Fritz, Jan Marie y Jacques Rhéaume, eds. Community Intervention. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93695-2.

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23

Münkler, Herfried y Karsten Malowitz, eds. Humanitäre Intervention. Wiesbaden: VS Verlag für Sozialwissenschaften, 2009. http://dx.doi.org/10.1007/978-3-531-91427-5.

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24

Nursing interventions classification (NIC): Iowa Intervention Project. 2a ed. St. Louis: Mosby, 1996.

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25

Goodwin, M., M. Goodwin y M. Goodwin. Tomboy : Divine Intervention: Divine Intervention. Action Lab Entertainment, 2016.

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26

Simmons. Phonics Intervention (Saxon Phonics Intervention). Saxon Publishers, 2000.

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27

Gutierrez, Ronaldo, Mia Kerick y Paul Richmond. Intervention. Dreamspinner Press, 2013.

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28

Kennish, Steven. Intervention. Editado por Christopher G. Winearls. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780199592548.003.0012_update_001.

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Imaging technology allows complex yet minimally invasive diagnostic and therapeutic interventions in the genitourinary tract. It provides precise targeting for tissue biopsy to allow accurate diagnosis. Percutaneous nephrolithotomy is invaluable in the treatment of complex stone disease and percutaneous nephrostomy insertion preserves normal renal tissue in the patient with malignant or benign urinary tract obstruction. (Percutaneous nephrolithotomy and percutaneous nephrostomy are very different.) Antegrade ureteric procedures allow strictures, stones, and tumours to be dealt with, often with much greater ease than the retrograde approach. Collections and leaks can be drained and urine can be diverted to facilitate healing. Minimally invasive endovascular techniques can arrest iatrogenic or trauma-related haemorrhage from the renal tract. Although interventional radiological procedures are generally safe, they do come with risks of specific complications that the nephrologist needs to be aware of. Nephrologists need to be familiar with interventional uroradiological techniques to allow appropriate counseling and care of patients who require these procedures.
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29

Arditti, Irvine. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0006.

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Leader of the internationally renowned Arditti String Quartet, Irvine Arditti reflects on how he came to form the quartet, the virtues of working with living composers, and the distinction between composers’ and performers’ responsibilities. He closes with a reference to a prominent music critic who complained in print about the problems of trying to review new music when the performers are so persuasive that they make even bad music sound good.
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30

Nicolls, Sarah. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0008.

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Contemporary pianist Sarah Nicolls reflects on the benefits of collaborating with living composers, and the forms that such collaborations can take. The Intervention goes on to consider some of the practical problems that need to be tackled in any collaboration, and the re-negotiations of creative ownership that may be involved.
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31

Saunders, James y Simon Limbrick. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0010.

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This Intervention traces, through email exchanges and blog correspondence, the evolution of a piece for percussion (surfaces) written by James Saunders for Simon Limbrick. The full piece is intended to last twenty-four hours in performance, and involves the sonic activation and exploration of a variety of materials by means of a whole array of techniques. The collaborative development of surfaces is documented in words and images over the ten months from first ideas to first performance, revealing the intertwining of material, conceptual, practical and aesthetic considerations in the creative process.
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32

Harry, Martyn. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0012.

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This Intervention describes some aspects of the complex creative dynamics of creating a children’s opera, involving playwright/librettist, theatrical director, composer and actor–performers. The composer Martyn Harry provides an insider’s account of the nonlinear collaborative process by which the opera came into existence, and some of the creative tensions and negotiated solutions that were involved.
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33

West, Jeremy. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0013.

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In this Intervention, Jeremy West, the founding cornett player of the early music group His Majesty’s Sagbutts and Cornetts, reflects on the excitement and challenge of commissioning a new work from a living composer for the first time in the ensemble’s thirty-year history. The short account shows how working with the composer in the room provides not only technical support, but aesthetic insight and the confidence to strike out in new directions.
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34

Payne, Emily. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0015.

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Collaboration is usually associated with the co-presence of those involved; but in this Intervention Emily Payne discusses a more complex and convoluted process extending over forty years, and involving different performers. Payne’s account of Antony Pay’s 2013 recording of Alexander Goehr’s Paraphrase for solo clarinet, premiered by Alan Hacker in 1969, reveals a ‘back story’ that casts new light on the network of distributed relationships that lies behind this unusual collaborative project.
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35

Croft, John. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0017.

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The virtues of collaboration have been much trumpeted, but on what basis is it seen to have advantages for composition, and is the enthusiasm for it warranted? In this Intervention, composer John Croft exposes some of the underlying reasons for the focus on collaboration, among them spurious business models, misconceived notions of research, a culture of accountability and the confusion of innovation with originality. He concludes by highlighting the virtues of solitariness, the resistance to influence and single-mindedness in composition.
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36

Lim, Liza. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0018.

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In this Intervention the composer Liza Lim reflects on the interwoven and textilic character of her music-making, and on the improvising and collaborative relationship that she sustains with her materials. The Intervention focuses specifically on knots as a way of thinking about the creative interactions between people, instruments, musical materials and processes, and temporal structures.
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37

Thurlow, Jeremy. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0020.

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Jeremy Thurlow reflects on the conundrum of writing a piece (Ouija) for the violinist Peter Sheppard Skærved incorporating a significant amount of improvisation. How does a composer live up to his responsibility as a composer while leaving significant parts of the music unspecified?
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38

Maw, David y Thierry Escaich. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0022.

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In an interview with David Maw, the organist, composer and improviser Thierry Escaich discusses the relationship between improvisation and composition in his own creative practice, and his approach to teaching improvisation. The Intervention ends with Escaich’s thoughts on the future of improvisation.
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39

Lixenberg, Loré. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0024.

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Mezzo soprano Loré Lixenberg looks back at the delights and dangers of collaborative projects, and of working with improvisation in contexts ranging from stand-up comedy to opera. The Intervention reflects on the particular opportunities and challenges that singers face in working with their bodies, and with their personal and dramatic identities.
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40

Heyde, Neil, Christopher Redgate, Roger Redgate y Matthew Wright. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0026.

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Four highly experienced contemporary musicians—cellist, violinist, oboist and turntablist—who had never previously played together as a quartet discuss a public performance of free-improvisation. The conversation ranges across unpredictability and technology, composition and improvisation, and the rewards of getting to know one another through music.
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41

Bartlett, Mike. Intervention. Hern Books, Limited, Nick, 2014.

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42

Lamayne, C. J. Intervention. Traumjaeger Publications & Productions, 2005.

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43

May, Julian. Intervention. Houghton, 1987.

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44

Intervention. [Rockville, Md.?]: Center for Substance Abuse Prevention, U.S. Dept. of Health and Human Services, Public Health Service, Substance Abuse and Mental Health Services Administration, 1993.

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45

Blackstock, Terri. Intervention. Zondervan, 2009.

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46

Halbrook, Donald Lee. Intervention. Publishers Circulation Corp., 1998.

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47

Cook, Robin. Intervention. Albin-Michel, Editions, 2010.

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48

Meredith, Marilyn. Intervention. Golden Eagle Press, 2002.

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49

Blackstock, Terri. Intervention. ReadHowYouWant.com, Limited, 2010.

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50

Cook, Robin. Intervention. MacMillan, City & Guilds, 2010.

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