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Libros sobre el tema "Music programmers"

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Publicado: 1 de junio de 2024

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1

The iOS 4 developer's cookbook: Core concepts and essential recipes for iOS programmers. Upper Saddle River, NJ: Addison-Wesley, 2012.

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2

The iOS 5 developer's cookbook: Core concepts and essential recipes for iOS programmers. 3a ed. Upper Saddle River, NJ: Addison-Wesley, 2011.

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3

Mitten, Christopher. Shawn Fanning: Napster and the music revolution. Brookfield, Conn: Twenty-First Century Books, 2002.

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4

Ottman, Robert W. Programmed rudiments of music. 2a ed. Englewood Cliffs, N.J: Prentice Hall, 1994.

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5

Great Britain. Department of Education for Northern Ireland. Music: Programmes of study and attainment targets. Bangor: Department of Education for Northern Ireland, 1992.

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6

E.B.U. Workshop for Producers and Directors of Children's Programmes (12th 1990 Oslo, Norway). Sound effects and music in children's programmes. Editado por Gautier Yves y European Broadcasting Union. Geneva: European Broadcasting Union, 1990.

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7

Elements of music: A programmed approach. 3a ed. Dubuque, Iowa: W.C. Brown, 1989.

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8

Dorr, Joyce. Introductory music theory. Belmont: Wadsworth Pub. Co., 1995.

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9

O, Harder Paul, ed. Harmonic materials in tonal music: A programmed course. 9a ed. Upper Saddle River, NJ: Prentice Hall, 2002.

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10

Steinke, Greg A. Harmonic materials in tonal music: A programed course. Upper Saddle River, NJ: Pearson Education, 2010.

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11

Andrews, J. Austin. Introduction to music fundamentals: A programmed textbook. 6a ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

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12

Foster, Wardian Jeanne, ed. Introduction to music fundamentals: A programmed textbook. 5a ed. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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13

National Radio Institute (Washington, D.C.), ed. Electronic music technology. Washington, D.C: McGraw-Hill Continuing Education Center, 1988.

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14

Harder, Paul O. Basic materials in music theory: A programmed course. 7a ed. Boston, MA: Allyn and Bacon, 1991.

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15

1942-, Steinke Greg A., ed. Basic materials in music theory: A programmed course. 8a ed. Boston, Mass: Allyn & Bacon, 1995.

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16

Basic materials in music theory: A programmed course. 6a ed. Boston (mass.): Allyn and Bacon, 1986.

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17

O, Harder Paul, ed. Harmonic materials in tonal music: A programed course. 8a ed. Boston: Allyn and Bacon, 1998.

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18

Harmonic materials in tonal music: A programed course. 5a ed. Boston: Allyn and Bacon, 1985.

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19

1942-, Steinke Greg A., ed. Harmonic materials in tonal music: A programed course. 7a ed. Boston: Allyn and Bacon, 1994.

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20

Harder, Paul O. Harmonic materials in tonal music: A programed course. 6a ed. Boston: Allyn and Bacon, 1990.

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21

Academy of Music (Saint John, N.B.), ed. Academy of Music, Monday ev'g, Mar. 17th: Grand literary & musical entertainment by the Irish Friendly Society. [Saint John, N.B.?: s.n.,$18--?], 1986.

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22

Council, Northern Ireland Curriculum. Music: A report on the statutory consultation for programmes of study and attainment targets for music. Belfast: Northern Ireland Curriculum Council, 1992.

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23

Harder, Paul O. Basic materials in music theory: A programed course. 6a ed. Boston: Allyn and Bacon, 1986.

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24

1942-, Steinke Greg A., ed. Basic materials in music theory: A programed course. 7a ed. Boston: Allyn and Bacon, 1991.

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25

1942-, Steinke Greg A., ed. Basic materials in music theory: A programed course. Upper Saddle River, NJ: Pearson Education, 2009.

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26

Harder, Paul O. Basic materials in music theory: A programed course. 8a ed. Boston: Allyn and Bacon, 1995.

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27

1942-, Steinke Greg A., ed. Basic materials in music theory: A programed course. 9a ed. Upper Saddle River, N.J: Prentice Hall, 2000.

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28

London Music Hall (London, Ont.), ed. London Music Hall to-night: Last appearance of J.L. Clark and his excellent company of actors, singers, dancers .. [S.l: s.n., 1986.

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29

Academy of Music (Saint John, N.B.), ed. Academy of Music, Saint John, N.B., Tuesday evening, Feb. 22, 1876: Entertainment by the Amateur Minstrels of Bangor, Maine. [Bangor, Me.?: s.n., 1986.

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30

Academy of Music (Saint John, N.B.), ed. Academy of Music, St. John, N.B.: Monday and Tuesday ev'gs., Aug. 5 and 6, the great lyric star Rosa D'Erina. [St. John, N.B.?: s.n., 1986.

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31

Union, Toronto Musical, ed. Grand miscellaneous concert in the Music Hall: On Thursday eve'ng, 1st May 1862, to commence at eight o'clock, conductor Mr. Carter. [S.l: s.n., 1987.

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32

1942-, Steinke Greg A., ed. Basic materials in music theory : a programmed course / Paul O. Harder, Greg A Steinke. Upper Saddle River, NJ: Prentice Hall, 2006.

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33

Hansen, Julia. Music reading for beginners: A self-instruction program. [United States]: J. Hansen, 1986.

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34

Mitchell, Harvey. Which Mr Bach?: A style guide for concert programmes and other music publications. Melbourne, Vic., Australia: Victorian Arts Centre, 1986.

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35

Music, Academy of, ed. The Bouquet programme: Academy of Music, Nannery & McDowall, lessees and managers : Monday evening, June 1, 1874, benefit of Miss Gertrude Kellogg .. [S.l: s.n., 1986.

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36

Producing iOS 6 apps: The ultimate roadmap for both non-programmers and existing developers. Oldsmar, FL: UnknownCom Inc., 2012.

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37

The iOS 5 Developer's Cookbook: Core Concepts and Essential Recipes for iOS Programmers. Brand: Addison-Wesley Professional, 2012.

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38

Campbell, Patricia Shehan y Shannon Dudley. A University Commitment to Collaborations with Local Musical Communities. Editado por Brydie-Leigh Bartleet y Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.8.

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Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
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39

Doffman, Mark y Jean-Philippe Calvin. Contemporary Music in Action. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0016.

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This chapter looks at collaborative work between composers and performers in an educational setting, and using the case study of a postgraduate programme at the Royal College of Music in London, it explores the values and meanings attached to creative collaboration for students preparing to enter the world of work. The study showed how students found this sort of collaborative work to be potentially career-enhancing and creatively fulfilling. The study also found however that composer–performer roles were demarcated strongly enough to constrain the degree of collaboration and learning to satisfy all the participants. The chapter concludes with questions about the degree to which such programmes challenge the assumptions and roles of performers and composers. How do conservatoires both prepare students for the world of work and provide models that might challenge that world?
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40

Notebooks, Funny. Algorithm a Word Used by Programmers When They Don't Want to Explain What They Did: 120 Pages I 6x9 I Music Sheet I Funny Software Engineering, Coder & Hacker Gifts. Independently Published, 2019.

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41

Notebooks, Funny. Algorithm a Word Used by Programmers When They Don't Want to Explain What They Did: 120 Pages I 6x9 I Music Sheet I Funny Software Engineering, Coder & Hacker Gifts. Independently Published, 2019.

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42

Notebooks, Funny. Algorithm a Word Used by Programmers When They Don't Want to Explain What They Did: 120 Pages I 6x9 I Music Sheet I Funny Software Engineering, Coder & Hacker Gifts. Independently Published, 2019.

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43

Edwards, Jane y Vicky Abad. Music Therapy and Parent-Infant Programmes. Editado por Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.24.

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Parent-infant work in music therapy provides the opportunity for the existing musicality of the infant-care giver pair to be accessed and enhanced. Music therapy is provided to support and enhance the skills of the dyad thus improving the relational strengths where a difficulty or impairment of satisfying contact in the relationship has occurred. The approaches developed in parent infant music therapy group and individual work have been informed primarily from an understanding of the importance of an infant achieving secure attachment with a primary care giver as the basis of ongoing lifelong mental health. This chapter provides an overview of practice in parent-infant music therapy programmes, including considerations for starting groups. Additionally, the growing literature in this field is presented and discussed.
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44

Rabeja, Irina. 175 Musical Programmes: Classical Music Concerts. Irina Rabeja, 2017.

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45

Worthing, Michelle. Elements of Music: A Programmed Approach. 3a ed. William C Brown Pub, 1988.

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46

Cohen, Laurie y Joanne Duberley. Desert island data. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796978.003.0002.

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Laurie Cohen and Joanne Duberley describe their use of an unconventional data source—a radio programme—to study celebrity careers. This source also includes music, which evokes memories, and elicits emotions not readily captured in conventional interviews. They used the archives of the BBC Radio 4 programme Desert Island Discs to study the careers of well-known research scientists. The programme’s format has been consistent over its 70-year history; ‘castaways’ from all walks of life are interviewed about their careers and are asked to select eight pieces of music, which reveal many other aspects of their lives. This research focused on the relationships between work and life course, the notion of career as performance, and the role of emotion in the narration of career. Desert Island Discs is part of an extensive archive. As time and funding for research are tight, rapid no-cost access to such data is valuable.
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47

Steinke, Greg A., Paul Harder y Paul O. Harder. Harmonic Materials in Tonal Music, a Programmed Course: A Programmed Course (Harmonic Materials in Tonal Music). Prentice Hall, 1997.

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48

Taylor, Eric. A.B.Guide to Music Theory. Associated Board of the Royal School of Music, 1989.

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49

A.B.Guide to Music Theory. Associated Board of the Royal School of Music, 1991.

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50

Beutler, Ralf y Frank-Harald Greß, eds. Jazz/Rock/Pop - Das Dresdner Modell. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783828874589.

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The jazz/rock/pop programme at the Dresden College of Music developed into a multifaceted educational complex during the GDR era, despite reservations by cultural politicians, and gained international recognition after the fall of the Berlin Wall. Contemporary witnesses, current teachers and graduates report in 25 essays on their work, experiences, individual views and the interaction between artistic practice and pedagogical activity. This richly illustrated volume provides unique insights into the structure and goals of this field of study in all its breadth, from the children's class and the cooperation with the Saxon State Grammar School for Music to the Bachelor's, Master's and graduate programmes.
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