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Livres sur le sujet « Electronic score »

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Auteur : Grafiati

Publié le 25 mai 2024

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1

L, Wilson Johnny, dir. High score ! : The illustrated history of electronic games. Berkeley, Calif : McGraw-Hill/Osborne, 2002.

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2

L, Wilson Johnny, dir. High score ! : The illustrated history of electronic games. 2^e éd. New York : McGraw-Hill/Osborne, 2004.

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3

Wolff, Christoph. Mozart's Requiem : Historical and analytical studies, documents, score. Berkeley : University of California Press, 1994.

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4

Universiti Putra Malaysia. Department of Electrical and Electronic Engineering, Institute of Electrical and Electronics Engineers. Student Branch Universiti Putra Malaysia et IEEE Malaysia Section, dir. Student Conference on Research and Development : SCOReD 2003 : proceedings : networking the future mind in convergence technology : 25-26 August 2003, Renaissance Palm Garden Hotel, Putrajaya, Malaysia. Piscataway, NJ : IEEE, 2003.

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5

1952-, Holloway Simon, dir. Fourth-generation systems : Their scope, applicationsand methods of evaluation. London : Chapman and Hall, 1990.

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6

Simon, Holloway, dir. Fourth generation systems : Their scope, application and methodsof evaluation. London : Kogan Page, 1988.

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7

Martin, Holmes. European integration : Scope and limits. Houndmills, Basingstoke, Hampshire : Palgrave, 2001.

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8

Reich, Steve. The four sections : For orchestra. [New York, N.Y.] : Hendon Music, 1991.

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9

Davidovsky, Mario. Synchronisms : No. 10, guitar and tape. New York, NY : C.F. Peters, 1995.

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10

Reid, Wendy. Glass walls : For string quartet & tape. Berkeley, CA : Sound/Image Unlimited, 1986.

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11

Smith, Alison Jane. Electronic interlending in the East Midlands : The scope for the electronic delivery of inter-library loans between public libraries in the East Midlands. Loughborough : Loughborough University, 1997.

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12

Huurros, Milla. The emergence and scope of complex system/service innovation : The case of the mobile payment services market in Finland. [Helsinki] : Helsinki School of Economics, 2007.

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13

Bates, Mason. Mass transmission : For SATB chorus, piano, synthesizer and electronica. [California?] : Aphra Music, 2013.

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14

Senn, Dan. Rivus. [Baltimore] : Smith Publications, 1987.

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15

DeLio, Thomas. Against the silence-- : For percussion ensemble and 4-channel computer generated tape : 1985-86. Baltimore, MD : Smith Publications, 1987.

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16

Makeen, Makeen Fouad. Copyright in a global information society : The scope of copyright protection under international, US, UK, and French law. The Hague : Kluwer Law International, 2000.

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17

Reich, Steve. Electric counterpoint : For guitar and tape or guitar ensemble. New York : Hendon Music, 1990.

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18

Ali, Kamyab, Iowa. Dept. of Transportation. et Iowa State University. Center for Transportation Research and Education., dir. Red light running in Iowa : The scope, impact, and possible implications. Ames, Iowa : Center for Transportation Research and Education, Iowa State University, 2000.

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19

Digital private copying : The scope of user freedom in EU digital copyright. Abingdon, Oxon [UK] : Routledge, 2012.

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20

Albright, William. Symphony for organ : Organ solo with percussion (or pre-recorded tape). New York : Henmar Press, 1993.

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21

The scope of copyright protection : Hearing before the Subcommittee on Courts, Intellectual Property, and the Internet of the Committee on the Judiciary, House of Representatives, One Hundred Thirteenth Congress, second session, January 14, 2014. Washington : U.S. Government Printing Office, 2014.

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22

Kreiger, Arthur. Meeting places : Flute (alto flute), clarinet (bass clarinet), piano, percussion, violin, violoncello, and tape. New York : C.F. Peters, 1996.

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23

The scope of fair use : Hearing before the Subcommittee on Courts, Intellectual Property, and the Internet of the Committee on the Judiciary, House of Representatives, One Hundred Thirteenth Congress, second session, January 28, 2014. Washington : U.S. Government Printing Office, 2014.

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24

Digitale Edition zwischen Experiment und Standardisierung : Musik - Text - Codierung. Tübingen : Niemeyer, 2009.

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25

United States. Congress. Senate. Committee on Homeland Security and Governmental Affairs. Subcommittee on Oversight of Government Management, the Federal Workforce, and the District of Columbia. The perils of politics in government : A review of the scope and enforcement of the Hatch Act : hearing before the Oversight of Government Management, the Federal Workforce, and the District of Columbia Subcommittee of the Committee on Homeland Security and Governmental Affairs, United States Senate, One Hundred Tenth Congress, first session, October 18, 2007. Washington : U.S. G.P.O., 2008.

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26

The perils of politics in government : A review of the scope and enforcement of the Hatch Act : hearing before the Oversight of Government Management, the Federal Workforce, and the District of Columbia Subcommittee of the Committee on Homeland Security and Governmental Affairs, United States Senate, One Hundred Tenth Congress, first session, October 18, 2007. Washington : U.S. G.P.O., 2008.

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27

Reich, Steve. Double Sextet : Study Score. Boosey & Hawkes, Incorporated, 2011.

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28

DeMaria, Rusel, et Johnny L. Wilson. High Score ! : The Illustrated History of Electronic Games, Second Edition. 2^e éd. McGraw-Hill Osborne Media, 2003.

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29

DeMaria, Rusel, et Johnny L. Wilson. High Score ! : The Illustrated History of Electronic Games, Second Edition. McGraw-Hill Osborne Media, 2003.

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30

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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31

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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32

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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33

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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34

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. Taylor & Francis Group, 2018.

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35

Adams, John. John's Book of Alleged Dances : Study Score. BOOSEY & HAWKES US, 2007.

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36

The Digital Score. Routledge, 2019.

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37

DeMaria, Rusel. High Score ! Expanded : The Illustrated History of Electronic Games 3rd Edition. CRC Press, 2018.

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38

Vear, Craig. Digital Score : Musicianship, Creativity and Innovation. Taylor & Francis Group, 2019.

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39

Vear, Craig. Digital Score : Musicianship, Creativity and Innovation. Taylor & Francis Group, 2019.

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40

DeMaria, Rusel. High Score : La historia ilustrada de los videojuegos/The illustrated history of electronic games. McGraw-Hill Interamericana, 2002.

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41

High Score & High Heels : Berufsbiografien von Frauen in der Games-Industrie. Wiesbaden : Springer VS, 2014.

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42

coach), Brock Terry (Business, dir. Klout matters : How to engage customers, boost your digital influence : and raise your klout score for success. McGraw-Hill, 2014.

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43

Brend, Mark. The Sound of Tomorrow. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781501382888.

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London, 1966: Paul McCartney met a group of three electronic musicians called Unit Delta Plus. McCartney was there because he had become fascinated by electronic music, and wanted to know how it was made. He was one of the first rock musicians to grasp its potential, but even he was notably late to the party. For years, composers and technicians had been making electronic music for film and TV. Hitchcock had commissioned a theremin soundtrack for Spellbound (1945); The Forbidden Planet (1956) featured an entirely electronic score; Delia Derbyshire had created the Dr Who theme in 1963; and by the early 1960s, all you had to do was watch commercial TV for a few hours to hear the weird and wonderful sounds of the new world. The Sound of Tomorrow tells the compelling story of the sonic adventurers who first introduced electronic music to the masses. A network of composers, producers, technicians and inventors, they took emerging technology and with it made sound and music that was bracingly new.

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44

Mirchandani, Sharon. Fragments. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0003.

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This chapter focuses on Marga Richter's shorter, more fragmented works that had little or no development and were not as expansive as her earlier (and later) pieces. Unlike other U.S. composers in the 1960s such as Edgard Varèse and Milton Babbitt, Richter did not gravitate toward total serialism, electronic music, or chance music, although she reluctantly responded to the trend of composing sparse, economical, and atonal works. An encounter with composer William Sydeman at the Bennington Composers Conference was influential in steering Richter toward the prevailing attitudes of the day. This chapter discusses some of Richter's more concise compositions during the 1960s, including short solo and chamber music scores such as Fragments for solo piano; choral works like Psalm 91 for mixed chorus for mixed chorus; and the modern ballet score, Abyss for the Harkness Ballet. It also considers Richter's compositional retreat at a family residence in Shrewsbury, Vermont, and her self-admitted tendency to suffer from a letdown following elation from a performance or completion of a major work.

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45

McGraw-Hill. Glencoe Accounting : 1st Year Course, Electronic Learning Center Student CD-ROM Package. Glencoe/McGraw-Hill, 1999.

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46

McGraw-Hill. Glencoe Accounting : 1st Year Course, Electronic Learning Center Student CD-ROM Package. 4^e éd. Glencoe/McGraw-Hill, 1999.

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47

Electronic messaging : A report of the Ad Hoc Subcommittee on Scope of the UCC. [Chicago, Ill.] : The Association, 1994.

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48

Adams, John Luther. Ilimaq : For four percussionists (or one percussionist with digital relay) and electronic sounds. 2017.

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49

Myers, Carla S. Copyright and Course Reserves. ABC-CLIO, LLC, 2022. http://dx.doi.org/10.5040/9798216184911.

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With the guidance of this book, academic librarians wishing to provide print, electronic, and streaming media (music and film) course reserve services for their campus communities can do so in compliance with U.S. copyright law. Many academic libraries offer print and electronic course reserve services that encourage learning by connecting students and faculty with less expensive and supplementary educational materials. Unfortunately, there are many misconceptions regarding how U.S. copyright law affects course reserve services; as a result, many academic libraries restrict the scope of the services they provide or refrain from pursuing new options, such as media reserves, out of fear of violating the law or being sued for copyright infringement. Copyright and Course Reserves addresses this problem, providing authoritative advice for making print, electronic, and media course reserves available in compliance with U.S. copyright law. It explains options for implementing and sustaining media reserve services through which students and faculty can access online music, sound recordings, and film. Additionally, short examples from a wide range of libraries explore real-world scenarios and current issues related to course reserve services to help readers better understand and apply the information found in the book.

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50

Joongi, Kim. 2 The Arbitration Agreement. Oxford University Press, 2017. http://dx.doi.org/10.1093/law/9780198755432.003.0002.

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This chapter provides an overview of arbitration agreements in particular—what they entail and how these agreements are formed. Arbitration after all begins with an arbitration agreement between parties to settle a dispute by means of arbitration. Korea’s 2016 Arbitration Act adopts the Model Law definition of an arbitration agreement. It provides that, alongside written requirements, electronic expressions of intent such as those made by email and telex, and other expressions by electronic means, can also be considered as arbitration agreements if the intent of the parties can be confirmed. Further requirements have been laid down in the seminal 2003 case Republic of Korea v Rotem Co. The chapter then goes on to cite further cases that demonstrate the various aspects of an arbitration agreement, such as its institutions, scope, validity and effect, and so on.

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