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Autore: Grafiati
Pubblicato: 25 luglio 2024

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1

Súilleabháin, Seán Ó. "Calum MacGill-Eain". Comhar 56, n. 3 (1997): 8. http://dx.doi.org/10.2307/25573237.

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2

Brady, Anne-Marie. "China Remembers. Zhang Kijian , Calum MacLeod". China Journal 45 (gennaio 2001): 194–95. http://dx.doi.org/10.2307/3182397.

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3

Amalia, Resti, Livia Feranty e Tri Arie Bowo. "Analysis of Tense Selection in Heaven’s Song Lyric by Calum Scott and Lyodra Ginting". Foremost Journal 4, n. 1 (28 febbraio 2023): 40–48. http://dx.doi.org/10.33592/foremost.v4i1.3231.

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Abstract (sommario):
This study aims to determine the type of tense used in the lyrics of the song “Heaven” by Lyodra Ginting and Calum Scott. The research method used in this study is a qualitative descriptive research method. The data used in this study came from the lyrics of the song “Heaven,” which Calum Scott wrote and sang by himself and Lyodra Ginting. The researcher uses the theory of grammar and style in Stylistics to analyze the tenses selection in the song lyrics data. The study results show that this song’s lyrics predominantly use the simple present tense, and the rest use the present continuous tense, present perfect continuous tense, simple past tense, past continuous tense, and past future tense. There are reasons behind the songwriter’s tense selection. The tense in the song is dominated by simple present tense to express a habitual use indicating a generalization over a set of times. Keywords: Calum Scott; Heaven; Lyodra Ginting; Stylistics; Tense Selection; Song Lyrics
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4

Porta, Maura, Paula L. Diaz-Sylvester, Jake T. Neumann, Ariel L. Escobar, Sidney Fleischer e Julio A. Copello. "Coupled gating of skeletal muscle ryanodine receptors is modulated by Ca2+, Mg2+, and ATP". American Journal of Physiology-Cell Physiology 303, n. 6 (15 settembre 2012): C682—C697. http://dx.doi.org/10.1152/ajpcell.00150.2012.

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Coupled gating (synchronous openings and closures) of groups of skeletal muscle ryanodine receptors (RyR1), which mimics RyR1-mediated Ca2+ release underlying Ca2+ sparks, was first described by Marx et al. (Marx SO, Ondrias K, Marks AR. Science 281: 818–821, 1998). The nature of the RyR1-RyR1 interactions for coupled gating still needs to be characterized. Consequently, we defined planar lipid bilayer conditions where ∼25% of multichannel reconstitutions contain mixtures of coupled and independently gating RyR1. In ∼10% of the cases, all RyRs (2–10 channels; most frequently 3–4) gated in coupled fashion, allowing for quantification. Our results indicated that coupling required cytosolic solutions containing ATP/Mg2+ and high (50 mM) luminal Ca2+ (Calum) or Sr2+ solutions. Bursts of coupled activity (events) started and ended abruptly, with all channels activating/deactivating within ∼300 μs. Coupled RyR1 were heterogeneous, where highly active RyR1 (“drivers”) seemed open during the entire coupled event (Po = 1), while other RyR1s (“followers”) displayed abundant flickering and smaller amplitude. Drivers mean open time increased with cytosolic Ca2+ (Cacyt) or caffeine, whereas followers flicker frequency was Cacyt independent and more sensitive to inhibition by cytosolic Mg2+. Coupled events were insensitive to varying lumen-to-cytosol Ca2+ fluxes from ∼1 to 8 pA, which does not corroborate coupling of neighboring RyR1 by local Ca2+-induced Ca2+ release. However, coupling requires specific Calum sites, as it was lost when Calum was replaced by luminal Ba2+ or Mg2+. In summary, coupled events reveal complex interactions among heterogeneous RyR1, differentially modulated by cytosolic ATP/Mg2+, Cacyt, and Calum, which under cell-like ionic conditions may parallel synchronous RyR1 gating during Ca2+ sparks.
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5

Nenojata, Yohanes J., Gratiana Sama e Yuliana M. D. K. Kara. "SENTENCE PATTERN USED IN CALUM SCOTT’S SONG LYRICH". Lantern: Journal of Language and Literature 9, n. 2 (1 settembre 2023): 72–81. http://dx.doi.org/10.37478/lantern.v9i2.3965.

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Abstract (sommario):
Sentence patterns and sentence types are an inseparable unit where each type of sentence contains several sentence patterns. In general, some researchers analyzed sentence patterns in a short story, speech text, news text and others. But in this study will analyze sentence patterns and sentence types in two song lyrics by Calum Scott. Usually in a song lyrics consists of phrases, clauses, and sentences, but the study will analyze how many sentences are there. This study aims to find sentence patterns and sentence types in the two song lyrics. This study uses a qualitative method. The results of the study show that there are six sentence patterns and six types of sentences found in the two songs. No Matter What's first song with details as follows; pattern I (S+VT+DO), pattern II (S+int.V), pattern, pattern IV (S+intr.V+SP), pattern V (S+com.V+DO+OP), and pattern IV (S+pre.V+PC). The second song is Dancing on My Own with the following details; pattern I (S+VT+DO), pattern II (S+int.V), pattern III (S+dist.V+DO+IO), pattern IV (S+intr.V+SP), pattern V (S+com.V+DO+OP), and pattern VI (S+pre.V+PC). While the types of sentences from the two songs, No Matter What and Dancing on My Own there are four types. They are simple sentence, compound sentence, complex sentence, and compound complex sentence.
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6

MacQueen, Hector L. "Calum Carmichael, Ideas and the Man: Remembering David Daube". Edinburgh Law Review 9, n. 2 (maggio 2005): 335–38. http://dx.doi.org/10.3366/elr.2005.9.2.335.

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7

Colvin, Calum. "‘Hybridity’: Old and new technologies in Calum Colvin's work". History of Photography 31, n. 1 (marzo 2007): 11–21. http://dx.doi.org/10.1080/03087298.2007.10443498.

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8

Levinson, Bernard M. "Calum M. Carmichael's Approach to the Laws of Deuteronomy". Harvard Theological Review 83, n. 3 (luglio 1990): 227–57. http://dx.doi.org/10.1017/s001781600000568x.

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Abstract (sommario):
In three books and numerous articles, Calum M. Carmichael argues for a radical transformation in the way the laws of Deuteronomy are to be understood. His most recent work,Law and Narrative in the Bible, maintains that the legal corpus of Deuteronomy, far from being “law,” rather constitutes “literature,” in which the Deuteronomistic historian reflects upon the full range of pre-exilic Israelite narrative, Genesis through 2 Kings. In the course of this argument, Carmichael makes fundamental assertions about the composition of Deuteronomy, the history of Israelite literature, and the history of interpretation. Carmichel introduces his work as an attempt “to overturn longstanding views on material that has always been in center stage in the study of the Bible” and as “radical in its results.” His work has already generated a series of further studies of narrative allusion and drafting techniques in Deuteronomy that presuppose his arguments.
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9

Gordley, James. "Calum Carmichael, Ideas and The Man: Remembering David Daube". American Journal of Comparative Law 54, n. 1 (2006): 269–74. http://dx.doi.org/10.1093/ajcl/54.1.269.

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10

Benöhr, Hans-Peter. "Carmichael, Calum, Ideas and the Man: Remembering David Daube". Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Germanistische Abteilung 124, n. 1 (1 agosto 2007): 799–800. http://dx.doi.org/10.7767/zrgga.2007.124.1.799.

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11

Kusumawardhani, Paramita, e Eklesia Sihombing. "INFLECTIONAL MORPHEMES IN THE LYRICS OF THE CALUM SCOTT’S SONGS IN THE ALBUM, BRIDGES". JOURNAL OF LANGUAGE 6, n. 1 (22 maggio 2024): 192–200. http://dx.doi.org/10.30743/jol.v6i1.9188.

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Abstract (sommario):
Inflectional morphology is part of morphology which is the smallest significant unit of grammar. Morphology itself means the study of morphemes which are the smallest significant units of grammar. There are two parts in morphology here are: derivational morphology which is related to affixes such as suffixes, infixes, prefixes, ablaut and reduplication, meanwhile inflectional morphology which is related to plural, possessive, past time, progressive, and comparative and superlative. There are two kinds of morpheme; they are free morpheme and bound morpheme. Morpheme that can stand on their own are called free, and ones that cannot are bound. This research focused on inflectional morpheme in the lyrics of the Calum Scott’s Songs in the album Bridges. The lyrics in the album Bridges were used as the data of the research. Qualitative method was used as the method and the results were some inflectional morphemes found in the lyrics of the Calum Scott’s Songs in the album Bridges.
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12

Atkinson, David. "Calum MacKellar, The Image of God, Personhood and the Embryo". Theology 121, n. 2 (23 febbraio 2018): 132–33. http://dx.doi.org/10.1177/0040571x17740541g.

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13

Cribb, Corey P. "Calum Watt (2017) Blanchot and the Moving Image: Fascination and Spectatorship". Film-Philosophy 24, n. 1 (febbraio 2020): 71–74. http://dx.doi.org/10.3366/film.2020.0130.

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14

Dowd, Garin. "Blanchot and the Moving Image: Fascination and Spectatorship by Calum Watt". Modern Language Review 114, n. 3 (2019): 572–73. http://dx.doi.org/10.1353/mlr.2019.0057.

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15

Holland, Michael. "Blanchot and the Moving Image: Fascination and Spectatorship. By Calum Watt". French Studies 72, n. 4 (3 settembre 2018): 632–33. http://dx.doi.org/10.1093/fs/kny207.

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16

Exlesia Pestaria Lumban Toruan. "An Analysis Of Derivational And Inflectional Morphemes In The Lyrics Of Calum Scott’s Songs In The Album “Bridges”". EDUJ : English Education Journal 1, n. 1 (13 settembre 2023): 53–60. http://dx.doi.org/10.59966/eduj.v1i1.485.

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Abstract (sommario):
Morphology studies the intricate forms of words and the influence of changes in word forms on word categories and meanings. Morphemes, as the smallest grammatical units with meaning, are the primary focus of morphology. Morphemes cannot be further divided into smaller linguistic units. This research aims to investigate derivational and inflectional morphemes in the lyrics of Calum Scott’s songs in the album “Bridges”. The qualitative method is employed in this study, which reveals the presence of derivational and inflectional morphemes in the lyrics. The analysis demonstrates the existence of various types of derivational and inflectional affixes. Inflectional morphemes, particularly affixes, are found to be more dominant in the lyrics of Calum Scott’s songs in the album “Bridges”. The findings of this research identify 50 derivational and 99 inflectional morphemes. In derivations, 21 types of affixes are discovered, including prefixes such as re-, pre-, a-, sur- and suffixes such as -ent, -le, -ion, -ful, - less, -ing, -ly, -ain, -ed, -ness, -ment, -y, -ry, -er, -ty, -st, and -ical. Furthermore, there are 8 types of inflectional morphemes, namely plural, past tense, past perfect, comparative, possessive, third-person singular, gerund, and progressive.
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17

Oden, Neal. "Human Cancer: Epidemiology and Environmental Causes.John Higginson , Calum S. Muir , Nubia Munoz". Quarterly Review of Biology 68, n. 4 (dicembre 1993): 627. http://dx.doi.org/10.1086/418406.

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18

Jones, David Albert. "Book Review: Calum MacKellar, The Image of God, Personhood and the Embryo". Studies in Christian Ethics 31, n. 2 (17 aprile 2018): 250–53. http://dx.doi.org/10.1177/0953946817748566c.

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19

Sitorus, Elsaria. "A Deixis Analysis of Song Lyrics in Calum Scott “You Are the Reason”". International Journal of Science and Qualitative Analysis 5, n. 1 (2019): 24. http://dx.doi.org/10.11648/j.ijsqa.20190501.14.

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20

Normand, Tom. "Memory, Myth and Melancholy: Calum Colvin’s Ossian project and the tropes of Scottish photography". Interfaces 27, n. 1 (2007): 89–98. http://dx.doi.org/10.3406/inter.2007.1327.

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21

Lane, Jeremy F. "Calum Watt, Derivative Images. Financial Derivatives in French Film, Literature and Thought". Irish Journal of French Studies 23, n. 1 (27 maggio 2023): 165–66. http://dx.doi.org/10.7173/164913323838767838.

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22

Liddle, Calum, e David McMenemy. "The Cost Exemption in the Freedom of Information Regimes of the United Kingdom and Scotland: a Comparative Analysis". Legal Information Management 15, n. 3 (settembre 2015): 195–202. http://dx.doi.org/10.1017/s147266961500047x.

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Abstract (sommario):
AbstractIn this tenth anniversary year since freedom of information came into force north and south of the border, the authors, Calum Liddle and David McMenemy, undertake an in-depth comparative evaluation of the parallel cost exemptions found in the Freedom of Information Act 2000 and the Freedom of Information (Scotland) Act 2002. Does Scottish FOI indeed afford a more generous disclosure entitlement? And are applicants, in turn, employing comparatively weaker rights when requesting information from analogous English and Welsh authorities? A statutory analysis of the home nation provisions is complemented by case law and a nod to contemporaneous events.
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23

Papadopoulou, Nataly. "David Albert Jones, Chris Gastmans, and Calum Mackellar, Euthanasia and Assisted Suicide: Lessons from Belgium". Medical Law Review 27, n. 1 (14 settembre 2018): 180–87. http://dx.doi.org/10.1093/medlaw/fwy032.

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24

Jox, Ralf J. "David Albert Jones, Christ Gastmans, Calum Mackellar (Hrsg) (2017) Euthanasia and assisted suicide: lessons from Belgium". Ethik in der Medizin 32, n. 3 (31 marzo 2020): 301–2. http://dx.doi.org/10.1007/s00481-020-00575-1.

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25

Perri. "Book reviews: New Labour's State of Health: Political Economy, Public Policy and the NHS - By Calum Paton". Health & Social Care in the Community 15, n. 3 (16 aprile 2007): 273–74. http://dx.doi.org/10.1111/j.1365-2524.2007.648_2.x.

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26

Mitchell, Sebastian. "Celtic Postmodernism: Ossian and Contemporary Art". Translation and Literature 22, n. 3 (novembre 2013): 401–35. http://dx.doi.org/10.3366/tal.2013.0130.

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This article examines the depiction of Ossian in the works of four prominent contemporary artists: Calum Colvin, Gayle Chong Kwan, Geoff MacEwan, and Alexander Stoddart. Recent Ossianic artworks in terms of two significant and opposing definitions of the postmodern are discussed. On the one side, the approach of Jean Baudrillard stressed fabrication and imitation as the distinctive features of the postmodern aesthetic; on the other, Charles Jencks conceived of the postmodern as a revival of classical form. The essay demonstrates ways in which contemporary Ossianic art draws together both conceptions. It argues, furthermore, that Ossian has made a significant contribution to British art through the introduction of Celtic primitivism into more familiar forms of representation. It concludes by suggesting that the last twenty years have produced the most important visual interpretations of Ossian since the Romantic period.
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27

Tonti-Filippini, Nicholas. "Chimera’s Children: Ethical, Philosophical and Religious Perspectives on Human Experimentation edited by Calum MacKellar and David Albert Jones". National Catholic Bioethics Quarterly 13, n. 3 (2013): 554–58. http://dx.doi.org/10.5840/ncbq201313338.

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28

Madigan, Patrick. "Lacanian Ethics and the Assumption of Subjectivity. By Calum Neill. Pp. ix, 256, Basingstoke, Palgrave Macmillan, 2011, £55.00." Heythrop Journal 55, n. 2 (6 gennaio 2014): 339. http://dx.doi.org/10.1111/heyj.12067_40.

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29

TIMMINS, NICHOLAS. "Peering through a glass: darkly". Health Economics, Policy and Law 2, n. 3 (luglio 2007): 333–35. http://dx.doi.org/10.1017/s1744133107004173.

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Calum Paton’s article reads like a howl of pain when faced with the history of the past 20 years of ‘market-like’ reform to the NHS and the prospect of what is to come. Typically, he makes some powerful points. Not least, he highlights some of the unresolved tensions in current health policy. It does indeed remain pretty much of a mystery quite how patient choice, practice-based commissioning, and commissioning by primary care trusts will knit together, let alone how all NHS Trusts, foundation or not, are meant to make a profit (surplus) within a cash-limited system. But, while his article contains a litany of the problems, both actual and potential, that the ‘new NHS’ may bring, it is missing a counter factual. It contains an unspoken assumption that these changes are being made, almost willfully, to a system that was functioning, if not perfectly, then pretty well.
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30

Brooks, Eleanor. "Tamara K. Hervey, Calum Alasdair Young, and Louise E. Bishop (eds), Research Handbook on EU Health Law and Policy". Medical Law Review 26, n. 1 (13 ottobre 2017): 165–76. http://dx.doi.org/10.1093/medlaw/fwx055.

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31

Kauffman, Nicholas. "SLAUGHTER AND SPECTACLE IN QUINTUS SMYRNAEUS’POSTHOMERICA". Classical Quarterly 68, n. 2 (dicembre 2018): 634–48. http://dx.doi.org/10.1017/s0009838819000041.

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Scholarship on Quintus Smyrnaeus has long moved past the point where he is considered nothing more than an ‘artificial imitator of a bygone age’. Rather, scholars generally recognize the dynamism of Quintus’ relation to Homer, as can be seen in the subtitles of two volumes on Quintus published in the past few years:Engaging Homer in Late AntiquityandTransforming Homer in Second Sophistic Epic. Even in passages that are clearly modelled on passages in Homer, Quintus is no longer seen as slavishly imitating but as creatively rereading and re-imagining his works. Calum Maciver, perhaps Quintus’ most vocal champion, sums this approach up nicely, arguing that ‘Quintus imitates, manipulates, comments on, differs from, in sum reads, Homer’, and describing the epic as ‘a demanding text with intricate possibilities for interpretation’. And Maciver is hardly alone in this; various studies in recent years have shown that Quintus’ use of Homer reflects his own values and preoccupations, and those of his society.
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32

Reynolds, Peter. "Howard Skempton and Matthew Harris Field Notes, BCMG, Wem Town Hall, Shropshire, 8 March 2014". Tempo 68, n. 269 (16 giugno 2014): 67–69. http://dx.doi.org/10.1017/s0040298214000102.

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Howard Skempton's natural habitat is outside the box. Since the late 1960s he has flown in the face of the most fashionable trends in music, initially producing small, spare, almost inscrutable pieces often covering less than a page. He has never stood still, always gently subverting the listener's conception of his music. A major shift came in 1991 with his orchestral work Lento, where not only the size of forces used, but timescale as well, moved into a new area without compromising his own personal voice. More recently he has developed a relationship with Birmingham Contemporary Music Group (BCMG) resulting in Only the Sound Remains for viola and ensemble (2010), lasting more than 30 minutes. With a seemingly quite traditional surface, the piece's ability to hold a series of seemingly unconnected episodes together whilst retaining a sense of continuity disguised a highly radical structure (see Calum MacDonald's review in TEMPO 253 for more details).
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33

Song, Robert. "Book Review: Calum MacKellar and David Albert Jones (eds.), Chimera’s Children: Ethical, Philosophical and Religious Perspectives on Human–Nonhuman Experimentation". Studies in Christian Ethics 27, n. 2 (16 aprile 2014): 230–33. http://dx.doi.org/10.1177/0953946813514806c.

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34

Flanagan, Kevin M. "THE STYLE OF SLEAZE: THE AMERICAN EXPLOITATION FILM, 1959–1977. By Calum Waddell. University of Edinburgh Press, 2019. 224 pp. $29.95 softcover." Journal of Popular Film and Television 49, n. 1 (2 gennaio 2021): 65–66. http://dx.doi.org/10.1080/01956051.2020.1868916.

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35

Nicholson, Nick. "Calum Paton, and Stephen Bach, Case Studies in Health Policy and Management, Nuffield Provincial Hospital Trust, London, 1990. xii + 304 pp. paper £14.95." Journal of Social Policy 21, n. 3 (luglio 1992): 419–20. http://dx.doi.org/10.1017/s0047279400020031.

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36

Hann, Alison. "Calum Paton, New labour's state of health: political economy, public policy and the NHS, Aldershot, Ashgate Publishing, 2006, 169 pp., ISBN 10:0 7546-4513-4". International Journal of Health Planning and Management 22, n. 2 (2007): 175–76. http://dx.doi.org/10.1002/hpm.877.

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37

Mealand, David. "Carmichael, Calum M. 1996. The Story of Creation: Its Origin and Its Interpretation in Philo and the Fourth Gospel. Ithaca and London: Cornell U. P., xiv + 136pp." Studies in World Christianity 5, n. 1 (aprile 1999): 116–17. http://dx.doi.org/10.3366/swc.1999.5.1.116.

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38

Mealand, David. "Carmichael, Calum M. 1996.The Story of Creation: Its Origin and Its Interpretation in Philo and the Fourth Gospel. Ithaca and London: Cornell U. P., xiv + 136pp." Studies in World Christianity 5, Part_1 (gennaio 1999): 116–17. http://dx.doi.org/10.3366/swc.1999.5.part_1.116.

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39

Liang Xiujing. "Book Reviews : Lijia ZHANG and Calum MACLEOD, China Remembers. Hong Kong: Oxford University Press, 1999. xii + 293pp., with photographs. ISBN: 0-19-591736-7 (hc). Price: $27.00". China Information 14, n. 2 (ottobre 2000): 332–34. http://dx.doi.org/10.1177/0920203x0001400249.

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40

Hunter, David J. "Calum Paton and Stephen Bach, case studies in health policy and management, London: Nuffield Provincial Hospitals Trust, 1990, 304 pp. ISBN 0 900574 75 5 Price (UK)". International Journal of Health Planning and Management 7, n. 2 (aprile 1992): 163–64. http://dx.doi.org/10.1002/hpm.4740070207.

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41

Brazier, John. "Competition and planning in the NHS: The danger of unplanned markets Calum Paton. Chapman and Hall, London, 1992. No. of pages: 157. ISBN 0-412-47060-8". Health Economics 1, n. 3 (ottobre 1992): 208–9. http://dx.doi.org/10.1002/hec.4730010310.

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42

Stackert, Jeffrey. "Calum Carmichael, . Illuminating Leviticus: A Study of Its Laws and Institutions in the Light of Biblical Narratives. Baltimore: Johns Hopkins University Press, 2006. x+212 pp. $55.00 (cloth)." Journal of Religion 88, n. 1 (gennaio 2008): 96–98. http://dx.doi.org/10.1086/526357.

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43

"Professor Calum MacRae". European Heart Journal 38, n. 17 (1 maggio 2017): 1275–76. http://dx.doi.org/10.1093/eurheartj/ehx190.

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44

MacRae, Calum A. "Calum Og MacRae". BMJ, 10 gennaio 2020, m48. http://dx.doi.org/10.1136/bmj.m48.

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45

Mututa, Addamms. "Images of Apartheid: Filmmaking on the Fringe in the Old South Africa, Calum Waddell (dir.) (2018)". Journal of African Cinemas, 12 luglio 2023. http://dx.doi.org/10.1386/jac_00069_5.

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46

"CD REVIEWS". Tempo 64, n. 254 (ottobre 2010): 77–97. http://dx.doi.org/10.1017/s0040298210000446.

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Günter Raphael's symphonies Calum MacDonaldAldo Finzi and Marcel Tyberg Martin AndersonDallapiccola Tim MottersheadGlanert's ‘Caligula’ Guy RickardsFurther reviews PeterPalmer, Edward Venn, Colin Clarke, Bret Johnson, Paul Conway, Calum MacDonald
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47

"Record Review". Tempo, n. 203 (gennaio 1998): 29–43. http://dx.doi.org/10.1017/s0040298200049573.

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Abstract (sommario):
Holloway's Third Concerto for Orchestra John PickardJames Wood: ‘Two Men meet …’ Guy RickardsColin Matthews David DentonMarkevitch orchestral music Calum MacDonaldDave Heath David DentonTakemitsu piano music Mike SeabrookRecent Schnittke discs Calum MacDonaldItalian Chamber Music (I) Robin FreemanKernis and McKinley Michael Oliver
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48

"CD Reviews". Tempo 61, n. 239 (gennaio 2007): 79–93. http://dx.doi.org/10.1017/s0040298207000071.

Testo completo
Abstract (sommario):
Richard Barrett's ‘transmission’ Evan JohnsonLou Harrison and Eve Beglarian Rodney ListerMátyás Seiber Alan GibbsJulius Röntgen round-up Martin AndersonFranz Waxman's ‘Joshua’ Bret JohnsonDavid Fanshawe Jill Barlow‘The Refined Ear’ Evan JohnsonDiamond and Avshalomov Bret JohnsonAntheil Guy RickardsArnold Cooke sonatas Calum MacDonaldThe songs of Kaprálová Peter Palmer‘Spirit of England’ Calum MacDonald
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49

"Record Reviews". Tempo, n. 221 (luglio 2002): 54–70. http://dx.doi.org/10.1017/s004029820001576x.

Testo completo
Abstract (sommario):
Recent Birtwistle releases Jonathan CrossElliott Carter on Bridge Records John KerseyAdams's El Nio on CD and DVD Julian HaylockSteve Reich's Triple Quartet Malcolm GallowaySteve Mackey, Christopher Rouse, Tan Dun John KerseyTurnage and Martland Peter ChiinnLouis Gruenberg Bret JohnsonGeorge Rochberg and Hugh Wood Calum MacDonaldPiano Music by Konrad Boehmer Mark R. TaylorGeirr Tveitt Bret JohnsonContemporary British Releases Guy RickardsDruckman and Bassett Calum MacDonald
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50

"Record Review". Tempo, n. 188 (marzo 1994): 31–50. http://dx.doi.org/10.1017/s0040298200047859.

Testo completo
Abstract (sommario):
Maxwell Davies's Strathclydes 5 and 6 John WarnabyMacmillan, Stevenson and other Scots Calum MacDonaldHolloway's Second Concerto Michael GorodeckiBill Hopkins on NMC Patrick Ozzard-LowHonegger, Busch and Schoeck Peter PalmerBritish Music Label Martin AndersonVagn Holmboe String Quartets Guy RickardsKagel on Disques Montaigne Antony Bye… and more Kagel Nicolas HodgesJosef Holbrooke on Marco Polo Peter ReynoldsShostakovich to Lourié Calum MacDonaldAlan Hovhaness Bret Johnson
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