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Bibliografias temáticas / Quartets

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Literatura científica selecionada sobre o tema "Quartets"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 25 de fevereiro de 2023

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Artigos de revistas sobre o assunto "Quartets"

1

Johnson, Bret. "David Diamond String Quartets". Tempo 59, n.º 234 (21 de setembro de 2005): 65–66. http://dx.doi.org/10.1017/s0040298205290320.

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DIAMOND: String Quartets (complete); Concerto for String Quartet; Night Music for Accordion and String Quartet1. Potomac String Quartet with 1Carmelo Pino (acc). 4-CD set (each disc available separately): Albany TROY 504 (Nos. 3 and 8, Concerto), 540 (Nos. 2, 9 and 10), 613 (Nos. 1, 5 and 6) and 727 (Nos. 4 and 7, Night Music).

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Graubart, Michael. "Schoenberg's String Quartets". Tempo 58, n.º 229 (julho de 2004): 41–46. http://dx.doi.org/10.1017/s0040298204210221.

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SCHOENBERG: String Quartets Nos.1–4; String Quartet in D major; Presto in C major; Scherzo in F major. Aron Quartet (Ludwig Müller, Barna Kobori, Georg Hamann, Christophe Pantillon) with Anna Maria Pammer (sop). Preiser Records PR 90572 (3-CD set).

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3

Morabito, Fabio. "Rehearsing the Social". Journal of Musicology 37, n.º 3 (2020): 349–82. http://dx.doi.org/10.1525/jm.2020.37.3.349.

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The history of Beethoven’s late quartets has usually been told by separating (and redeeming) the composer’s aesthetic priorities from the difficulties encountered by the works’ early performers, publishers, and listeners. This article weaves together Beethoven’s interests with those of his publisher Maurice Schlesinger and the violinist Pierre Baillot, whose ensemble first performed the late quartets in Paris between 1827 and 1829. I navigate the traffic among these parties to reassess what was difficult about this music and, on this basis, test new routes to explore early nineteenth-century string quartet culture. One issue these different agents faced—whether in presenting the quartets to the Viennese public (Beethoven), selling them in Paris (Schlesinger), or performing them (Baillot)—was that the late quartets seemed to call for a new kind of ensemble rehearsal. The genre’s proverbial sociability, historically supporting an almost immediate and shared grasp of the performers’ interplay, was compromised in Beethoven’s late quartets by a loss in topicality. The erosion of topical references and familiar textures in these quartets made it harder for performers to predict how to coordinate their moves. Musical topics, I argue, functioned as a means of communication not only with listeners but also among performers within an ensemble. In contrast, the sociability of Beethoven’s late quartets had to be patiently engineered through dedicated rehearsals, a step that distanced this music from past quartet cultures and shaped a new notion of making music together.

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Cibişescu-Duran, Iulia. "Architecture and language in the seven String Quartets by Iulia Cibişescu-Duran". Artes. Journal of Musicology 21, n.º 1 (1 de março de 2020): 130–55. http://dx.doi.org/10.2478/ajm-2020-0008.

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AbstractWritten between 1990 and 2009, my seven works for string quartet: Poems for string Quartet and 6 numbered Quartets approach different modal languages, from prepentatonic or pentatonic structures to heptachordic or dodecaphonic configurations, sometimes overlapping musical languages, generating those polymorphous languages, with moments of overlapping or juxtaposing of syntaxes, with a motivic cycling determinant of a conceptual unit of works linked to synthetic, elaborate thinking. Pluripartite, seen as suites of miniatures (String Quartet No. 3, Poems for string quartet), tripartite (Quartets No. 2, 4, 5, 6) or monopartite (Quartet No. 1), the 7 String Quartets are written in the sphere of formal patterns caused by construction based on dramaturgy inspired by literary works (see Quartet No. 5 inspired by Winter at Lisbon by Antonio Munoz Molina, see Poems for string quartet and Quartet no. 3 inspired by my own poems from the volumes Hiding places of Masks and Egyptian Mystery), from the contemplation of the chordal sonorities of some tonal-functional relations or of some jazz sonorities (Quartet No. 4), of a Byzantine song or children’s songs (Quartet No. 3), of philosophical meditations (see Quartet No. 1), of sonorities belonging to the Romanian song and dance (Quartet No. 6) or of some concision and refinement as reflections of Webern’s music, overlaying on small temporal spaces different musical languages belonging to different tuning systems (Poems for string quartet). The first audition of String quartets was at the International Festivals of the Musical Autumn of Cluj and Cluj Modern Festival (1990, 1993, 1999, 2001, 2003, performers: Concordia Quartet: Albert Markos, Grigore Botar, Olimpiu Moldovan, Adalbert Torok), as well as at the International Meridian Festival, Bucharest (2018, Quartet No. 6 played by the Ad Hoc Quartet: Vlad Răceu, Diana Man, Ovidiu Costea, Vlad Rațiu, musical management: Matei Pop).

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Szatylowicz, Halina, Paulina H. Marek, Olga A. Stasyuk, Tadeusz M. Krygowski e Miquel Solà. "Substituted adenine quartets: interplay between substituent effect, hydrogen bonding, and aromaticity". RSC Advances 10, n.º 39 (2020): 23350–58. http://dx.doi.org/10.1039/d0ra04585c.

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Substituent effects on hydrogen bonds in adenine quartets and aromaticity of adenine rings depend on the quartet type. A₄-N3 and A₄-N7 quartets are more responsive to the electronic nature of substituents than A₄-N1.

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6

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, n.º 264 (abril de 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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Venn, Edward. "Maxwell Davies Naxos Quartets 3 and 4". Tempo 59, n.º 234 (21 de setembro de 2005): 58–59. http://dx.doi.org/10.1017/s0040298205240329.

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8

Conway, Paul. "Pascal Dusapin round-up". Tempo 59, n.º 234 (21 de setembro de 2005): 59–61. http://dx.doi.org/10.1017/s0040298205250325.

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PASCAL DUSAPIN: Perelà, uomo di fumo. Orchestre National de Montpellier c. Alain Altinoglu. Naïve MO 782168 (2-CD set).DUSAPIN: 7 Études pour piano; À quia (piano concerto). Ian Pace (pno), Orchestre de Paris c. Christoph Eschenbach. Naïve MO 782164.DUSAPIN: Granum Sinapis; Umbrae Mortis; Dona eis. Choeur de Chamber Accentus, Ensemble Ars Nova c. Laurence Equilbey. Naïve MO 782116.DUSAPIN: String Quartets Nos. 1 and 4. Danel String Quartet. Accord 476 1919.DUSAPIN: String Quartets Nos. 2 ‘Time Zones’ and 3. DUTILLEUX: Ainsi la Nuit. Arditti String Quartet. Naïve MO 782125.

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9

Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, n.º 58 (10 de março de 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.

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Miller, Malcolm. "Norgard's Quartets". Musical Times 131, n.º 1769 (julho de 1990): 377. http://dx.doi.org/10.2307/965771.

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Teses / dissertações sobre o assunto "Quartets"

1

ZHAO, LINGYAN. "STRING QUARTETS". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147967807.

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2

Edwards, Angela M. "Frank Bridge : the string quartets". Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/14826/.

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This study traces the stylistic development of the string quartets. The opening chapter shows the way that his personal idiom emerged in the earliest works. It also explains the analytical approach that has been used. The concept of symmetrical orderings fusing separate elements has been evident in music from all stages of Bridge's output. Overall tonal relationships have linked with inner tonal relationships as well as thematic ideas and chord structures. In addition, symmetry has drawn together the two aspects of Bridge's language, the traditional and the radical, and shown how the way that they are balanced is subtly changed in the course of his development as a composer. The music is explained from two approaches to symmetry, linear and circular. The ascending chromatic scale can be divided symmetrically by a number of intervals, notably seconds and thirds and tritones. Symmetrical orderings of two or more of these intervals are commonly found. The twelve semitones can also be arranged as a circle of fifths and it is this that has been most significant to the study. By adding tonal definition to these pitches, the circle of fifths explains this aspect of the music and also how certain pitches are interchangeable with one another. Therefore, the circle of fifths has also been a useful tool in explaining Bridge's concept of extended tonality. The main part of the study discusses the second and third quartets in depth as they represent the peak of Bridge's creative output and are at the centre of important stylistic changes. The final chapter briefly shows the way that his language continued to develop in the abandoned work and the fourth, and last. quartet.

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3

Nikan, Mehran. "Template-assembled synthetic G-quartets (TASQS)". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5825.

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Fabrication of functional supramolecular structures requires a certain degree of control which may not be achieved by relying solely on noncovalent interactions. The current study aims to investigate the effect of a rigid cavitand template on morphology, function and stability of lipophilic G-quadruplexes. The first Chapter of this thesis introduces different aspects of G quadruplex chemistry and explains how these structures are particularly suited for the creation of supramolecular architectures. The second Chapter of this thesis presents the synthesis and self-assembly of a new class of supramolecular architectures composed of four guanosines attached to a rigid cavitand template. These structures, named template-assembled synthetic G-quartets (TASQs), were synthesized via the “click” reaction and manifest an ordered topology dictated by the template. The lipophilic TASQs were found to self-associate spontaneously to form a singular basket-like structure in chloroform. Moreover, it was found that TASQs form cation-free G-quartets which exhibit remarkable stability under this condition. The third Chapter of this thesis describes the preparation, characterization and solution study of the cation-bound complexes TASQNa⁺, TASQK⁺, TASQCs⁺, and TASQSr²⁺. Cations play a major role in controlling the morphology and stability of G-quadruplexes. The analysis of the cation-specific structures of TASQs reveals the formation of a monomeric G quartet for Na⁺ and Sr²⁺,a dimeric system for Cs⁺ and a mixture of monomers and dimers for K⁺. The factors governing the formation of these structures were evaluated, the selectivities of TASQs for cations were determined, and the cation-dependent structural transformations were studied. The fourth Chapter describes the efforts towards synthesizing a hydrophilic TASQ via the “click” reaction. The following steps have been taken: 1) a water-soluble cavitand has been successfully synthesized and characterized, which can potentially serve as a hydrophilic template, and 2) two oligonucleotides have been appropriately functionalized and preliminary coupling reactions were attempted. The next phases of this research along with potential future directions are discussed in Chapter five.

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4

Bare, Grant. "Synthesis of template-assembled nucleotide quartets". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42842.

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The thesis work described herein addresses a desire to isolate a guanine quartet and other unknown nucleobase quartets in Nature's solvent, water. Template-assembly of the nucleobase quartets or tetrads by the application of a cavitand template molecule was utilized as a synthetic strategy. Several synthetic precedents were sought and included developing DNA synthetic methodologies for four-fold nucleotide coupling of deoxyguanosine onto an individual substrate, imparting solubility in water on the resultant supramolecular constructs, and designing molecules capable of stabilizing G-quartet or G-tetrad self-assemblies. Chapter 1 forms an introduction for this work by summarizing significant reports in the scientific literature on nucleic acid structure and function and on known template-assembled syntheses of nucleic acid elements. Chapter 2 describes the development of phosphite triester and phosphoramidite DNA synthetic methodologies for synthesizing water-soluble phosphate-linked cavitand-nucleotide conjugates. The synthesis of triazole-linked cavitand-guanosine conjugates with imparted water-solubility is dealt with in Chapter 3. In Chapter 4, evidence is provided for the observation of unimolecular cation-free template-assembled guanine and thymine quartets in methanol solvent using the phosphate-linked architecture. Finally, Chapter 5 describes the first potential isolation of a single G-tetrad in water through template-assembly directed by a phosphate-linked cavitand-nucleotide conjugate. This species is shown to interact with small molecule binders of G-quadruplex DNA and inhibitors of the human telomerase enzyme. The novel supramolecules synthesized in this thesis have been shown to assist in the discovery of unusual DNA based structures, to act as a minimal model of human telomeric G-quadruplex DNA, and to serve as artificial receptors for potential anticancer therapeutics.

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5

Chua, Daniel. "Beethoven's 'Galitzin' quartets : an analytical study". Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239822.

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6

Finney, Ian James. "The string quartets of Vagn Holmoe". Thesis, Royal Holloway, University of London, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245474.

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The introduction gives a global view of the Holmboe quartet cycle and hints at its place in twentieth-century music history. A brief survey is then made of the unpublished quartets (1926-44) written before the recognized First Quartet. Quotations are made from the manuscripts of these works; there is a discussion of the formative influences on Holmboe through this period, especially from Stravinsky, Bartok and Nielsen. Subsequent chapters divide the published quartet cycle into seven chronological groups. Each of Quartets nos. 1-16 is analyzed in some detail; the discussion of no-1 and nos. 3-12 also includes reference to and quotation of sketches and other manuscript material in the Royal Library, Copenhagen. Most of these chapters have a preliminary discussion on some issue relevant to the period, and which refers to works in other genres: technical issues discussed include the concept of metamorphosis, the motivic motto, serialism and Holmboe's 'late style'. Analysis changes its slant as Holmboe's style changes - analysis of the early quartets is tonal and motivic; that of the middle quartets is motivic tending towards pitch-class set analysis; that of the later quartets returns to large-scale tonal functioning. The last chapter gives a brief survey of Quartets nos. 17-20, and ends with a comparison between the quartet cycles of Holmboe and Shostakovich.

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7

Yang, Benjamin H. (Benjamin Hoh). "A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332309/.

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In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

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8

Puerta, José Luis, e José Luis Puerta. "A Performance Guide to Latin-American Guitar Quartets: The Quartets of Ernesto Cordero, Leo Brouwer, and Sérgio Assad". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/622968.

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Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.

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Ben-Tal, Oded. "String quartet /". May be available electronically:, 2002. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Liddle, J. A. "Irony and ambiguity in Beethoven's string quartets". Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.653893.

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This thesis explores the view that many of the difficulties and apparent eccentricities of Beethoven’s Late Quartets (particularly Op. 130, 132, 133 and 135) may be understood in terms of irony, in the sense that it appears in the philosophical and aesthetic writings of the early German Romantics. A chain of influence is demonstrated between Beethoven and Friedrich Schlegel’s philosophy of Romantic irony, through significant inter-personal relationships as well as through Beethoven’s exposure to Schlegel’s written works. This connection provides a firm hermeneutic basis for considering the composer’s work in terms of irony. The A minor Quartet Op. 132 is given as an example of Beethoven’s Romantic irony, and considered in terms of the constitutive elements of Schlegel’s Romantic irony – Paradox, Parabasis and Self-consciousness. However, this thesis also demonstrates that the irony within the Late Quartets goes beyond the confines of Romantic irony. The paradoxical structures of the Cavatina and Grosse Fuge are considered as examples of “general” or “existential” irony – a form closely related to Schlegelian irony. Moreover, the replacement finale of the Op. 130 quartet is shown to constitute a striking instance of satire: a bitter ironic comment upon the musical conservatism of Beethoven’s critics. This thesis therefore explores the philosophical background and the nature of irony itself, relating all of its forms to one underlying structure and to one fundamental process. This process – “objectification” – is derived from the work of Mikhail Bakhtin, and forms the theoretical basis for the structural approach of the analyses of irony within the thesis. The thesis also considers the relationship between irony and related phenomena such as wit and humour. It suggests that the differences between these concepts correspond to those between Beethoven’s Romantic irony and the wit and humour of his predecessors. Finally, the relationship between irony and ambiguity is also considered.

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Livros sobre o assunto "Quartets"

1

Lurie, Toby. Quartets. Lewiston, NY: E. Mellen Press, 1990.

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2

Varsovia-Streichquartett. The Varsovia Quartet play string quartets from Poland. Southwater, West Sussex, England: Olympia, 1989.

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3

Eliot, T. S. Four quartets. London: Faber, 1995.

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4

Eliot, T. S. Four quartets. San Diego: Harcourt Brace Jovanovich, 1988.

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5

Eliot, T. S. Four quartets. London: Faber & Faber, 1999.

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6

Spindler, Lea, e Wolfgang Fritzsche, eds. Guanine Quartets. Cambridge: Royal Society of Chemistry, 2012. http://dx.doi.org/10.1039/9781849736954.

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7

Eliot, T. S. Four quartets. Cambridge: Rampant Lions Press, 1996.

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8

Marliave, Joseph de. Beethoven's quartets. Mineola, NY: Dover Publications, 2004.

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9

Eliot, T. S. Four quartets. San Diego, Calif: Harcourt Brace Jovanovich, 1988.

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10

Lam, Basil. Beethoven string quartets. London: Ariel Music, 1986.

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Capítulos de livros sobre o assunto "Quartets"

1

Launer, John. "Supervision Quartets". In Reflective Practice in Medicine and Multi-Professional Healthcare, 73–76. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003158479-21.

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2

Taylor, A. J. W., e M. M. Brown. "Quartets in Antarctic Isolation". In Clinical Applied Psychophysiology, 223–50. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4757-9703-9_14.

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3

Reeves, Gareth. "Virgil and Four Quartets". In T. S. Eliot: A Virgilian Poet, 117–57. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20221-8_6.

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4

Pinion, F. B. "Four Quartets and Other Poems". In A T. S. Eliot Companion, 218–34. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07449-5_17.

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5

Chor, Benny. "From Quartets to Phylogenetic Trees". In SOFSEM’ 98: Theory and Practice of Informatics, 36–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/3-540-49477-4_3.

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6

Schenk, H. "Quartets and Other Phase Relationships". In Direct Methods of Solving Crystal Structures, 103–10. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4899-3692-9_11.

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7

Humphrey, Richard. "Eliot, T. S.: Four Quartets". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8469-1.

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Atkins, G. Douglas. "Four Quartets: Simulacrum of Being". In T.S. Eliot and the Fulfillment of Christian Poetics, 1–17. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137466259_1.

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9

Ellis, Steve. "Four Quartets". In The New Cambridge Companion to T. S. Eliot, 103–15. Cambridge University Press, 2016. http://dx.doi.org/10.1017/9781139583411.009.

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10

Hunter, Mary. "The quartets". In The Cambridge Companion to Haydn, 112–25. Cambridge University Press, 2005. http://dx.doi.org/10.1017/ccol9780521833479.009.

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Trabalhos de conferências sobre o assunto "Quartets"

1

Pásztor, Attila, e Darryl Veitch. "Active probing using packet quartets". In the second ACM SIGCOMM Workshop. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/637201.637247.

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2

Popescu, Anca. "THE LOGOS OF THE FOUR QUARTETS". In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s27.078.

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3

Cranston, Charles B., e Hanan Samet. "Indexing planar point quartets via geometric attributes". In the 16th ACM SIGSPATIAL international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1463434.1463516.

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4

Zhao, Di, e Li Qiu. "Stability of networked feedback system with frequency-wise bounded uncertainty quartets". In 2017 11th Asian Control Conference (ASCC). IEEE, 2017. http://dx.doi.org/10.1109/ascc.2017.8287478.

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5

Sambataro, M., e N. Sandulescu. "Low-energy spectra of 4n nuclei in a formalism of quartets". In Nuclear Structure and Dynamics ’15. AIP Publishing LLC, 2015. http://dx.doi.org/10.1063/1.4932273.

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6

Kagan, M. Yu, I. V. Brodsky, A. V. Klaptsov, D. V. Efremov, R. Combescot e X. Leyronas. "Composite Fermions and Quartets in Optical Traps and in High-Tc Superconductors". In LOW TEMPERATURE PHYSICS: 24th International Conference on Low Temperature Physics - LT24. AIP, 2006. http://dx.doi.org/10.1063/1.2354596.

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7

Rogers, John D. "Using Quartets to Compare the NCD and MCMC Methods for Constructing Phylogenetic Trees". In 2018 IEEE International Conference on Bioinformatics and Biomedicine (BIBM). IEEE, 2018. http://dx.doi.org/10.1109/bibm.2018.8621139.

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8

Alkofer, Natalia, e Reinhard Alkofer. "Ghost-gluon and ghost-quark bound states and their role in BRST quartets". In International Workshop on QCD Green's Functions, Confinement and Phenomenology. Trieste, Italy: Sissa Medialab, 2012. http://dx.doi.org/10.22323/1.136.0002.

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Alkofer, Natalia, e Reinhard Alkofer. "The non-perturbative BRST quartets generated by transverse gluons or quarks in Landau gauge". In The many faces of QCD. Trieste, Italy: Sissa Medialab, 2011. http://dx.doi.org/10.22323/1.117.0043.

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"Study on the Musical Language and Structure of the String Quartets of Shostakovich in Later Period". In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.76.

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Relatórios de organizações sobre o assunto "Quartets"

1

Smith, R. C. Burk's Head Quarters. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/298260.

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2

Smith, R. C. Burk's Head Quarters - update. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/298666.

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3

Kaste, Robert P. Close-Quarters Combat Shot Shell. Fort Belvoir, VA: Defense Technical Information Center, março de 2002. http://dx.doi.org/10.21236/ada401511.

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4

Bolton, Laura. The Economic Impact of COVID-19 in Colombia. Institute of Development Studies (IDS), fevereiro de 2021. http://dx.doi.org/10.19088/k4d.2021.073.

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Resumo:

Available data provide a picture for the macro-economy of Colombia, agriculture, and infrastructure. Recent data on trends on public procurement were difficult to find within the scope of this rapid review. In 2020, macro-level employment figures show a large drop between February and April when COVID-19 lockdown measures were first introduced, followed by a gradual upward trend. In December 2020, the employment rate was 4.09 percentage points lower than the employment rate in December 2019. Macro-level figures from the National Administrative Department of Statistics (DANE) show that a higher percentage of men experienced job losses than women in November 2020. However, the evidence presented by the Universidad Nacional de Colombia based on the DANE great integrated house survey shows that a higher proportion of all jobs lost were lost by women in the second quarter. It may be that the imbalance shifted over time, but it is not possible to directly compare the data. Evidence suggests that women were disproportionately more burdened by home activities due to the closure of schools and childcare. There is also a suggestion that women who have lost out where jobs able to function during lockdowns with technology are more likely to be held by men. Literature also shows that women have lower levels of technology literacy. There is a lack of reliable data for understanding the economic impacts of COVID-19 for people living with disabilities. A report on the COVID-19 response and disability for the Latin America region recommends improving collaboration between policymakers and non-governmental organisations. Younger people experienced greater job losses. Data for November 2020 show 3.3 percent of the population aged under 25 lost their job compared to 1.8 percent of those employed between 24 and 54. Agriculture, livestock, and fishing increased by 2.8% in 2020 compared to 2019. And the sector as a whole grew 3.4% between the third and fourth quarters of 2020. In terms of sector differences, construction was harder hit by the initial mobility restrictions than agriculture. Construction contracted by 30.5% in the second quarter of 2020. It is making a relatively healthy recovery with reports that 84% of projects being reactivated following return to work. The President of the Colombian Chamber of Construction predicting an 8.4% growth in the construction of housing and other buildings in 2021.

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5

Steensma, David K., Wayne K. Million, Carolyn R. Milbourn, John M. Delaware e Robert A. McGriff. Congressional Request for Audit of General and Flag Officers' Quarters and Distinguished Visitors' Quarters at Bolling Air Force Base. Fort Belvoir, VA: Defense Technical Information Center, dezembro de 1992. http://dx.doi.org/10.21236/ada377236.

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Hook, Anson. Collective Quartics from Simple Groups. Office of Scientific and Technical Information (OSTI), agosto de 2010. http://dx.doi.org/10.2172/992436.

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Nelson, Matthew, Patrick Conry, Nicolas Duboc e Rodman Linn. FY2021 Quarter 4 Report. Office of Scientific and Technical Information (OSTI), outubro de 2021. http://dx.doi.org/10.2172/1825392.

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Nelson, Matthew, Patrick Conry e Nick Duboc. FY2022 Quarter 3 Report. Office of Scientific and Technical Information (OSTI), julho de 2022. http://dx.doi.org/10.2172/1875789.

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9

Jackson, C. Susi. LLNL FY10 Greenhouse Gas Inventory - Quarters 1 and 3. Office of Scientific and Technical Information (OSTI), setembro de 2010. http://dx.doi.org/10.2172/1124913.

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10

Author, Not Given. AMTEX first quarter FY95 report. Office of Scientific and Technical Information (OSTI), dezembro de 1994. http://dx.doi.org/10.2172/45580.

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