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Статті в журналах з теми "Steve (1956-....)":
Burnett, Lou. "Steve Morris (1956–2009)." Comparative Biochemistry and Physiology Part A: Molecular & Integrative Physiology 155, no. 1 (January 2010): 12–13. http://dx.doi.org/10.1016/j.cbpa.2009.10.034.
Fountain, Michelle T., Dave Spurgeon, Claus Svendsen, Helen Noel, and Neal Sorokin. "Steve Hopkin 1956–2006." Environmental Pollution 147, no. 3 (June 2007): iii—iv. http://dx.doi.org/10.1016/j.envpol.2006.10.002.
Kaslow, Nadine J., Amanda M. Woods, and Jeffrey Zimmerman. "Steven (Steve) Walfish (1953–2016)." American Psychologist 72, no. 5 (July 2017): 498. http://dx.doi.org/10.1037/amp0000111.
Kalashian, M. Yu, M. G. Volkovitsh, and M. Niehuis. "Taxonomic notes on some Palaearctic species of Sphenoptera from subgenera Deudora and Sphenoptera s. str. (part.) (Coleoptera: Buprestidae)." Zoosystematica Rossica 14, no. 1 (October 18, 2005): 87–100. http://dx.doi.org/10.31610/zsr/2005.14.1.87.
Bouchard, Patrice, Yves Bousquet, Rolf L. Aalbu, Miguel A. Alonso-Zarazaga, Ottó Merkl, and Anthony E. Davies. "Review of genus-group names in the family Tenebrionidae (Insecta, Coleoptera)." ZooKeys 1050 (July 26, 2021): 1–633. http://dx.doi.org/10.3897/zookeys.1050.64217.
Holmes, David. "Steve Horseman,1950–2004." Mineralogical Magazine 69, no. 4 (August 2005): 551–52. http://dx.doi.org/10.1180/s0026461x00038007.
Smoodin. "Steve Ricci (1952–2020)." Moving Image: The Journal of the Association of Moving Image Archivists 20, no. 1-2 (2020): 307. http://dx.doi.org/10.5749/movingimage.20.1-2.0307.
Marvin, Elizabeth West. "Steve Larson (1955-2011)." Music Perception 29, no. 3 (December 2011): 325. http://dx.doi.org/10.1525/mp.2012.29.3.325.
Olivo, Alessandro, Ian Robinson, and Andrew Stevenson. "Steve Wilkins 1946–2013." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 372, no. 2010 (March 6, 2014): 20130393. http://dx.doi.org/10.1098/rsta.2013.0393.
Varghese, Jose. "Steve Wilkins (1946–2013)." Acta Crystallographica Section A Foundations of Crystallography 69, no. 5 (August 14, 2013): 528–29. http://dx.doi.org/10.1107/s0108767313017650.
Дисертації з теми "Steve (1956-....)":
Carvalho, Frederico Lyra De. "Improvisation, jazz et dialectique negative." Electronic Thesis or Diss., Université de Lille (2018-2021), 2021. http://www.theses.fr/2021LILUH030.
This thesis proposes a philosophical interpretation of musical improvisation, particularly jazz improvisation, through the Negative Dialectic as it was conceived by Theodor W. Adorno. The main hypothesis developed in this work is that it is possible to think philosophically about improvisation through a philosopher who touched on the subject but did not develop it. We want to show that one way to continue to think from Adorno is to engage with his demand for openness to objects outside the corpus he treated himself. Our engagement with the Negative Dialectic is notably through its capacity to push objects to extremes, pointing at the same time towards their disintegration and towards their utopian character. As we will try to show throughout this work, the idea of looking at improvisation stems from an awareness of the social time that emerged at the end of the Second World War and the brief intuitions that Adorno had at the time concerning the re-emergence of this practice.The thesis consists of three parts in addition to a foreword. The first part is divided into two chapters. The first chapter consists of an exposition of our interpretation of the Negative Dialectic, insisting on its double opening: both to objects and to incompleteness. The next chapter proposes a description of some aspects of improvisation based on an exploration of Adornian notions such as the informal, the logic of disintegration, the model and the constellation. The second part is subdivided into three chapters in which we discuss the problematic of improvisation with regard to three key notions in Adorno's thought: time, form and freedom. For each chapter, the objective will be to discuss both the contributions and limitations of Adorno's thought concerning each of the notions for thinking about improvisation. Finally, for the last part of the thesis, we propose a reading of the history of jazz in the form of an Adorno inspired philosophy of history. We will try to show that improvisation can be considered as the motor that gives impetus to a process of immanent development of jazz that starts with a modernist and radical moment in 1945 with Charlie Parker, and stops at multiple dead ends around 1975. The Adornian philosophical approach helps us to show that this process was not simply a successive change of musical figures but was constituted as a constellation of these figures. Throughout this work, in addition to the Adornian corpus, we discuss the specific philosophical and musicological corpus of jazz and improvisation, as well as the writings of musicians, notably Steve Coleman and Steve Lacy
Aquino, Leonardo Cezari de. "Trajetórias : minimalismo e Steve Reich de 1965 a 1976." Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2519.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study focuses the early work of Steve Reich (1936) investigating its relation with the aesthetic principles of what has been called minimalism of the 1960s, taking into consideration historical aspects and creative procedures along with their theoretical discourses. The pieces composed by Reich between 1965 and 1976 are representative of the composer's trajectory because they display, on one side, radical procedures that resulted from experiments with tape recorders – Come out (1966), Piano phase (1967), Pendulum music (1968) –, and on the other extreme pieces for large ensembles and distinct instruments – Music for mallet instruments, voices and organ (1973) and Music for 18 musicians (1976) – which move away from the aesthetics of “music as a gradual process” as exposed by the composer himself on the homonymous text (1968). In this musical trajectory, historically associated to minimalism, the changes in the composicional methods and procedures employed by Reich raise questions that allow one to question the direct connection between the North-American composer and the minimalist aesthetic. In order to do so, the first chapter takes a historical approach aiming to identify a minimalist paradigm derived from the literature, taking into account the intersection between music theory and art criticism, which is the context in which the term “minimalism” first appeared. The second chapter, analytical in nature, confronts the principles of such paradigm with Reich's pieces from the selected period, seeking to observe to what extent Reich's music connects to or moves away from minimalism, also considering the appearance of “post-minimalism”. Having analysed the relation between Reich's early work and the minimalist aesthetic, the third chapter proposes a theoretical reading of such frame taking into consideration the concurrency and/or coexistence of the great narratives of modernity and post-modernity in the 1960s. This concurrency is materialized in Reich's early work, in the same way that some authors consider minimalism as a turning point in the discourse of the arts in the twentieth century. Following this methodology that departs from a micro perspective – a determined period in the work of a specific composer – to get into a macro perspective – the problem of the great narratives in the twentieth century – one concludes that Reich, in moving away from minimalist principles, also moves away from an idea of modernism, presenting features that can be related to post-modernism.
Este trabalho enfoca a produção inicial de Steve Reich (1936) e investiga sua relação com os pressupostos estéticos do que se entende por minimalismo dos anos 1960, considerando aspectos históricos e procedimentos criativos juntamente aos seus discursos teóricos. As peças de Reich compostas entre 1965 e 1976 são representativas da trajetória do compositor, pois apresentam em um pólo procedimentos mais radicais, oriundos dos experimentos com gravadores de fita – Come out (1966), Piano phase (1967), Pendulum music (1968) –, e em outro pólo peças para grandes grupos e instrumentos diversos – Music for mallet instruments, voices and organ (1973) e Music for 18 musicians (1976) – que se distanciam da estética da “música enquanto processo gradual” tal como exposta pelo próprio compositor em texto homônimo (1968). Nessa trajetória musical, historicamente associada ao minimalismo, as mudanças nos métodos e nos procedimentos composicionais empregados por Reich suscitam questões que permitem problematizar essa relação direta entre o compositor estadunidense e a estética minimalista. Para tanto, o primeiro capítulo assume um caráter histórico e é destinado à identificação de um paradigma minimalista a partir da literatura, levando em conta a interseção entre teoria musical e crítica de arte, já que foi no contexto das artes plásticas que o termo “minimalismo” se originou. Tendo definido um paradigma minimalista de referência, o segundo capítulo, de natureza analítica, confronta os pressupostos desse paradigma com peças de Reich referentes ao período selecionado, procurando observar em que medida Reich se conecta ou se afasta do minimalismo, considerando também a possibilidade de surgimento do que se denominou “pós-minimalismo”. Diante da análise da obra inicial de Steve Reich e sua relação com o minimalismo, o terceiro capítulo propõe uma leitura teórica levando em consideração a concorrência e/ou coexistência das grandes narrativas da modernidade e da pós-modernidade nos anos 1960. Esse embate está materializado na trajetória inicial de Reich, do mesmo modo como alguns autores consideram o minimalismo um ponto de virada no discurso das artes do século XX. Seguindo essa metodologia que parte de uma perspectiva micro – um período delimitado na obra de um compositor específico – para uma perspectiva macro – o problema das grandes narrativas no século XX – conclui-se que Reich, ao se afastar do minimalismo, afastase também de uma ideia de modernismo apresentando elementos que podem ser associados ao pós-modernismo.
Mathey, Marc. "Steve Reich : un art de l'ambiguïté." Paris 4, 2004. http://www.theses.fr/2004PA040107.
Steve Reich seems to be a simple composer. But behind this obviousness of the form and of the elements wich make it up, hides a true complexity: ambiguity is set up as a system. Thus, the process which is at first relentless and inexorable always reserves a share of surprises. By phasing, one is slighty lost. The resulting patterns show the virtuality of the reichienne music. And what is there to think of Reich's attraction and repulsion as regards electronics. An essential feature of the creation of Reich since 1976 is the concept of chord cycles:: those exposed from the very start are supposed to return in the same order. Very often, the works resulting from this process turn out to be mazes. The connection with the text evolved with the composer. In the first pieces, the meaning is atomised. Then, there is an evolution towards a semantisation which leads to ethical works after 1990. For example, Three Tales (2002) is a work of reflexion on the dangers of technology in the twentieth century. But it is also a post-modern work and one knows how much this concept is questionable
Santos, Amanda Moura da Silva dos. "Steve Jobs e o discurso religioso-midiático da Apple." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20381.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Steve Jobs’ speech, that marked the launch of products made by Apple, a technology company, was eagerly anticipated by the market, fans and media. All over the world, many people line up and even set up tents in front of Apple stores on the eve of product launches, and then come out holding their package as a trophy. But what explains Apple’s phenomenon? This study is based on the assumption that Jobs is considered a sort of modern times messiah, making Apple an extension of himself, and aims to understand, within an enunciative-discursive perspective, as developed by Dominique Maingueneau, how the messiah figure is personified in Jobs and unveils a “savior” myth established around him. This investigation is also founded on the hypothesis of sacralization of technology (Noble, 1997), which considers that, by promoting the encounter between the physical and the metaphysical, technology aims at transcendence and appropriates religious ideas. As such, this study is spread across different discursive fields, such as advertising, religion and the media, aiming to understand not only the intertextuality but also the discursive ethos and set design in the conjuncture of the public appearances of Apple’s co-founder. In addition, in order to understand how Steve Jobs’ discourse got acclaimed by the world, using the religious discourse to legitimize his own speech, the notion of constituent discourses is thus mobilized. Considering the evolution in the networks of discourse genres, especially after the emergence of the internet and the widespread dissemination of technology, the study also contemplates the notion of generic valence (Maingueneau, 2015), which allows us to reflect on how discourse genres and consequently the exercise of the discourse have been transforming over time. This reflection is essential, since the analysis of this research focuses on events that happened empirically and were reproduced on YouTube, an online video sharing platform. The results show how the pre-discursive ethos was constructed with an interaction between different genres, the discursive artifices used by the enunciator in the scenography of his presentations to challenge his co-exponents, as well as the links between what Jobs demonstrated and the contents circulating about him, raising expectations of his public appearances
Nas apresentações que marcavam o lançamento oficial dos produtos da Apple, empresa de tecnologia, o pronunciamento de Steve Jobs, cofundador e presidente da companhia, era ansiosamente aguardado por todo o mercado, por fãs e pela mídia. Ao redor do mundo, muitos fazem filas e até montam acampamentos em frente às lojas às vésperas do lançamento de algum produto e depois saem exibindo o pacote como um troféu. Mas o que explica esse fenômeno Apple? Esta pesquisa parte do pressuposto de que Jobs se consagrou como uma espécie de messias dos tempos modernos, tornando a Apple uma extensão de si, e objetiva compreender, na perspectiva enunciativo-discursiva, tal como desenvolvida por Dominique Maingueneau, como a figura de messias se personifica em Jobs e desvela uma mítica de “salvador” instaurada sobre ele. Esta investigação também parte da hipótese da sacralização da tecnologia (NOBLE, 1997), a qual considera que, promovendo o encontro entre o físico e o metafísico, a tecnologia visa à transcendência e se apropria de ideias religiosas. Assim, neste trabalho realiza-se um atravessamento por diferentes campos discursivos como o publicitário, o religioso e o midiático, com vistas a depreender não somente a intertextualidade como o ethos discursivo e a cenografia na conjuntura das aparições públicas do cofundador da Apple. Ademais, para compreender o modo como o discurso de Steve Jobs encenou sua consagração ao mundo, recorrendo ao discurso religioso para legitimar a própria fala, mobiliza-se a noção de discurso constituinte. Considerando a evolução nas redes dos gêneros do discurso, especialmente após o surgimento da internet e da ampla disseminação da tecnologia, a pesquisa também contempla a noção de valência genérica (MAINGUENEAU, 2015), que permite refletir sobre o modo como os gêneros do discurso e, consequentemente, o exercício do discurso vêm se transformando. Essa reflexão é essencial, uma vez que a análise desta pesquisa se concentra em eventos que aconteceram de modo empírico e que foram reproduzidos em um site de compartilhamento de vídeos, o YouTube. Os resultados mostram o modo como o ethos pré-discursivo se construiu por meio da interação entre diferentes gêneros, os artifícios discursivos utilizados pelo enunciador na cenografia de suas apresentações para interpelar seus coenunciadores, bem como o encadeamento que havia entre aquilo que Jobs demonstrava e os conteúdos que circulavam a seu respeito, suscitando expectativas em relação a suas aparições públicas
Ndoro, Tinashe T. R. "The personality of an entrepreneur : a psychobiography of Steve Jobs." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013215.
Moore, Noelle. "A psychobiographical study of Steven Paul Jobs." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1021112.
Kleynhans, Cara. "Steven de Groote (1953-1989) : die loopbaan van 'n Suid-Afrikaanse konsertpianis." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/3406.
Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.
Oliveira, Gilson Marciano de. "A agressão humana : uma investigação filosófica mediante o pensamento de Steven Pinker / Gilson Marciano de Oliveira ; orientador, Cleverson Leite Bastos." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2009. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1356.
Bibliografia: f. 113-116
Amparados nas teses do psicólogo evolucionista Steven Pinker, buscaremos uma melhor compreensão do comportamento humano, fazendo uma revisão no modelo clássico de ciências sociais. Para ele o arquétipo delineador do comportamento humano se encontra ultrap
Supported in the teses of evolucionista psychologist Steven Pinker, we go to search one better understanding of the human behavior, making a revision in the classic model of social sciences. For it archtype limiting of the human behavior if finds exceeded
Isgitt, David. "An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3245/.
Ross, Tamlyn Sue. "The apartheid censors' responses to the works of Frantz Fanon, Amilcar Cabral and Steve "Bantu" Biko." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80165.
ENGLISH ABSTRACT: This thesis explores the ways in which the censors during the apartheid era responded to the works of three black liberation theorists; namely Frantz Fanon, Amilcar Cabral and Steve Biko. Although other studies of apartheid‐era censorship have been published, this is the first to examine the censors’ reactions to the work of key African liberation writers. Apartheid in South Africa brought with it a stringent system of governance, which included a board of censors who would decide, according their interpretation of the laws of the time, whether a publication was considered to be “desirable” or “not undesirable.” One of the major themes examined in the thesis is the interface and tension between the specific and the transnational. As we shall see, all three liberation theorists put forward Pan‐African ideas of liberation, but often explicated upon the specificities of their particular liberation struggles. In a strange act of mirroring, while upholding the idea of South Africa as “a special case” (exempt from the norms of international human rights law), the apartheid‐era censors were concerned about the spread of Pan‐African theories of liberation. Beginning with Fanon, I speculate on the reason why Black Skin White Masks was not banned in South Africa, though Fanon’s later works to enter the country were banned. I also examine Gillo Pontecorvo’s film The Battle of Algiers, which was influenced by Fanon’s theories, and censorship, arguing that the “likely readers” or “likely viewers” of revolutionary material included not only possible revolutionaries, but also paranoid networks of counterinsurgency. I then move on to examine the apartheid censors’ responses to the works of Amilcar Cabral, outlining the interface and tension between local and continental as described above. The final chapter, which deals with the censors’ responses to Steve “Bantu” Biko’s I Write What I Like as well as Donald Wood’s Biko, the film Cry Freedom and other Biko related texts and memorabilia, has some surprises about the supposedly “liberal” censors’ responses to what they deemed to be “undesirable” and “not undesirable” literature.
AFRIKAANSE OPSOMMING: Hierdie tesis verken die manier waarop die sensuurraad tydens die apartheidera gereageer het op die werk van drie swart bevrydingsteoretici, by name Frantz Fanon, Amilcar Cabral en Steve Biko. Hoewel daar wel ander studies oor apartheidera‐sensuur die gepubliseer is, is hierdie die eerste studie wat die sensuurraad se reaksie op die werk van sleutel‐Afrikabevrydingskrywers verken. Apartheid het ‘n streng beheerstelsel in Suid‐Afrika tot gevolg gehad wat ‘n sensuurraad ingesluit het wat volgens sy interpretasie van die toenmalige wette kon besluit of ‘n publikasie “wenslik” of “nie‐wenslik” was. Een van die hooftemas wat in hierdie tesis ondersoek word is die interaksie en spanning tussen die spesifieke en die transnasionale. Soos sal blyk, het al drie bevrydingsteoretici Pan‐Afrikanistiese idees van bevryding ondersteun, maar dikwels die besondere van hul spesifieke bevrydingstryd uiteengesit. Die apartheidera‐sensors se kommer oor die verspreiding van die Pan‐ Afrikanistiese bevrydingsteorië, terwyl hulle die idee van Suid‐Afrika as “’n spesiale geval” (vrygestel van die norme van internasionale menseregtewetgewing) voorgehou het, was ‘n ironiese spieëlbeeld hiervan. Ek begin by Fanon en bespiegel oor die redes waarom Black Skin White Masks nooit in Suid‐Afrika verbied was nie hoewel Fanon se latere werk wat die land binnegekom het, wel verbied was. Ek ondersoek ook Gillo Pontecorvo se film The Battle of Algiers wat deur Fanon se teorië beïnvloed is, en argumenteer dat die “waarskynlike lesers” en “waarskynlike kykers” van revolusionêre materiaal nie slegs moontlike revolusionêre ingesluit het nie, maar ook paranoïede netwerke van teeninsurgensie. Ek gaan voort deur die reaksie van die apartheidera‐sensors op die werke van Amilcar Cabral te ondersoek en die interaksie en spanning tussen die plaaslike en die kontinentale, soos hierbo beskryf, uit te lig. Die slothoofstuk, wat handel oor die sensuurraad se reaksie op Steve “Bantu” Biko se I Write What I Like, asook Donald Woods se Biko, die film Cry Freedom en ander Biko‐verwante tekste en memorabilia, bevat verrassings omtrent die sogenaamde “liberale” sensors se reaksies op wat hulle as “wenslike” en “nie‐wenslike” literatuur beskou het.
Книги з теми "Steve (1956-....)":
Holl, Steven. Steven Holl, 1986-1996. Madrid: El Croquis, 1996.
Holl, Steven. Steven Holl: 1986-1996. Madrid: El Croquis, 1996.
Holl, Steven. Steven Holl, 1986-1996. Edited by Levene Richard C and Márquez Cecilia Fernando. Madrid: El Croquis, 1996.
Holl, Steven. Steven Holl, 1986-1996. Edited by Levene Richard C and Márquez Cecilia Fernando. Madrid: El Croquis, 1996.
Lazarus, Adam. Best of rivals: Joe Montana, Steve Young, and the inside story behind the NFL's greatest quarterback controversy. Boston: Da Capo Press, 2012.
Barraclough, Steve. Steve Barraclough 1953-1987. London: Flowers East, 1997.
Bella, Laura La. Steve Jobs and Steve Wozniak. New York, NY: The Rosen Publishing Group, Inc., 2016.
Hunter, Nick. Steve Jobs. Chicago, Ill: Heinemann Library, 2013.
Sheen, Barbara. Steve Jobs. Farmington Hills, MI: Lucent Books, 2009.
Machajewski, Sarah. Steve Jobs. New York: PowerKids Press, 2017.
Частини книг з теми "Steve (1956-....)":
Zakai, Hesham. "Biko, Steve (1946–1977)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 1–4. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-91206-6_295-1.
Schäfer, Stefan. "Rayner, Steve (1953-2020)." In Schlüsselwerke der sozialwissenschaftlichen Klimaforschung, 387–90. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839456668-062.
Zakai, Hesham. "Biko, Steve (1946–1977)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 194–98. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-29901-9_295.
Bräuninger, Renate. "Anne Teresa De Keersmaeker's Choreographies to Steve Reich's Music, the Re-creation of Musical Principles through Dance." In Musik und Klangkultur, 105–18. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-007.
Cook, Richard. "Like Nobody Else 1956–7." In It’s About That Time, 61–82. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195322668.003.0004.
"Introducing Steve Lacy (1959)." In Steve Lacy, 13–16. Duke University Press, 2006. http://dx.doi.org/10.1215/9780822388586-002.
"1. Introducing Steve Lacy (1959)." In Steve Lacy, 13–16. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388586-003.
"5. Faithful Lacy (Philippe Carles, 1965)." In Steve Lacy, 33–40. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388586-007.
"11. In the Spirit (Roberto Terlizzi, 1976)." In Steve Lacy, 78–83. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388586-013.
"4. Goodbye, New York (GarthW. Caylor, Jr., 1965)." In Steve Lacy, 24–32. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388586-006.
Тези доповідей конференцій з теми "Steve (1956-....)":
Трейстер, М. Ю. "Phalerae of horse harness from the illicit excavations of 1930-s near the Cossack village Dakhovskaya in the Trans-Kuban region." In Древности Боспора. Crossref, 2023. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-372-5.298-314.
Звіти організацій з теми "Steve (1956-....)":
Cardoso, Leonardo, Roberto A. Tenenbaum, Ranny L. X. N. Michalski, Olavo M. Silva, and William D’Andrea Fonseca. Resenha de livros: A edição nº 53 recebe resenhas também dos autores. Revista Acústica e Vibrações, December 2021. http://dx.doi.org/10.55753/aev.v36e53.49.