| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910135941003321 |
|
|
Titolo |
IEEE Std 802.1Qat-2010 (Revision of IEEE Std 802.1Q-2005) : IEEE Standard for Local and Metropolitan Area Networks---Virtual Bridged Local Area Networks Amendment 14: Stream Reservation Protocol (SRP) / / Institute of Electrical and Electronics Engineers |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
New York, NY, USA : , : IEEE, , 2010 |
|
|
|
|
|
|
|
ISBN |
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (xiii, 103 pages) : illustrations |
|
|
|
|
|
|
Collana |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Local area networks (Computer networks) |
Metropolitan area networks (Computer networks) |
Computer network protocols |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Sommario/riassunto |
|
This amendment specifies protocols, procedures, and managed objects, usable by existing higher layer mechanisms, that allow network resources to be reserved for specific traffic streams traversing a bridged local area network. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2. |
Record Nr. |
UNISA996247990503316 |
|
|
Autore |
Floyd Samuel A |
|
|
Titolo |
The power of Black music : interpreting its history from Africa to the United States / / Samuel A. Floyd, Jr |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
New York, : Oxford University Press, c1995 |
|
|
|
|
|
|
|
ISBN |
|
0-19-802437-1 |
9786610526796 |
1-4294-0641-0 |
1-280-52679-3 |
1-280-53503-2 |
9786610535033 |
0-19-510975-9 |
|
|
|
|
|
|
|
|
Edizione |
[1st ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (421 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
|
|
Soggetti |
|
African Americans - Music - History and criticism |
Music - United States - History and criticism |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index. |
|
|
|
|
|
|
|
|
Nota di contenuto |
|
Cover Page; Title Page; Copyright Page; Dedication; Contents; Introduction; 1: African Music, Religion, and Narrative; 2: Transformations; 3: Syncretization and Synthesis: Folk and Written Traditions; 4: African-American Modernism, Signifyin(g), and Black Music; 5: The Negro Renaissance: Harlem and Chicago Flowerings; 6: Transitions: Function and Difference in Myth and Ritual; 7: Continuity and Discontinuity: The Fifties; 8: The Sixties and After; 9: Troping the Blues: From Spirituals to the Concert Hall; 10: The Object of Call-Response: The Signifyin(g) Symbol |
11: Implications and ConclusionsAppendix; Printed Works Cited; Sound Recordings Cited; Films and Videotapes Cited; Index; Footnotes |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
When Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of ""The Star Spangled Banner,"" he was building on a foundation reaching back, in part, to the revolutionary guitar playing of |
|
|
|
|
|
|
|
|
|
|
Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues traditionbefore him. But in its unforgettable introduction, followed by his unaccompanied ""talking"" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a traditionrooted in |
|
|
|
|
|
| |