LEADER 01019nam0-2200373---450- 001 990008190150403321 005 20121221122911.0 010 $a88-8292-260-X 035 $a000819015 035 $aFED01000819015 035 $a(Aleph)000819015FED01 035 $a000819015 100 $a20050921d2004----km-y0itay50------ba 101 0 $aita 102 $aIT 105 $ay-------001yy 200 1 $aFermi e la fisica moderna$fBruno Pontecorvo$gintroduzione di Andrea Martocchia 210 $aNapoli$cLa Cittā del Sole$dstampa 2004 215 $a80 p.$d18 cm 225 1 $aUniversale di base$v4 610 0 $aFisica$aStoria$asec. 20. 676 $a925 676 $a530 700 1$aPontecorvo,$bBruno$061773 702 1$aMartocchia,$bAndrea 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990008190150403321 952 $a925 PON 1$b62595 bibl.$fFLFBC 952 $a6D-451$fFI1 959 $aFLFBC 959 $aFI1 996 $aFermi e la fisica moderna$9734777 997 $aUNINA LEADER 01626cam0-2200325---450- 001 990005704760403321 005 20060427125256.0 035 $a000570476 035 $aFED01000570476 035 $a(Aleph)000570476FED01 035 $a000570476 100 $a19990604g19699999km-y0itay50------ba 101 0 $aeng 102 $aSE 105 $ay-------001yy 200 1 $aCorpus of Cypriote antiquities 210 $aGothenburg$cPaul Aströms Förlag$d1969- 215 $av.$cill.$d31 cm 225 1 $aStudies in mediterranean archaeology$v20. 327 0 $a2.: The cypriote collection of the Museum of Art and Archaeology, University of Missouri-Columbia / by P. Aström$a3.: Catalogue of cypriote seals of the Bronze Age in the British Museum / by V.E.G. Kenna$a4.: Large-Sized cypriot sculpture in the Archaeological Museums of Instanbul / by Haluk Ergnlet$a5.: Cypriote antiquities in San Francisco Bay Area Collections / by Vassos Karageorghis$a6.: Cypriote objects in Washington State / by Lawrence J. Bliquez$a7.: Early and middle bronze age material in the ashmolean Museum, Oxford / by David Frankel$a8.: Cypriote antiquities in the Ny Carlsberg Glyptotek, Copenhagen / by Anne Marie Nielsen$a9.: Katalog der kyprischen Antiken im Badischen Landesmuseum Karlsruhe / von Wolfgang Schnrmann 610 0 $aArcheologia$aCipro 676 $a939.3$v21$zita 700 1$aBliquez,$bLawrence J.$0213090 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990005704760403321 952 $a939.3 CCA 1 (2-9)$fFLFBC 959 $aFLFBC 996 $aCorpus of Cypriote antiquities$9602457 997 $aUNINA LEADER 03469oam 22005054a 450 001 9910372744003321 005 20240201193234.0 010 $a1-950192-50-4 024 7 $a10.21983/P3.0267.1.00 035 $a(CKB)4100000010138585 035 $a(OAPEN)1007354 035 $a(OCoLC)1253409305 035 $a(MdBmJHUP)muse87236 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/36421 035 $a(oapen)doab36421 035 $a(EXLCZ)994100000010138585 100 $a20200317h20202020 uy 0 101 0 $aeng 135 $auuuuu---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSpeechsong$eThe Gould/Schoenberg Dialogues /$fRichard Cavell 210 $aBrooklyn, NY$cpunctum books$d2020 215 $a1 online resource (154) 300 $aPlace of publication actually Goleta, California. 311 08$a1-950192-49-0 330 $a"Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould?s last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg?s works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg?s travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg?s operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg?s response to Richard Wagner?s diatribes about synagogue noise. For Gould, Schoenberg?s is a formalist revolution; Schoenberg?s life, however, suggests that it was a search for personal and political freedom. The second half of Speechsong is a critical essay in twelve ?moments? that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould?s turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg?s exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould?s soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet." 606 $a20th century & contemporary classical music$2bicssc 608 $aCriticism, interpretation, etc. 610 $aGlenn Gould 610 $aArnold Schoenberg 610 $amusic compositio 610 $aradio 610 $atwentieth-century music 610 $arecording techniques 610 $aSprechstimme 615 7$a20th century & contemporary classical music 700 $aCavell$b Richard$f1949-$0965224 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910372744003321 996 $aSpeechsong$92189871 997 $aUNINA