LEADER 01812nam 2200493I 450 001 9910707195103321 005 20160426135627.0 035 $a(CKB)5470000002461543 035 $a(OCoLC)947862588 035 $a(EXLCZ)995470000002461543 100 $a20160426j201504 ua 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 12$aA comparison of three methods for measuring distortion in optical windows /$fRobert C. Youngquist, Mark A. Nurge, Miles Skow 210 1$aKennedy Space Center, FL :$cNational Aeronautics and Space Administration, Kennedy Space Center,$dApril 2015. 215 $a1 online resource (vi, 28 pages) $ccolor illustrations 225 1 $aNASA/TM ;$v2015-218822 300 $aTitle from title screen (viewed April 26, 2016). 300 $a"April 2015." 300 $a"Performing organization: National Aeronautics and Space Administration Kennedy Space Center, FL"--Report documentation page. 320 $aIncludes bibliographical references (page 28). 606 $aDistortion$2nasat 606 $aInterferometry$2nasat 606 $aOptical measuring instruments$2nasat 606 $aPhase shift$2nasat 606 $aWindows (apertures)$2nasat 615 7$aDistortion. 615 7$aInterferometry. 615 7$aOptical measuring instruments. 615 7$aPhase shift. 615 7$aWindows (apertures) 700 $aYoungquist$b Robert C.$01404956 702 $aNurge$b Mark A. 702 $aSkow$b Miles 712 02$aJohn F. Kennedy Space Center, 801 0$bGPO 801 1$bGPO 906 $aBOOK 912 $a9910707195103321 996 $aA comparison of three methods for measuring distortion in optical windows$93480607 997 $aUNINA LEADER 02422 am 2200625 n 450 001 9910495758003321 005 20190522 010 $a2-271-12205-8 024 7 $a10.4000/books.editionscnrs.19797 035 $a(CKB)4100000009681643 035 $a(FrMaCLE)OB-editionscnrs-19797 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/84878 035 $a(PPN)267943806 035 $a(EXLCZ)994100000009681643 100 $a20191029j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 12$aL'incommunication /$fSamuel Lepastier 210 $aParis $cCNRS Éditions$d2019 215 $a1 online resource (216 p.) 225 1 $aLes essentiels d'Hermès 311 $a2-271-07913-6 330 $aSource de tensions et de conflits, l'incommunication se définit comme l'absence de communication entre deux personnes. Au contraire d'une conception naïve selon laquelle la croissance continue des canaux devrait suffire à dissiper les malentendus, l'incommunication apparaît au c?ur de la condition humaine pour être l'horizon de toute communication. Repérée aussi bien dans la vie sociale que dans l'intimité psychique, elle reste encore peu théorisée. 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Allen & Co.$d1895 215 $a750 p.$cill.$d23 cm 606 $aISLAM$xEnciclopedie e dizionari$3UONC020646$2FI 620 $aGB$dLondon$3UONL003044 686 $aVO II A$cVICINO ORIENTE - LINGUISTICA - DIZIONARI$2A 700 1$aHUGHES$bThomas Patrick$3UONV089171$0672614 712 $aAllen & Co.$3UONV248436$4650 801 $aIT$bSOL$c20240220$gRICA 856 4 $uhttp://next.unior.it/sebina/repository/catalogazione/documenti/Dictionary of Islam (148962).pdf$zDictionary of Islam (148962)_SiBA_Dig. 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Introduction: Art Music, Identity, and Reflexive Globalization -- $t1. Art Music in a Global Context -- $t2. Identity Criticism and Reflexive Globalization -- $t3. Discourses of Intercultural Composition -- $tII. Toward an Entangled History of Twentieth-Century Music in a Global Context -- $t1. Preliminaries of an Intercultural Music Historiography -- $t2. Internationalism and Universalism: Repercussions of Political and Cultural History -- $t3. The Ambivalence of the Local in Twentieth-Century Music -- $t4. Modernist Reception of Japanese and Indian Traditional Music between 1910 and 1945: Delage, Cowell, Mitsukuri, and Hayasaka -- $t5. Re-Reading the Impact of the "Cultural Cold War" on Music History: Cowell, Mayuzumi, Berio -- $t6. Categories of Intercultural Reception in Western Composition -- $tIII. Studies on the History and Analysis of New East Asian Music -- $t1. The Reception of Western Modernism in the Music of China and Japan Since the Late Nineteenth Century -- $t2. Triggering Musical Modernism in China: The Work of Wolfgang Fraenkel in Shanghai Exile -- $t3. The Travels of a Jasmine Flower: A Chinese Folk Song, Its Prehistory, and Tan Dun's Symphony 1997 -- $t4. Probing the Compositional Relevance of Cultural Difference: Key Tendencies of East Asian New Music Since the 1950s -- $t5. Intercultural Narrativity in East Asian Art Music since the 1990s -- $t6. The Impact of Traditional Music on Composition in Taiwan since the Postwar Period -- $tIV. The sh? Context -- $t1. Transformation and Myth Criticism in Works for the Japanese Mouth Organ -- $t2. The sh? as a Medium of Alterity and Self-Referentiality in Helmut Lachenmann's Music -- $tV. New Music and Beyond: Music-Historical and Cultural Entanglements -- $t1. The Rediscovery of Presence: Intercultural Passages Through Vocal Spaces Between Speech and Song -- $t2. Space-Time Movements in György Ligeti's Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective -- $t3. Intercultural Tension in Music by Chaya Czernowin and Isabel Mundry: Variations on Identity and Musical Meaning -- $tVI. Reflections on My Own Composing as a Search for Traces in the In-Between -- $t1. Layered Fabric, Intertextuality, and Cultural Context: From Striated to Open Space -- $t2. Stratification and Analysis -- $t3. Intercultural and Multilingual Trajectories of the Human Voice -- $t4. Composition as Polyphony: Creating, Performing, and Perceiving Music Non-Hierarchically -- $tBibliography -- $tAppendix -- $tIndex 330 $aSince the early transformation of European music practice and theory in the cultural centers of Asia, Latin America, and Africa around 1900, it has become necessary for music history to be conceived globally ? a challenge that musicology has hardly faced yet. This book discusses the effects of cultural globalization on processes of composition and distribution of art music in the 20th and 21st century. Christian Utz provides the foundations of a global music historiography, building on new models such as transnationalism, entangled histories, and reflexive globalization. The relationship between music and broader changes in society forms the central focus and is treated as a pivotal music-historical dynamic. 330 1 $aBesprochen in:Circuit, 32/1 (2022), Robert Hasegawa 330 1 $a»Christian Utz' Monographie stellt auch acht Jahre nach der deutschen Erstausgabe eine beeindruckende Pionierleistung dar, an der alle kommenden Studien zur globalen Musikgeschichte gemessen werden müssen.« 410 0$aMusik und Klangkultur 517 2 $aUtz, Musical Composition in the Context$eNew Perspectives on Music History in the 20th and 21st Century 606 $aContemporary Music 606 $a20th Century 606 $aGlobalization 606 $aTransnationalism 606 $aEntangled Histories 606 $aAsia 606 $aChina 606 $aJapan 606 $aKorea 606 $aMusic 606 $aMusicology 606 $aInterculturalism 606 $aCultural Studies 606 $aCultural History 615 4$aContemporary Music 615 4$a20th Century 615 4$aGlobalization 615 4$aTransnationalism 615 4$aEntangled Histories 615 4$aAsia 615 4$aChina 615 4$aJapan 615 4$aKorea 615 4$aMusic 615 4$aMusicology 615 4$aInterculturalism 615 4$aCultural Studies 615 4$aCultural History 676 $a780.904 686 $aLP 19507$2rvk 700 $aUtz$b Christian$p

Christian Utz, Kunstuniversität Graz, Österreich

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