LEADER 00915nam0-2200289---450- 001 990009566050403321 005 20120503124352.0 035 $a000956605 035 $aFED01000956605 035 $a(Aleph)000956605FED01 035 $a000956605 100 $a20120503f19831989km-y0itay50------ba 101 0 $aita 102 $aIT 105 $ay-------001yy 200 1 $aCentri e periferie del Barocco$fMarcello Fagiolo 210 $aNapoli$cEdizioni Scientifiche Italiane$d[198.] 215 $aP. XVII-XXIII$d24 cm 300 $aEstratto da: Atti del Convegno Nazionale Arte e Cultura del '600 e del '700 in Sardegna, Cagliari-Sassari 2-5 maggio 1983 700 1$aFagiolo,$bMarcello$f<1941- >$023813 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990009566050403321 952 $a09.557$b10107$fDARST 959 $aDARST 996 $aCentri e periferie del Barocco$9847336 997 $aUNINA LEADER 01041nam--2200349---450 001 990003322680203316 005 20211108162837.0 010 $a0-8153-4024-9 035 $a000332268 035 $aUSA01000332268 035 $a(ALEPH)000332268USA01 035 $a000332268 100 $a20091001d2008----km-y0itay50------ba 101 $aeng 102 $aUS 105 $aa---||||001yy 200 1 $aUnderstanding bioinformatics$fMarketa Zvelebil and Jeremy Baum 210 $aAbingdon$cGarland science$d2008 215 $aXXIII, 772 p.$cill.$d28 cm 606 0 $aBioinformatica$xApplicazioni$2BNCF 676 $a574.0285 700 1$aZVELEBIL,$bMarketa$0606031 701 1$aBAUM,$bJeremy$0606032 801 0$aIT$bsalbc$gISBD 912 $a990003322680203316 951 $a574.028 ZVE 1 a$b37991 CBS$c574.028$d00218156 951 $a574.028 ZVE 1$b40509 Sci.$c574.028$d00332332 959 $aBK 969 $aSCI 979 $aRSIAV7$b90$c20091001$lUSA01$h1550 996 $aUnderstanding bioinformatics$91121228 997 $aUNISA LEADER 02691nam 2200589 450 001 9910787082103321 005 20200520144314.0 010 $a0-253-01276-7 024 7 $a2027/heb34015 035 $a(CKB)3710000000237687 035 $a(EBL)1782262 035 $a(SSID)ssj0001332539 035 $a(PQKBManifestationID)11895364 035 $a(PQKBTitleCode)TC0001332539 035 $a(PQKBWorkID)11376263 035 $a(PQKB)10290068 035 $a(MiAaPQ)EBC1782262 035 $a(OCoLC)890531167 035 $a(MdBmJHUP)muse41776 035 $a(Au-PeEL)EBL1782262 035 $a(CaPaEBR)ebr10929478 035 $a(dli)HEB34015.0001.001 035 $a(MiU)MIU01200000000000000000269 035 $a(EXLCZ)993710000000237687 100 $a20140918h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBreaking time's arrow $eexperiment and expression in the music of Charles Ives /$fMatthew McDonald 210 1$aBloomington, Indiana :$cIndiana University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (212 p.) 225 1 $aMusical Meaning and Interpretation 300 $aDescription based upon print version of record. 311 $a0-253-01273-2 320 $aIncludes bibliographical references and index. 327 $aGod/man : I come to thee and Psalm 14 -- Community/individual : Sonata no. 1 for piano and String quartet no. 2 -- Intuition/expression : "Nov. 2, 1920" and "Grantchester" -- Elements of narrative : The unanswered question -- Ives and the now : "The things our fathers loved" -- Cumulative composition : Ives's Emerson music. 330 $aCharles Ives (1874-1954) moved traditional compositional practice in new directions by incorporating modern and innovative techniques with nostalgic borrowings of 19th century American popular music and Protestant hymns. Matthew McDonald argues that the influence of Emerson and Thoreau on Ives''s compositional style freed the composer from ordinary ideas of time and chronology, allowing him to recuperate the past as he reached for the musical unknown. McDonald links this concept of the multi-temporal in Ives's works to Transcendentalist understandings of eternity. His approach to Ives opens ne 410 0$aMusical meaning and interpretation. 606 $aMusic & Musicology 615 0$aMusic & Musicology. 676 $a780.92 700 $aMcDonald$b Matthew$g(Matthew James),$0874718 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787082103321 996 $aBreaking time's arrow$93741440 997 $aUNINA