LEADER 04873nam 2200637 450 001 9910460546903321 005 20200520144314.0 010 $a0-19-106207-3 035 $a(CKB)3710000000530042 035 $a(EBL)4310758 035 $a(SSID)ssj0001645613 035 $a(PQKBManifestationID)16414204 035 $a(PQKBTitleCode)TC0001645613 035 $a(PQKBWorkID)14970928 035 $a(PQKB)11198087 035 $a(MiAaPQ)EBC4310758 035 $a(StDuBDS)EDZ0001357194 035 $a(Au-PeEL)EBL4310758 035 $a(CaPaEBR)ebr11138605 035 $a(OCoLC)935258971 035 $a(EXLCZ)993710000000530042 100 $a20160119h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 04$aThe handbook of the international law of military operations /$fedited by Terry D. Gill and Dieter Fleck ; in collaboration with Hans F. R. Boddens Hosang [and twenty-three others] 205 $aFirst edition. 210 1$aOxford, England ;$aNew York, New York :$cOxford University Press,$d2015. 210 4$dİ2015 215 $a1 online resource (790 p.) 300 $aIncludes index. 311 $a0-19-881364-3 311 $a0-19-874462-5 327 $aCover; The Handbook of the International Law of Military Operations; Copyright; Contents; Preface; List of Contributors; Table of Abbreviations; Table of Treaties and Other International Instruments; Table of Judgments; PART I: GENERAL ISSUES; Chapter 1: CONCEPT AND SOURCES OF THE INTERNATIONAL LAW OF MILITARY OPERATIONS; Chapter 2: HISTORY AND DEVELOPMENT OF THE INTERNATIONAL LAW OF MILITARY OPERATIONS; I. Overview-The Transcendent Nature of Change; II. Development of Jus ad Bellum and Jus in Bello-When and How Military Force is Used-and its Impact on the Practice of Operational Law 327 $a1. Jus ad Bellum2. Jus in Bello; III. Development of the Use of Legal Advisors; Chapter 3: HUMAN RIGHTS AND INTERNATIONAL HUMANITARIAN LAW: General Issues; Introductory Remarks; Chapter 4: CONCEPTUAL DISTINCTION AND OVERLAPS BETWEEN LAW ENFORCEMENT AND THE CONDUCT OF HOSTILITIES; PART II: MILITARY OPERATIONS WITHIN THE CONTEXT OF THE UN COLLECTIVE SECURITY SYSTEM; Chapter 5: ENFORCEMENT AND PEACE ENFORCEMENT OPERATIONS; 5.1 Legal Characterization and Basis for Enforcement Operations and Peace Enforcement Operations under the Charter 327 $a5.2 Status of Forces in Enforcement and Peace Enforcement Operations5.3 Legal Parameters for the Use of Force in the Context of the UN Collective Security System; 5.4 Force Application in Enforcement and Peace Enforcement Operations; 5.5 Applicability and Application of International Humanitarian Law to Enforcement, Peace Enforcement, and Peace Operations; Chapter 6: PEACE OPERATIONS; 6.1 Characterization and Legal Basis for Peace Operations; 6.2 Status of Forces in Peace Operations; 6.3 Legal Parameters for the Use of Force within the Context of Peace Operations 327 $a6.4 Application of Force and Rules of Engagement in Peace Operations6.5 Authority, Command, and Control in United Nations-led Peace Operations; Chapter 7: PEACE OPERATIONS CONDUCTED BY REGIONAL ORGANIZATIONS AND ARRANGEMENTS; PART III: MILITARY OPERATIONS WITHIN THE CONTEXT OF THE RIGHT OF SELF-DEFENCE AND OTHER POSSIBLE LEGAL BASES FOR THE USE OF FORCE; Chapter 8: LEGAL BASIS OF THE RIGHT OF SELF-DEFENCE UNDER THE UN CHARTER AND UNDER CUSTOMARY INTERNATIONAL LAW; Chapter 9: STATUS OF FORCES IN SELF-DEFENCE OPERATIONS 327 $aChapter 10: APPLICATION OF FORCE AND RULES OF ENGAGEMENT IN SELF-DEFENCE OPERATIONSChapter 11: INTERNATIONAL HUMANITARIAN LAW IN SELF-DEFENCE OPERATIONS; Chapter 12: RESCUE OF NATIONALS; Chapter 13: HUMANITARIAN INTERVENTION; Chapter 14: MILITARY INTERVENTION WITH THE CONSENT OR AT THE INVITATION OF A GOVERNMENT; PART IV: CAPITA SELECTA OF INTERNATIONAL MILITARY OPERATIONAL LAW; Chapter 15: COMMAND AND CONTROL IN MILITARY OPERATIONS; Chapter 16: TARGETING IN OPERATIONAL LAW; Chapter 17: TARGETED KILLINGS IN OPERATIONAL LAW PERSPECTIVE; Chapter 18: WEAPONS UNDER THE LAW OF MILITARY OPERATIONS 327 $aIntroduction 330 8 $aBased on best-practice rules of global importance, this handbook offers authoritative commentary and analysis of the international law of military operations, encompassing self-defence, peace operations, and other uses of force. 606 $aMilitary law 608 $aElectronic books. 615 0$aMilitary law. 676 $a343.0154 702 $aGill$b Terry D.$f1952- 702 $aFleck$b Dieter 702 $aHosang$b Hans F. R. Boddens 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910460546903321 996 $aThe handbook of the international law of military operations$91919520 997 $aUNINA LEADER 05951nam 22007332 450 001 9910792053903321 005 20220325233849.0 010 $a1-107-30103-3 010 $a1-107-21684-2 010 $a1-107-25354-3 010 $a1-107-30611-6 010 $a0-511-97429-9 010 $a1-107-30831-3 010 $a1-107-31386-4 010 $a1-299-27629-6 010 $a1-107-31166-7 035 $a(CKB)2560000000099560 035 $a(EBL)1113026 035 $a(OCoLC)828302542 035 $a(SSID)ssj0000834171 035 $a(PQKBManifestationID)11474255 035 $a(PQKBTitleCode)TC0000834171 035 $a(PQKBWorkID)10981149 035 $a(PQKB)11681371 035 $a(UkCbUP)CR9780511974298 035 $a(MiAaPQ)EBC1113026 035 $a(Au-PeEL)EBL1113026 035 $a(CaPaEBR)ebr10656314 035 $a(CaONFJC)MIL458879 035 $a(EXLCZ)992560000000099560 100 $a20101011d2011|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe sonata /$fThomas Schmidt-Beste$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2011. 215 $a1 online resource (xiii, 263 pages) $cdigital, PDF file(s) 225 1 $aCambridge introductions to music 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-76254-5 311 $a0-521-75631-6 320 $aIncludes bibliographical references (p. 243-249) and index. 327 $aCover; Cambridge Introductions to Music: The Sonata; Title; Copyright; Contents; Musical examples; Tables; Preface; Chapter 1 Definitions; 1.1 Sonata and canzona; 1.2 Sonata and sinfonia; 1.3 Sonata and concerto; 1.4 Sonata and suite/partita; 1.5 The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; 1.6 Summary: instrumentation, form, texture or function?; Chapter 2 Form; 2.1 The 'free' sonata in the seventeenth century; 2.2 Corelli and his legacy; 2.2.1 The sonata da chiesa; 2.2.2 The sonata da camera; 2.2.3 Corelli's followers in the eighteenth century 327 $a2.2.4 Regional traditions2.3 Sonata cycles and 'sonata form' after 1750; 2.3.1 Fast movements: 'sonata form' and related categories; 2.3.1.1 From dance form to sonata form; 2.3.1.2 Terminology; 2.3.1.3 The exposition; 2.3.1.4 The development; 2.3.1.5 The recapitulation; 2.3.1.6 The re-entry; 2.3.1.7 The transition; 2.3.1.8 The recapitulation as a result of events in the exposition and development; 2.3.1.9 Extra options: slow introduction and coda; 2.3.2 Sonata form - bipartite or tripartite?; 2.3.3 Slow movements; 2.3.4 Minuet and scherzo; 2.3.5 Finales 327 $a2.4 Beethoven's sonatas - consummating or transcending Classical form?2.4.1 Construction of themes and their elaboration; 2.4.1.1 Types of theme; 2.4.1.2 Thematic contrast and thematic derivation; 2.4.1.3 Elaboration and transformation of themes and motives; 2.4.2 Slow introduction and coda; 2.4.3 Manipulations of the tonal process; 2.4.3.1 Major-key recapitulation in minor-key movements; 2.4.3.2 Third relations versus fifth relations; 2.4.4 New slow-movement types; 2.4.5 The upgrading of the dance movement; 2.4.6 Final movements; 2.4.7 Camouflaging the formal structure; 2.5 The cycle 327 $a2.5.1 Sequence and combination of movements2.5.2 Tonal structures; 2.5.3 Transitions; 2.5.4 Motivic unity and quotations; 2.6 The sonata after Beethoven; 2.6.1 Franz Schubert; 2.6.2 Sonata composition after c. 1830; 2.6.2.1 Motivic unity - motivic derivation - developing variation; 2.6.2.2 Quotation; 2.6.2.3 Tonal structure; 2.6.2.4 Integration on multiple levels: Schumann's Piano Sonata, Op. 11; 2.6.2.5 The amalgamation of the sonata cycle with sonata form: Franz Liszt's B minor Sonata; 2.7 Sonata composition in the twentieth century; 2.7.1 The sonata in the nineteenth-century tradition 327 $a2.7.2 The neo-classicist and historicist sonata2.7.3 The sonata as generic 'piece for instrument(s)'; 2.7.4 The eclectic sonata; Chapter 3 Functions and aesthetics; 3.1 Locations and occasions; 3.2 Target groups: professionals, connoisseurs and amateurs; 3.3 Learned style; 3.4 Virtuosity; 3.5 Sonata form as an aesthetic paradigm; 3.6 Absolute music? On meaning and programmaticism; Chapter 4 Scoring and texture; 4.1 Developments in the seventeenth and eighteenth centuries; 4.1.1 Number of instruments; 4.1.1.1 The ensemble sonata; 4.1.1.2 The sonata for small ensemble 327 $a4.1.2 Nature and formation of the ensemble 330 $aWhat is a sonata? Literally translated, it simply means 'instrumental piece'. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of 'pure' and independent instrumental composition, beginning around 1600 and lasting to the present day. Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context - who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called 'sonatas' at some point in musical history, this book is more about change than about consistency - an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez's piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries - never before addressed in a single-volume survey - opens up new and significant perspectives. 410 0$aCambridge introductions to music. 606 $aSonata 606 $aSonata form 615 0$aSonata. 615 0$aSonata form. 676 $a784.18/3 700 $aSchmidt$b Thomas$c(Musicologist)$0233403 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910792053903321 996 $aThe sonata$93817952 997 $aUNINA