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Cited and Middleton
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Cited and ).
This style of citations and bibliographical format uses parenthetical referencing with author-page ( Smith 395 ) or author-title-page ( Smith, Contingencies 42 ) in the case of more than one work by the same author within parentheses in the text, keyed to an alphabetical list of sources on a " Works Cited " page at the end of the paper, as well as notes ( footnotes or endnotes ).
* Cited as one of New Jersey's ten " architectural treasures " by New Jersey Monthly ( April 1999 ).
Cited as especially important were unequal distribution of wealth ( the explanation perhaps favored by liberals ) and family disintegration ( the explanation perhaps favored by conservatives ).
* Boldt Castle-Gift of Love: A site with many images and much information ; Cited in Malo's book ( see " References " above ).
* Cited in the Order Of The Day of the Belgian Army for action in the Ardennes ( 424th Infantry cited per DA GO 43, 1950 ).
* Cited in the Order Of The Day of the Belgian Army for action at St Vith ( 424th Infantry cited per DA GO 43, 1950 ).
Middleton and 1990
" ( Middleton 1990, p. 172 ) See Nattiez ( 1976, 1987, 1989 ), Stefani ( 1973, 1986 ), Baroni ( 1983 ), and Semiotica ( 66: 1 – 3 ( 1987 )).
In 1990, handwriting expert Charles Hamilton, after seeing a 1611 manuscript known as The Second Maiden's Tragedy ( usually attributed to Thomas Middleton ), identified it as a text of the missing Cardenio in which the characters ' names had been changed.
According to Middleton ( 1990 ), Schenkerian analysis of music corresponds to the Chomskyan notion of deep structure, applying to a two-level generative structure for melody, harmony, and rhythm, of which the analysis by Lee ( 1985 ) of rhythmical structure is an instance.
Bennett ( 1980, p. 114 ) describes the development of recording consciousness, the consequence of " a society which is literally wired for sound " in which, according to Middleton ( 1990, p. 88 ) " this consciousness defines the social reality of popular music.
Richard Middleton ( 1990, p. 9-10 ) argues that " such theories always end up in some kind of reductionism-' upwards ', into an idealist cultural spirit, ' downwards ', into economism, sociologism or technologism, or by ' circumnavigation ', in a functionalist holism.
The term was brought to popularity by Philip Tagg, derived from the work of Charles Seeger ( Middleton 1990, p. 189 ).
Ruwet argued that the most striking characteristic of musical syntax was the central role of repetition-and, by extension, of varied repetition or transformation ( Ruwet 1987 )" ( Middleton 1990 / 2002, p. 183 ).
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