Cargill Simon (35 results)

hardcover. Condition: Good.

Hardcover. Condition: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Condition: Very Good. Very Good condition. Good dust jacket. With remainder mark. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Condition: Very Good. Very Good condition. Very Good dust jacket. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Hardcover. Condition: Fair. With dust jacket. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

hardcover. Condition: New.

hardcover. Condition: New. May have light shelf wear due to storage and handling.

Condition: New.

Hard cover. Condition: Fine in fine dust jacket. North American ed. Sewn binding. Cloth over boards. 160 p. Contains: Illustrations. Audience: Young adult. No previous owner's name. Clean, tight pages. No bent corners. No remainder mark. eb 104.

Soft cover. Condition: Very Good. ORIGINAL 1987 PUBLICATION; articles in English and Spanish; Softcover; ex-library; in very good condition. Book.

Stated First American Edition; square sm 4to.; cloth covered boards with illustrated endpapers, hardcover; 160 pages; color photographic illustrations; lightly edgerubbed boards else very good in a very good unclipped dust jacket.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. 885 grams. Simon Upton (illustrator).

Hardcover. Condition: As New. Dust Jacket Condition: As New. A more modern, pared down country style that is easy to live with and easy to achieve. 160 pages. GIFT QUALITY. Illustrator: Simon Upton [Photographs]. Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: Interior Design; Australia; Home Decorating & Repair; ISBN: 0864117825. ISBN/EAN: 9780864117823. Inventory No: 263317. Simon Upton [Photographs] (illustrator). …

Condition: Wie neu. 01. 160 S. Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Unser Produktfoto entspricht dem hier angebotenen Artikel, dieser weist folgende Merkmale auf: Helle/saubere Seiten in fester Bindung. Sprache: Englisch Gewicht in Gramm: 800 Gebundene Ausgabe, Maße: 24.13 cm x 2.54 cm x 25.4 cm.…

Hardcover. Condition: Sehr gut. 25 cx 23,5 m 160 S. Hardcover mit Schutzumschlag. zahlr. Ill. Zustand: Sehr Gut, eher ungelesen; * Die Photos sind original von uns erstellt worden, u.a. erkennbar an einem kleinen weißen Stück Papier im oberen Schnitt. Ab und an verwenden Suchmaschinen Verlagsphotos, bei den Portalen selbst, werden aber nur unsere Originalphotos gezeigt. …

hardcover. Condition: New. In shrink wrap. Looks like an interesting title.

Condition: Buone. inglese Condizioni dell'esterno: sovracopertina leggermente logorata e macchiata Condizioni dell'interno: Buone.

1. A. 330 S. ( U. S. Geological Survey Circular 980). GEO1082 Sprache: Englisch Gewicht in Gramm: 2000 4°. OBr. Mit vielen Karten u. Abb.

Gebundene Ausgabe. Condition: Wie neu. 160 S. Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Die Ausgabe des gelieferten Exemplars kann um bis zu 10 Jahre vom angegebenen Veröffentlichungsjahr abweichen und es kann sich um eine abweichende Auflage handeln. Unser Produktfoto entspricht dem hier angebotenen Artikel, dieser weist folgende Merkmale auf: Helle/saubere Seiten in fester Bindung. Sprache: Deutsch Gewicht in Gramm: 900.…

Paperback. Condition: New. In shrink wrap. Looks like an interesting title.

Condition: Gut. Formateinband: Pappband mit Umschlag / gebundene Ausgabe 160 S. (24x24 cm) 1. Aufl.; (Mit zahlreichen Abbildungen); In gutem Zustand. Sprache: Deutsch Gewicht in Gramm: 1200 [Stichwörter: Inneneinrichtung, Innenarchitektur, Landhaus, Landhäuser, Architektur].

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. But George Pratt argues in this book that in these days of CDs and cassette recorders much of this area of the subject can best be worked on alone. He demonstrates how, by tailoring tasks to individual needs, every student can make some encouraging progess in these aspects of music. But this also makes time available for developing the perception of other musical elements just as significant yet often neglected because of their more abstract and qualitative nature--elements such as timbre, texture and density; compass, range, and tessitura; dynamics and articulation; ordering music in structures and placing it in space. The chapters on these areas break new ground. They demonstrate how these `elements', once perceived and analysed, are incorporated into the skills which musicians need--to notate sound quality accurately, to read or `image' the implications of notation beyond though including pitch and rhythm; to play and sing by ear; to improvise and to memorize, not only 'right notes' but the subtle qualities and nuances which bind them into coherent music. This book was first published by Open University Press, and at that stage was primarily addressed to groups of music students and their teachers, in universities, colleges, conservatoires, and sixth forms. But, by a happy accident of timing, George Pratt was then invited to be a member of the National Curriculum Music Working Group, and many of the ideas here, in particular the identification and codification of musical 'elements', were fed into their thinking. The present book has been substantially revised to take account of what are now the statutory requirements of the National Curriculum in Music. Much of the material in it is either already accessible for pupils in the earlier years at school or is easily adapted by imaginative teachers. In addition, every section leads towards open-ended `do-it-yourself' exercises and experiments which can be used by individuals. This follows the pattern established in Professor Pratt's The Dynamics of Harmony: Principles and Practice (OUP, 1996), and is designed to encourage open-ended exploration generated by musicians's individual needs and enthusiasms. This freedom to adapt exercises includes using them in any musical context. Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.…