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Perceptual and Motor Skills 88 651 658 Boulinguez P, Nougier V: Control of goal-directed movements: the

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and Green: Women’s, Religious, Environmental, and Gay/Lesbian Movements in Central Europe Today (Boulder, CO: East European Monographs). Pink, Purple and Green: Women’s, Religious, Environmental

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Ángyán L, Téczely T, Ángyán Z, Petőfi Á: Changes in the amplitude and direction of goal directed hand movements in the lack of visual information. Acta Physiol. Hung. 93(2–3), 107–116 (2006

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Right-wing Movements in the North East Baltic. Journal of Contemporary History. Vol. 1. Nr. 4. pp. 587-600. Radical Right-wing Movements in the North East Baltic Journal of Contemporary History Vol. 1 587 600

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signals can cause spontaneous hand movements near moving RF reflector. Pathophysiology 16, 201–204 (2009) Myllylä R. FM-radio and TV tower signals can cause spontaneous hand movements

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arterial road. In the case of large traffic, both movements are getting more difficult, because the gaps are short and the speed of the traffic flow on the arterial road is too high. It is easy to cross and merge an oversaturated arterial road, because

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204 897 908 Huddart, H., Hunt, S., Oates, K. (1977) Calcium movements during contraction in molluscan smooth muscle, and the loci of calcium binding

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.) Racionálisan l ázadó hallgatók II . Budapest–-Szeged, MTA TK PTI-Belvedere. pp. 118–134. 5 Jenkins, J. C. (1995) Social Movements, Political Representation, and the State: An Agenda

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Toepfer, S., Levay, N., Kiss, J. 2006. Adult movements of newly introduced alien Diabrotica virgifera virgifera (Coleoptera: Chrysomelidae) from non-host habitats. Bull. Entomol. Res. 96 :327–335. Kiss J

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Although a half cadence marks the end of the transition section in most sonata-form expositions and recapitulations, in many of Haydn’s sonata-form movements — especially those from around the 1760s — the end of the transition is instead articulated by a firm perfect authentic cadence. This establishes a point of harmonic resolution, rather than momentum, at this crucial formal juncture. As such, it yields an overall formal shape that departs from “textbook” sonata-form descriptions, which are based largely on later stylistic norms. The practice of having a strong tonic arrive in the middle of the exposition or recapitulation is a strategy that Haydn shared with other composers who flourished in the mid-eighteenth century, and it well accords with the descriptions of formal procedures found in Heinrich Christoph Koch’s Versuch einer Anleitung zur Composition .

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