Relevant bibliographies by topics / Composing

Academic literature on the topic 'Composing'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Composing"

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Burroughs, Robert. "Composing Standards and Composing Teachers." Journal of Teacher Education 52, no. 3 (May 2001): 223–32. http://dx.doi.org/10.1177/0022487101052003005.

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Stuth, Tricia. "Composing." Journal of Architectural Education 72, no. 1 (January 2, 2018): 178–79. http://dx.doi.org/10.1080/10464883.2018.1410681.

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Perl, Sondra. "Teaching and Practice: Composing Texts, Composing Lives." Harvard Educational Review 64, no. 4 (December 1, 1994): 427–50. http://dx.doi.org/10.17763/haer.64.4.l866378560wu1g0m.

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In this article, Sondra Perl draws on the work of theorists in composition studies, reader response theory, critical pedagogy, and feminist studies to explicate a pedagogy that incorporates her own learning and development with that of her adult students. She emphasizes not only the importance of her students' responding critically to various literary texts, but also the importance of teachers' critically analyzing the texts of their teaching practice. Perl asserts that a classroom of adult learners has the potential to be a supportive milieu in which both students and teachers use writing as a way of brining their own experience to their interpretation of texts. In this way, Perl believes, students and teachers alike author their coming together, and the classroom becomes a site in which they compose not only texts, but also themselves.
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Baron, Sam, and Baptiste Le Bihan. "Composing Spacetime." Journal of Philosophy 119, no. 1 (2022): 33–54. http://dx.doi.org/10.5840/jphil202211912.

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According to a number of approaches in theoretical physics, spacetime does not exist fundamentally. Rather, spacetime exists by depending on another, more fundamental, non-spatiotemporal structure. A prevalent opinion in the literature is that this dependence should not be analyzed in terms of composition. We should not say, that is, that spacetime depends on an ontology of non-spatiotemporal entities in virtue of having them as parts. But is that really right? On the contrary, we argue that a mereological approach to dependent spacetime is not only viable, but promises to enhance our understanding of the physical situation.
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Barolsky, Daniel. "Composing Performances." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 35–53. http://dx.doi.org/10.37536/quodlibet.2021.76.1436.

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All too often, critics, historians, and music analysts draw upon the aesthetic and analytic language of composition to describe and account for performed interpretations. This article explores the inequities and challenges that derive from this borrowing of language. Yet a study of Ernst Levy and his recorded performance of Brahms, however, reveals how compositional aesthetics can also be appropriated and repurposed to new creative ends.
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Waldrop, Rosmarie. "Composing Stick." Grand Street, no. 53 (1995): 258. http://dx.doi.org/10.2307/25007908.

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van Eijck, Jan, Floor Sietsma, and Yanjing Wang. "Composing models." Journal of Applied Non-Classical Logics 21, no. 3-4 (January 2011): 397–425. http://dx.doi.org/10.3166/jancl.21.397-425.

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A.B. "Composing Ruin." Departures in Critical Qualitative Research 3, no. 1 (March 1, 2014): 6–75. http://dx.doi.org/10.1525/dcqr.2014.3.1.6.

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Austin-Smith, Brenda. "Composing America." Henry James Review 35, no. 2 (2014): 191–98. http://dx.doi.org/10.1353/hjr.2014.0020.

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Dietz, Bill. "Composing Listening." Performance Research 16, no. 3 (September 2011): 56–61. http://dx.doi.org/10.1080/13528165.2011.606026.

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Dissertations / Theses on the topic "Composing"

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Kotek, Hadas. "Composing questions." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/93840.

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Thesis: Ph. D. in Linguistics, Massachusetts Institute of Technology, Department of Linguistics and Philosophy, 2014.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 257-273).
This dissertation motivates a new syntax and semantics for simplex and multiple wh-questions, concentrating on English and German data. The proposed theory combines Cable's (2007; 2010) Q-based syntax for wh-movement and pied-piping with a new and simple semantics that combines ingredients familiar from the literature in a novel way. I model the pair-list reading of the question as denoting a family of questions (Roberts, 1996; Hagstrom, 1998; Krifka, 2001; Buring, 2003; Fox, 2012; Nicolae, 2013, a.o.), and derive the pair-list and single-pair readings of the question from minimally different LFs. This theory naturally fits with existing analyses of the presuppositions of questions and with Beck's (2006) theory of focus intervention effects. The proposed syntax-semantics leads to a new descriptive generalization for focus intervention effects. I present novel data that the previously assumed strict correlation between intervention and superiority in English (Pesetsky, 2000) is incorrect. Instead, intervention occurs whenever the relation between a wh-word and its associated Q-particle is disrupted at LF. This happens in superiority-violating questions, inside overt and covert pied-piping constituents, and in superiority-obeying questions whenever covert wh-movement is restricted to a position below an intervener. Furthermore, intervention can be avoided in superiority-violating questions if the in-situ wh is given wide scope above an intervener through non-interrogative movement. Finally, I present arguments from offline judgments as well as from online sentence processing that in-situ wh-phrases in English superiority-obeying questions undergo covert movement, but in-situ wh-phrases in superiority-violating questions are truly in-situ at LF. I furthermore argue that the covert movement step of the in-situ wh should be modeled as covert scrambling instead of the unbounded movement to the interrogative complementizer that is traditionally assumed. Movement targets the first position where a wh is interpretable, and is only extended in extraordinary cases, for example in order to avoid a structure that would be an intervention effect, or in order to allow for ellipsis resolution. This makes the behavior of English parallel to that of German. I argue that this is advantageous for the acquisition of questions and intervention, and helps to account for our understanding of the cross-linguistic typology of multiple questions.
by Hadas Kotek.
Ph. D. in Linguistics
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Vergara, Valdés Juan. "Composing lines." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34685/.

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My work as a composer over the course of my PhD studies has focused on developing novel approaches to the notion of ‘line’ in music. This portfolio of compositions, composed between 2013 and 2017, is accompanied by a commentary that presents the conceptual ideas underlying my work with lines, from both a technical and aesthetic perspective. In this approach, the most novel element resides in the fact that lines function here often not as metaphor but as literal objects. Throughout the text a range of different conceptions of lines are presented, providing a contextual and explanatory panorama for the compositional work. A line is understood in this context as a sustained sound that changes at a slow but perceptible rate, its ‘line-ness’ defined principally by its continual and smooth character. The approach undertaken consists of first conceiving lines as single entities, thoroughly exploring aspects such as their materiality, physicality, plasticity and fragmentability, in which their objective quality is gradually revealed and exploited further compositionally. The commentary is divided roughly in half, initially proposing a series of types or families of lines, and then moving on to discuss the behaviour of those lines and the ways in which lines can be organized compositionally. First, various linemodels are addressed, including the geological-line, the polychromatic-line, the thread-line, and the drawing-line, each typified in relation to a particular piece from the portfolio. I then present the idea of the ‘pixelation’ of lines from both vertical and horizontal perspectives, unveiling the extended resonant potential of fragmented lines. Later, certain combinatorial possibilities are pursued, giving rise to emergent behaviours of blurriness or in fluid-like textures characterized by permeability and motion. Throughout, I contextualize these musical approaches with references to other disciplines—especially the visual arts—helping to illustrate the ideas and concepts presented.
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Smith, Geoff. "Composing after Cage." Thesis, University of Huddersfield, 1996. http://eprints.hud.ac.uk/id/eprint/6915/.

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This thesis alms to identify and explore the ideas of John Cage, then looks at their impact on and absorption by a variety of American composers. This in turn provides the context for my own compositional work which forms the main substance of this submission and which is presented on compact disc (accompanied by indicative scores). The source material for the second half of the thesis comes largely from my own book of interviews with composers, American Originals (co-authored with Nicola Walker Smith), which is included as an appendix.
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Bergmans, Louis Marie Johannes. "Composing concurrent objects." Enschede : University of Twente [Host], 1994. http://doc.utwente.nl/58048.

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Kittos, Haris. "Composing with sieves." Thesis, Royal College of Music, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576926.

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Shivener, Richard. "Feeling Digital Composing." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1561996947354947.

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Johnson, Petra. "Composing the ordinary." Thesis, Oxford Brookes University, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738489.

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Ness, Stein Olav. "Composing distributed 3D scenes." Thesis, Norwegian University of Science and Technology, Department of Telematics, 2006. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-10070.

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The Distributed Multimedia Plays (DMP) System Architecture provides combined adaptive scene resolution and traffic control in packet networks, see http://www.item.ntnu.no/~leifarne. This project focuses on adaptive scene composition declaration, specification and realisation, and comprises the following: * Review of 3D multiview, autostereoscopic object oriented audiovisual scenes theory and practice * Propose extensions to SMIL and SIP to handle adaptive composition of scenes consisting of distributed objects * Propose and demonstrate extensions to SMIL enabling 3D, transparency and custom shapes

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Vaskinn, Jens Einar Heide. "Composing end-user services." Thesis, Norwegian University of Science and Technology, Department of Telematics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-9922.

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Service composition is currently a very hot topic in the Service Oriented Computing area. End-user programming is one aspect of this. This thesis proposes one such end-user programming environment for telecom services where a user can create, edit and set up a self defined behaviours when e.g. receiving calls or sms. The environment consists of services which can be used to program the desired behaviour. Some useful service is defined and a xml representation of them has been worked out. The thesis takes a scenario based approach to this and uses different real life composition scenarios to shed light on several aspects of the programming interface and service composition e.g. creating compositions, combining compositions and constraints.

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Larner, Andrew Robert. "Composing for young choirs." Thesis, University of Kent, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587568.

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This submission is comprised of a variety of compositions for young choirs. Composing for such groups is distinct from composing for other ensembles.because the nature of the voice.is not static: it changes markedly during childhood and adolescence. General patterns of vocal development in childhood and adolescence are reflected in these compositions, with the aim of utilising young voices fully but avoiding making potentially damaging demands on them. The range of styles and some significant characteristics of the compositions are informed by other developmental factors: changes in listening preferences and the evidence of developing musical understanding demonstrated in young people's compositions. When young people listen to music, their openness to style first narrows and later broadens; when they compose music, different musical characteristics appear to be primary focal points of different stages in learning. These psychological factors can be compared with (variable) formants - the composer's task is to create music that can "resonate" with groups of young singers.
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Books on the topic "Composing"

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Graham, Donald W. Composing pictures. Los Angeles: Silman-James Press, 2009.

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Meyers, Alan. Composing experience. New York: HarperCollins Publishers, College Division, 1995.

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Panufnik, Andrzej. Composing myself. London: Methuen, 1987.

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Panufnik, Andrzej. Composing myself. London: Methuen London, 1987.

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Composers, Association of Professional, ed. Professional composing. London: Association of Professional Composers, 1993.

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Graham, Donald W. Composing pictures. Los Angeles: Silman-James Press, 2009.

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Composing research. Logan, Utah: Utah State University Press, 2000.

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Composing with confidence. 5th ed. New York: Addison Wesley Longman, 2000.

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Hollerbach, Serge. Composing in acrylics. New York: Watson-Guptill Publications, 1988.

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Meyers, Alan. Composing with confidence. 3rd ed. New York: HarperCollins College Publishers, 1993.

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Book chapters on the topic "Composing"

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Day, Trevor. "Composing." In Success in Academic Writing, 117–31. London: Macmillan Education UK, 2018. http://dx.doi.org/10.1057/978-1-352-00205-8_7.

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Maschke, Thomas. "Composing." In Digitale Bildbearbeitung, 126–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-642-18581-6_33.

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Day, Trevor. "Composing." In Success in Academic Writing, 105–19. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-0-230-36969-6_7.

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Boenn, Georg, Martin Brain, Marina De Vos, and John ffitch. "ANTON: Composing Logic and Logic Composing." In Logic Programming and Nonmonotonic Reasoning, 542–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04238-6_55.

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Finne, Sigbjørn, and Simon Peyton Jones. "Composing Haggis." In Programming Paradigms in Graphics, 85–101. Vienna: Springer Vienna, 1995. http://dx.doi.org/10.1007/978-3-7091-9457-7_7.

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Charpentier, Michel. "Composing Invariants." In FME 2003: Formal Methods, 401–21. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-45236-2_23.

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Benko, Igor, and Jo Ebergen. "Composing Snippets." In Concurrency and Hardware Design, 1–33. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-36190-1_1.

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Whitt, Phillip. "Composing Images." In Beginning Pixlr Editor, 99–113. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-2698-8_4.

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Freeman, Adam. "Composing Applications." In Pro React 16, 379–422. Berkeley, CA: Apress, 2019. http://dx.doi.org/10.1007/978-1-4842-4451-7_14.

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Zdanowicz, Gina, and Spencer Bambrick. "Composing Music." In The Game Audio Strategy Guide, 155–88. Title: The game audio strategy guide : a practical course / Gina Zdanowicz, Spencer Bambrick.Description: New York : Routledge, 2019.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351016438-11.

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Conference papers on the topic "Composing"

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Jones, Simon Peyton, Jean-Marc Eber, and Julian Seward. "Composing contracts." In the fifth ACM SIGPLAN international conference. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/351240.351267.

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Hengeveld, Bart. "Composing Interaction." In TEI '15: Ninth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2677199.2687915.

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Honda, Kohei. "Composing processes." In the 23rd ACM SIGPLAN-SIGACT symposium. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/237721.237802.

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Schmeling, Benjamin, Anis Charfi, and Mira Mezini. "Composing Non-functional Concerns in Composite Web Services." In 2011 IEEE International Conference on Web Services (ICWS). IEEE, 2011. http://dx.doi.org/10.1109/icws.2011.111.

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Melo, Iván, Mario Sánchez, and Jorge Villalobos. "Composing graphical languages." In the First Workshop. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2489812.2489816.

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Benvenuti, Luca, Alberto Ferrari, Emanuele Mazzi, and Alberto Sangiovanni Vincentelli. "Composing hybrid systems." In 2008 47th IEEE Conference on Decision and Control. IEEE, 2008. http://dx.doi.org/10.1109/cdc.2008.4739123.

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Foxwell, Iain, and Don Knox. "Composing with algorithms." In the 7th Audio Mostly Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2371456.2371468.

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Fox, David. "Composing magic lenses." In the SIGCHI conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/274644.274714.

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Cacho, Nelio, Claudio Sant'Anna, Eduardo Figueiredo, Alessandro Garcia, Thais Batista, and Carlos Lucena. "Composing design patterns." In the 5th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1119655.1119672.

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Dawson, Paula H. "Composing mosaic holograms." In Electronic Imaging 2004, edited by Tung H. Jeong and Hans I. Bjelkhagen. SPIE, 2004. http://dx.doi.org/10.1117/12.537952.

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Reports on the topic "Composing"

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Riemenschneider, Robert. Composing Megamodules and Megaprograms. Fort Belvoir, VA: Defense Technical Information Center, March 1998. http://dx.doi.org/10.21236/ada343011.

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Driskell, James E., Eduardo Salas, and Robert Hogan. A Taxonomy for Composing Effective Naval Teams. Fort Belvoir, VA: Defense Technical Information Center, March 1987. http://dx.doi.org/10.21236/ada187539.

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Hinrichs, Susan. A Compile Time Model for Composing Parallel Programs. Fort Belvoir, VA: Defense Technical Information Center, April 1994. http://dx.doi.org/10.21236/ada278896.

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Johra, Hicham. Thermal properties of building materials - Review and database. Department of the Built Environment, Aalborg University, October 2021. http://dx.doi.org/10.54337/aau456230861.

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The aim of this technical report is to present and give an overview of a dataset collecting the main thermo-physical properties of various common construction and building materials used in the built environment and composing elements of buildings and infrastructures. In addition, suggestions and recommendations are made for the thermo-physical properties of the materials composing the indoor content and furniture elements present in the built environment.
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Shneier, Michael O. Predicting Robot System Performance by Measuring and Composing Subsystem Attributes. National Institute of Standards and Technology, December 2015. http://dx.doi.org/10.6028/nist.ir.8091.

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Tuminaro, Raymond, Michael Crockatt, and Allen Robinson. Composing preconditioners for multiphysics PDE systems with applications to Generalized MHD. Office of Scientific and Technical Information (OSTI), September 2022. http://dx.doi.org/10.2172/1886757.

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Johra, Hicham. Thermal properties of common building materials. Department of the Built Environment, Aalborg University, January 2019. http://dx.doi.org/10.54337/aau294603722.

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The aim of this technical report is to provide a large collection of the main thermos-physical properties of various common construction materials and materials composing the elements inside the indoor environment of residential and office buildings. The Excel file enclosed with this document can be easily used to find thermal properties of materials for building energy and indoor environment simulation or to analyze experimental data. Note: A more recent version of that report and database are available at: https://vbn.aau.dk/en/publications/thermal-properties-of-building-materials-review-and-database
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Бережна, Маргарита Василівна. Psycholinguistic Image of Joy (in the Computer-Animated Film Inside Out). Psycholinguistics in a Modern World, 2021. http://dx.doi.org/10.31812/123456789/5827.

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The paper is focused on the correlation between the psychological archetype of a film character and the linguistic elements composing their speech. The Nurturer archetype is represented in the film Inside Out by the personalized emotion Joy. Joy is depicted as an antropomorphous female character, whose purpose is to keep her host, a young girl Riley, happy. As the Nurturer, Joy is completely focused on Riley’s happiness, which is expressed by lexico-semantic group ‘happy’, positive evaluative tokens, exclamatory sentences, promissive speech acts, and repetitions. She needs the feeling of connectedness with other members of her family, which is revealed by lexico-semantic groups ‘support’ and ‘help’. She is ready to sacrifice everything to save the girl in her care, which is demonstrated by modal verbs, frequent word-combination ‘for Riley’, and directives.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Lee, Max. Composite Materials. Fort Belvoir, VA: Defense Technical Information Center, September 1996. http://dx.doi.org/10.21236/ada316048.

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