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Dissertations / Theses on the topic 'Composing'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

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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2

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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3

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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4

Bergmans, Louis Marie Johannes. "Composing concurrent objects." Enschede : University of Twente [Host], 1994. http://doc.utwente.nl/58048.

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5

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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6

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

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7

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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8

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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9

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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10

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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Ramón, Bettina L. "Composing, gender, and composing gender : the construction of gender variances in online spaces /." View online, 2009. http://ecommons.txstate.edu/engltad/17.

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12

Anders, T. "Composing music by composing rules : design and usage of a generic music constraint system." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479240.

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13

BRAMANTORO, Arif. "Composing and Organizing Language Services." 京都大学 (Kyoto University), 2011. http://hdl.handle.net/2433/142129.

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14

Hazzard, Adrian. "Guidelines for composing locative soundtracks." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/31967/.

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This thesis investigates the composition of original adaptive musical soundtracks for locative walking activities such as cultural visiting, mobile games and urban, and nature walks; those semi-formal orchestrated walking experiences. This investigation views the ‘soundtrack’ – similarly to those typically found in ‘display’ media experiences such as films and computer games – as an accompaniment rather than the principal feature of the experience. Thus its role is to support and enhance the walking ‘narrative’. In order to best achieve this the soundtrack needs to be heard as congruent and embedded into the activity. This thesis is oriented towards the field of Human Computer Interaction (HCI) and also at composers of such soundtracks; reflecting the thesis’s intention to develop guidelines for locative soundtrack composition that draws upon detailed mappings between musical structure and spatial structure that drives the creation and experience of both. An initial study explored how a group of participants interpreted and responded to different musical features which adapted to their walking routes. This study revealed that participants formed a set of connections between the physical space and the musical structures. These findings were then used to motivate an in-the-field design, composition and deployment of a large-scale adaptive soundtrack for a public cultural visiting experience, which was subsequently experienced by a group of visitors. This study revealed that the soundtrack was considered congruent with the activity and was deeply engaging, quite distinct from a typical visit to this site. These research activities are reflected upon and discussed to distil a framework of guidelines for composing locative soundtracks that is generalizable to other settings and activities.
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15

Li, Wu-Hsi. "Musicpainter : a collaborative composing environment." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/46584.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.
Includes bibliographical references (p. 95-96).
This thesis presents the design and implementation of Musicpainter, a networked graphical composing environment that encourages sharing and collaboration within the composing process. Instead of building a computer-assisted composing tool, Musicpainter aims to provide a social environment where users can gather and learn from each other. Our approach is based on sharing and managing music creation in small and large scale. At the small scale, users are encouraged to begin composing by conceiving small musical ideas, such as melodic or rhythmic fragments, all of which are collected and made available to all users as a shared composing resource. The collection provides a dynamic source of composing material that can be directly reused and it inspires users with more ideas. At the large scale, users can access full compositions that are shared as open projects. Users can listen to and change any piece if they want. The system generates an attribution list on the edited piece and thus allows users to trace how a piece evolves in the environment. Shared resource and open projects form the foundation of the social environment, and they create an opportunity for users to compose in a collaborative manner. A pilot study is conducted to verify our design. Thirty users downloaded the program and contributed a total of 90 partial or complete compositions. The statistics of basic user usage, a summary of user survey, and an analysis of the compositions created by selected users are presented in the thesis.
Wu-Hsi Li.
S.M.
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16

CAPALDO, JENNIFER REBECCA. "ELIZABETH VERCOE: Composing Her Story." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1210798047.

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17

Capaldo, Jennifer Rebecca. "Elizabeth Vercoe composing her story /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1210798047.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisors: Barbara Paver (Advisor), Kenneth Griffiths (Committee Member), Mara Helmuth Dr. (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Vercoe; monodrama; feminism; biography; vocal; song cycle; voice Includes bibliographical references.
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18

Marland, Thomas Joseph. "COMPOSING SPACE IN MIXED MUSIC." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18006.

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The composition of mixed music involves numerous aesthetic and formal challenges; the opposition of the rich, unrestrained sounds of live orchestral instruments amalgamated with electroacoustic sources - which differ in material source, compositional approach, performance practice, and meaning – expose musical difficulties innate to the musical anatomy of each medium. This thesis and portfolio examines how these difficulties can be reconciled through “source-bonding”; a term defined by Denis Smalley as the predisposition of a listener to relate sounds to their physical source or cause, paired with a comprehensive investigation into how space, from a phenomenological perspective, can offer holistically perceptible source-bondings within mixed music. An examination of existing literature precedes a discussion on the fundamental dichotomies between instrumental and electroacoustic mediums, setting a contemporary context for mixed music research. This is succeeded by a discussion of how existing compositional listening approaches and philosophies can shape the perceived source-bondings of a listener, with specific regards to temporal and phenomenological considerations. The final part will consist of a mixed music composition portfolio, with accompanying commentary discussing how the perceived real and abstract aspects of source-bonded sounds can co-exist within these phenomenological spaces and consequently evoke meaning, relative to the listener’s interpretation and comprehension of the spatially integrated source-bondings.
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19

Fong, Chi-hang Colin. "Urban fugue composing the polyphonic travelscape /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B31987047.

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20

Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page. These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
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21

Herndon, Julie. "Composing music in the silent body." Thesis, Mills College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589453.

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This thesis explores holistic approaches to the performing body. Beginning with the inner world of sensation, I discuss Anna Halprin’s use of emotional geography and associative scoring in her community rituals. In Lawrence “Butch” Morris’ Conductions, I consider the body as score. And in an analysis of Sophia Gubaidulina’s symphony Stimmen… Verstummen…, I describe the use of gesture as it is functions to frame the body as a symbol of transformation. I then describe the affect of these representative methods of composing for the performing body as they manifest in own work, using specific examples from (de)attachment for saxophone quartet.

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22

Fong, Chi-hang Colin, and 方志恆. "Urban fugue: composing the polyphonic travelscape." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31987047.

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23

Borgatti, Sarah. "Composing madness| Realism in "Peter Grimes"." Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558521.

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The premiere of Benjamin Britten's opera Peter Grimes on June 7, 1945, at Sadler's Wells Theatre, reverberated throughout London and quickly spread beyond the city to permanently impact postwar audiences. The success of the opera was chiefly due to Britten's ability to fine–tune a specific kind of realism in portraying Grimes's descent into madness. This thesis examines the way in which Britten tackles the difficult task of composing an opera centered on a “sadistic fisherman.” After a reading of the Act III mad scene, it describes how the character of Peter Grimes was shaped both dramaturgically and visually through a highly collaborative process. Finally, a short review of the opera's early reception confirms that its impact on contemporary audiences cannot be reduced to mere empathy for the eponymous anti–hero and his psychic demise. The complex dialectics of realistic premises and operatic conventions endowed the work with the potential to create a safe space in which to consider the recent horrors and utter devastation of World War II. More generally, this thesis proposes that by offering these distinct spaces for introspection, opera has the significant potential not only to teach us about our own past, but also to shape our ability to act in the future.

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Dodd, Rose. "Electroacoustic and instrumental music : composing knowingly." Thesis, University of Huddersfield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431522.

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Coley, Sarah. "Composing darkness : writing out of silence." Thesis, University of Liverpool, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321159.

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26

Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.

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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions. Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach. Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability. This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.
Doctor of Philosophy
In this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.
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Mack, Nancy Geisler. "False consciousness and the composing process /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267024997939.

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Johnson, Gavin P. "Queer Possibilities in Digital Media Composing." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158816717940897.

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McGuire, Paul. "Composing with an expanded instrumental palette." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/12690.

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This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral palettes of musical instruments have been expanded through unconventional physical manipulation. The written commentary presents, in detail, specific examples of how this has been achieved. Alongside descriptions of the work in question, select aspects of other composers' music that approach a similar aesthetic are also referred to. In addition, the fundamental role technology has played in the creation or realisation of certain pieces is addressed. Also included are descriptions of the various customised notational systems used throughout the portfolio. It is outlined how each of these systems has been constructed in a clear and practical manner and, where possible, has incorporated elements derived from the lingua franca in order to communicate the required information as efficiently as possible to the performers.
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Mason, Julia L. "Net/Work: Composing the Posthuman Self." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002513.

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Nattress, Veronica. "The composing processes of L2 writers." Thesis, Hong Kong : University of Hong Kong, 1986. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035267.

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Bridges, Patrick G. "Composing and coordinating adaptations in Cholla." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/289844.

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Adaptation is an increasing important attribute for software that must operate well in changing environments, such as those encountered by mobile devices connected by wireless networks. However, adaptive software can be difficult to design, implement, and build, especially in systems with multiple adaptable components on multiple machines. A key challenge in such systems is coordinating adaptation across components, whether these components on located on the same or different machines. Without such coordination, for example, components may adapt in inconsistent or incompatible ways, leading to instability or poor performance. In addition, customizing adaptation policies to match the demands of the system and constructing testbeds are also difficult. This dissertation describes Cholla, a framework for implementing adaptation in configurable networked software. Cholla addresses the challenges of inter-component coordination on a single machine and can be used along with existing techniques to implement coordination across machines. In addition, Cholla extends the benefits of configurable software to adaptation by allowing the policies that control adaptation to be constructed in a configurable manner. This allows the control logic to be analyzed, customized, and composed in ways that would be difficult at best in other systems. A prototype implementation of Cholla that uses Cactus, a system for building highly configurable network protocols and services, is also presented. Two example applications are presented to demonstrate the effectiveness of Cholla: a multimedia transmission system and a configurable proxy for wireless networks. Both applications use CTP, a Cactus-based configurable transport protocol, and are structured in such a way that Cholla controls adaptive behavior in both CTP and between CTP and the application. Experimental results show that approach is the effective, especially in cases where adaptation mechanisms are limited and system behavior is very sensitive to adaptation choices. Finally, this dissertation describes a WaveLAN emulator that allows the testing of adaptable software for wireless systems without constructing a complete hardware testbed. While the emulator can only provide accurate results under light network loads, it is nonetheless useful for emulating the dynamic nature of connectivity in low latency wireless networks.
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Barden, Mark. "Composing in and through the body." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20546/.

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This commentary investigates role of the body in the composition, performance, and audition of the author's musical works included in the portfolio. Starting from Jean-Jacques Nattiez's model of the three-part 'total musical fact', this text describes how the compositional research both adheres to this model and attempts to transcend it through the body. It examines notational strategies that target performing or perceiving bodies, the use of physical and perceptual thresholds, the somatic experience of the composer at various stages throughout the compositional process, and the structuring of the listening environment. Human error and expressive failure are cited as means through which performing bodies forge collectivities with the audience, thereby exemplifying the queer utopian aesthetics described by José Esteban Muñoz and Judith/Jack Halberstam, especially as relates to the notion of hopeful exertion. The staging of absence is examined through various types of embodied engagements with musical material, highlighting the tendency of imminent physicality to draw perceptual focus away from material—an 'avalanche' that can all-too-easily elide the composer's 'fingerprint', in the language of Max Murray. Extended instrumental techniques, the use of electronics, and the genre of performance-installation are also discussed in terms of their relationship to the bodies of the composer, the musician, and the listener. Phenomena such as composed and field-recorded forms of metastasis and masking are addressed for their prioritization of perceptual responses in the listener above material or formal development. Given that all perceived sound is necessarily mediated through bodies (at the latest, through listeners' ears), this commentary and these compositions seek to concentrate awareness—vigilantly and in a number of specific ways—on the beauty and inherent transformative potential of this ever-present reality.
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Cross, Megan D. "Exploring Young Children’s Digital Composing Practices." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7490.

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This study explored the many layers involved in young children’s meaning-making as they digitally compose. Utilizing a multimodal, social semiotics theoretical framework to analyze children’s digital compositions using a composing app, this study was designed around one research question: What is the nature of three and four-year-old children’s multimodal meaning making while using a composing app? The qualitative study involved four focal participants from a three- and four-year-old classroom, who attended an inquiry-based lab school in the southeastern United States. The data were collected over a period of eight weeks, where the children were invited to tell their stories using a digital composing app on an iPad. Utilizing a naturalistic observational approach, the composing events were video-recorded and transcribed, capturing both what happened on and off the screen. Utilizing a multimodal analysis, the findings revealed multiple layers in young children’s compositional expression and exposed the importance of how compositions evolve. The affordances of digital tools offered opportunity for children to build layers of meaning and for those layers to be captured in ways not necessarily available before.
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Harper, Kathy Ruth. "Composing as meaning-making: An examination of third-grade students' composing strategies and behaviors across curricular areas /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660932362.

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Barhamgi, Mahmoud. "Composing DaaS web services : application to eHealth." Thesis, Lyon 1, 2010. http://www.theses.fr/2010LYO10164.

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Dans cette thèse, nous intéressons à l'automatisation de la composition de service Web d'accès aux données (i.e. DaaS Data-gs-g-S..ervice Web services) pour les besoins de partage de données dans les environnements distribués. La composition de service Web permet de répondre aux besoins d'un utilisateur ne pouvant être satisfaits par un seul Web service, alors qu'une intégration de plusieurs le permettrait. La motivation principale de notre travail est que les méthodes de composition, telles qu'elles sont appliquées aux services Web traditionnels (i.e. AaaS Application-as-a-Service Web services), ne permettent pas de prendre en compte la relation sémantique entre les entrées/sorties d'un service Web d'accès aux données, et en conséquence, elles ne sont pas adaptées pour composer les services Web d'accès aux données. Dans ce travail de thèse, nous proposons d'exploiter les principes de base des systèmes d'intégration des données pour composer les services Web d'accès aux données. Plus précisément, nous modélisons les services Web d'accès aux données comme des vues sur des ontologies de domaine. Cela permet de représenter la sémantique d'un service d'une manière déclarative en se basant sur des concepts et des relations dont les sémantiques sont formellement définies dans l'ontologie de domaine. Ensuite, nous utilisons les techniques de réécriture des requêtes pour sélectionner et composer automatiquement les services pour répondre aux requêtes des utilisateurs. Comme les services Web d'accès aux données peuvent être utilisés pour accéder à des données sensibles et privées, nous proposons également un mécanisme basé sur la modification des requêtes pour préserver la confidentialité des données. Ce mécanisme modifie les requêtes en se basant sur des politiques de confidentialité avant leur résolution par 1' algorithme de composition, et il prend en considération les préférences des utilisateurs quant à la divulgation de leurs données privées. Le principal domaine d'application de notre approche est le domaine d'e-santé, où les services Web d'accès aux données sont utilisés pour partager les dossiers médicaux des patients
In this dissertation, we propose a novel approach for the automatic composition of DaaS Web services (DaaS Data-gs-g-S.ervice Web services). Automatic DaaS Web service composition requires dealing with three major research thrusts: (i) describing the semantics of DaaS Web services, (ii) selecting and combining relevant DaaS Web services, and (iii) generating composite service descriptions (i.e. the compositions' plans). We first propose to model DaaS Web services as RDF views over domain ontologies. An RDF view allows capturing the semantics of the associated DaaS Web service in a "declarative" way based on concepts and relationships whose semantics are formally defined in domain ontologies. The service description files (i.e. WSDL files) are annotated with the defined RDF views using the extensibility feature of the WSDL standard. We then propose to use query rewriting techniques for selecting and composing DaaS Web services. Specifically, we devised an efficient RDF-oriented query rewriting algorithm that selects relevant services based ontheir defined RDF views and combines them to ans~wer a posed query. It also generates an execution plan for the obtained composition/s. Our algorithm takes into account the RDFS semantic constraints (i.e. "subClassOf", "subPropertyOf", "Domain" and "Range") and is able to address both specifie and parameterized queries. Since DaaS Web services may be used to access sensitive and private data; we also extended our DaaS service composition approach to handle data privacy concems. Posed queries are modified to accommodate pertaining privacy conditions from data privacy policies before their resolution by the core composition algorithm. Our proposed privacy preservation model takes user' s privacy preferences into account
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Pitkin, Jonathan. "Composing experiences : creating expectations with developmental processes." Thesis, Royal College of Music, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576925.

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Gorton, David Mark. "Playing with time : composing with temporal structures." Thesis, Royal Academy of Music (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412408.

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Melia, Nicholas. "The Work of Silence : Composing without Sound." Thesis, University of East Anglia, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521027.

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Lieberman, Eric (Eric W. ). "Facemail : preventing common errors when composing email." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36804.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2006.
Includes bibliographical references (p. 85-86).
Facemail is a system designed to investigate and prevent common errors that users make while composing emails. Users often accidentally send email to incorrect recipients by mistyping an email address, accidentally clicking "Reply-to-all" rather than just "Reply", or using the wrong email address altogether. Facemail is a user interface addition to an email client that provides the user with more information about the recipients of their email by showing their actual faces. This form of information is much more usable than the simple text in current displays, and it allows the user to determine whether his email is going to the correct people with only a glance. This thesis discusses the justification for this system, as well as the challenges that arose in making it work. In particular, it discusses how to acquire images of users based on their email address, and how to interact with lists, both in learning their members as well as displaying them to the user. This thesis discusses how Facemail fits into current research as well as how its ideas could be expanded into further research.
by Eric Lieberman.
M.Eng.
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Schärli, Nathanael. "Traits : composing classes from behavioral building blocks /." [S.l.] : [s.n.], 2005. http://www.zb.unibe.ch/download/eldiss/05schaerli_n.pdf.

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Johnson, Carol Brosnahan Irene. "The composing processes of six ESL students." Normal, Ill. Illinois State University, 1985. http://wwwlib.umi.com/cr/ilstu/fullcit?p8514773.

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Thesis (D.A.)--Illinois State University, 1985.
Title from title page screen, viewed June 8, 2005. Dissertation Committee: Irene Brosnahan (chair), Ronald Fortune, Sandra Metts, Russell Rutter, Maurice Scharton. Includes bibliographical references (leaves 125-130) and abstract. Also available in print.
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Kulezić-Wilson, Danijela. "Composing on screen : the musicality of film." Thesis, Ulster University, 2005. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421772.

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Faleatua, Andrew Keleva. "Composing Identities: Charting Negotiations of Collaborative Composition." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21625.

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Polynesian artists who fuse popular music with traditional Polynesian musical elements have been celebrated by a range of scholars for establishing transcultural alliances and expanding the scope of Polynesian cultural expression. Yet a predominant focus in this discourse on the political and social resonance of fixed recordings and public performances has left relatively unexplored negotiations of cultural expectation and musical vision that occur during the formation/design period of these works. In this thesis I undertake a real-time investigation into the collaborative development of three sets of musical works that fuse popular and traditional musical genres in order to reveal the multiple mindsets and philosophical stances Polynesian musicians slip into and out of as a matter of course during the negotiation of transcultural music. I begin by illuminating the range of sonic positions contemporary Polynesian artists have staked out across a large body of recorded material and then document the collaborative development of my own composition portfolio in which I have threaded the melodic and harmonic language of contemporary jazz and pop through a series of traditional Polynesian rhythmic frameworks. Analysis of the development of these works reveals a constantly shifting hierarchy of concerns amongst participants related to cultural authenticity, audience expectations, musical reach, and aesthetic taste. Such findings reveal that artists assume multiple and at times conflicting ideological and aesthetic positions as they forge transcultural musical works, and foregrounds the importance of examining what goes on ‘behind the scenes’ as we seek to better understand what transcultural Polynesian music means to those who make it.
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Scott, Stuart Odean. "The slaying of the innocents : a relational treatise on composition and conducting." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/484783.

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This dissertation is presented in two parts. The first part is a look at the composer-conductor through the composition, preparation, rehearsal, and performance of the work, The Slaying of the Innocents. The second part is an analysis of the insights each of the two disciplines provides the other, and the influences each may have on the other. Although the dissertation represents the basic and larger concepts of each composer-conductor, it is not intended to represent all thoughts of all composer-conductors, for these would be different for each individual.The major part of the text for the The Slaying of the Innocents is taken from the medieval miracle play, Herod and the Slaying of the Innocents. This play was originally written as a liturgical drama, and was later set to music as a music-drama. The identities of the playwrite and composer are unknown. However, three transcriptions of the music drama were found and used as text references for this dissertation. These transcriptions or editions are by Fletcher Collins Jr., Terence Bailey, and Noah Greenburg and William L. Smoldon. Other texts which were used in preparing this work include: parts of the Dies Irae sequence from the text and tune of the Coventry Carol.The Slaying of the Innocents, is composed for three choirs of mixed voices, a double brass quintet, a handbell choir, an organ, and a tenor soloist. Choir I sings primarily in English, is accompanied by the double brass quintet and organ, and conveys the major part of the story Choir II sings primarily in Latin, is accompanied by the handbell choir, and generally comments on the story. Choir III participates only in the final movement, singing the Coventry Carol in English. The solo tenor represents Herod, king of the Jews. He sings exclusively in English and shares the story line with Choir I.The Slaying of the Innocents provides the background to discuss the relationship between composition and conducting. Chapter one examines the term composer-conductor. This definition provides a reference for the second chapter, which is a brief but representative history of the composer-conductor and his changing function throughout history. The third chapter examines the composer-conductor from the conducting discipline, and how it might influence composing. These insights include: performing forces, acoustics, Requiem Mass, a setting of the Ave Maris Stella text, and the accessibility of the music, and audience factors. Chapter three discusses these insights in general and as they pertain to the composition of The Slaying of the Innocents,. The fourth chapter examines the composer-conductor from the composing discipline, and how it might influence conducting. These insights include: placement of performing forces, appropriate tempi, balance considerations, and a composer's understanding of the score. Chapter four presents these insights in general and as they pertain to the preparation, rehearsal, and performance of The Slaying of the Innocents. Chapter four also presents an interpretation of the work from the perspective of the composer. Obviously, some of the concepts discussed in both chapters three and four would normally fall into the disciplines of both the composer and the conductor. It is interesting, however, to examine the two perspectives and how the perspective of one discipline influences the perspective and performance of the other.
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Ramskill, R. D. "A composer's search for a distinctive voice in an era of musical diversity." Thesis, Coventry University, 2009. http://curve.coventry.ac.uk/open/items/055dca33-3667-66e2-3e96-1c3864ed3127/1.

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The output submitted in this portfolio manifests the composer’s search for a distinctive voice in an era of musical diversity. From my total output of some sixty original compositions (see Appendix 2 on page 71) seven have been selected for inclusion here. The reasons for their selection will be explained more fully in later sections of this overview but I feel it would be helpful to outline briefly the thinking behind their selection at the outset. Essentially the first three compositions here are works that I consider to be mature and successful ones despite the fact that they each inhabit a very different sound world from the others to the extent that the listener might, with some justification, doubt that they could have been written by the same composer. Their very lack of any hint of a unified line of progression from one work to the next graphically demonstrates the point, to be further developed later, that the process of sifting through potential compositional influences with a view to developing one’s own original voice is often more protracted and difficult for composers active from around the mid-point of the 20th century onwards than it was for earlier generations of composers. In the past young composers would make their first attempts within a comparatively settled musical environment in which there would be at least some semblance of agreement about what musical techniques and forms would represent the ‘norm’. The first three compositions in the portfolio epitomise three very different possible routes I had been investigating as part of the ‘sifting’ process mentioned above. The remaining four compositions have then been selected to demonstrate how a synthesis of these contrasting approaches was attempted and, in my view, successfully achieved. The table overleaf summarises the stylistic issues involved.
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Tanaka, Masahiro. "Composing and Supervising Language Services on the Internet." 京都大学 (Kyoto University), 2009. http://hdl.handle.net/2433/123847.

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Ishii, Hiromi. "Composing electroacoustic music relating to traditional Japanese music." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8488/.

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Throughout the history of Japanese contemporary music composers have been exploring ways to merge Western-style art music and their original, traditional Japanese music. Although in the past compositions which applied expressions of traditional Japanese music to Western-style music were partly successful, ensembles of Western and Japanese instruments often resulted in a serious mismatch. The starting point of this paper is this experience of Japanese contemporary music. It insists that, while the cause is composers' ignorance of the difference in musical parameters between the two musics, those of electroacoustic music can be compatible with Japanese musical tradition in spite of its background in Western culture, because the most developed genre of Japanese music is timbre-dominant. This research examines, from the viewpoint of electroacoustic composition, the musical parameters, acoustical structure and sound aesthetics of traditional Japanese music, and explores the compositional strategy of live electronics for these non-Western instruments, applying them to acousmatic composition.
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Ng, King-pan, and 伍敬彬. "Composing for chinese instrumental ensemble : a practitioner's perspective." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/197560.

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This thesis aims to offer a practitioner’s perspective of composition for the Chinese instrumental ensemble of the twenty-first century. Chinese instrumental music composition has appeared in the concert hall in China since the beginning of the twentieth century. Modeled on western classical music, modern Chinese instrumental music has undergone a series of development and reformation that aimed to merge the Chinese and western musical ideas and techniques. The very role of the composer and the notion of concert-hall practice were being emphasized, whereas various ingrained characters of traditional instruments, such as music-making conventions, instrumentation preferences, and certain ideology behind timbre, were overshadowed. Also attributed to such nature of Chinese instrumental music is that composers and performers are often in a quandary when juggling Chinese instrumental music conventions with a mindset framed by western classical music. Furthermore, in the current globalized/globalizing culture, Chinese instrumental composition is propelled by manifold musical influences. I intend to share the insight and to document the first-hand information acquired through the composition processes from a composer’s perspective. My sharing and documentation focus on the issues of incorporating idiomatic music materials from various Chinese instruments into original compositions, as well as on several matters concerning rehearsals and performances. Including six chapters, this thesis anthologizes six original works and discusses the composition strategies relevant to the distinctive instrumental combination of each. Chapter 1 presents an adaptation of a western symphonic poem for modern Chinese orchestra. Chapters 2 and 3 illustrate respectively a composition for a large Chinese wind and percussion ensemble and a composition for a large plucked-string ensemble. Chapters 4 and 5 cover two pieces of contrasting instrumentation, namely a mixed ensemble of fourteen instruments and a huqin sextet. Chapter 6 is about a multimedia composition with electronic soundtrack and installation art for seven players.
published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Petersen, Kjell Yngve. "A dramaturgy of intermediality : composing with integrative design." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2506.

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The thesis investigates and develops a compositional system on intermediality in theatre and performance as a dramaturgical practice through integrative design. The position of the visual/sonic media in theatre and performance has been altered by the digitalisation and networking of media technologies, which enables enhanced dynamic variables in the intermedial processes. The emergent intermediality sites are made accessible by developments in media technologies and form part of broader changes towards a mediatised society: a simultaneous shift in cultural contexts, theatre practice and audience perception. The practice-led research is situated within a postdramatic context and develops a system of compositional perspectives and procedures to enhance the knowledge of a dramaturgy on intermediality. The intermediality forms seem to re-situate the actual/virtual relations in theatre and re-construct the processes of theatricalisation in the composition of the stage narrative. The integration of media and performers produces a compositional environment of semiosis, where the theatre becomes a site of narration, and the designed integration in-between medialities emerges as intermediality sites in the performance event. A selection of performances and theatre directors is identified, who each in distinct ways integrate mediating technologies as a core element in their compositional design. These directors and performances constitute a source of reflection on compositional strategies from the perspective of practice, and enable comparative discussions on dramaturgical design and the consistency of intermediality sites. The practice-led research realised a series of prototyping processes situated in performance laboratories in 2004-5. The laboratories staged investigations into the relation between integrative design procedures and parameters for composition of intermediality sites, particularly the relative presence in-between the actual and the virtual, and the relative duration and distance in-between timeness and placeness. The integration of performer activities and media operations into dramaturgical structures were developed as a design process of identifying the mapping and experiencing the landscape through iterative prototyping. The developed compositional concepts and strategies were realised in the prototype performance Still I Know Who I Am, performed October 2006. This final research performance was a full-scale professional production, which explored the developed dramaturgical designs through creative practice. The performance was realised as a public event, and composed of a series of scenes, each presenting a specific composite of the developed integrative design strategies, and generating a particular intermediality site. The research processes in the performance laboratories and the prototype performance developed on characteristics, parameters and procedures of compositional strategies, investigating the viability of a dramaturgy of intermediality through integrative design. The practice undertaken constitutes raw material from which the concepts are drawn and underpins the premises for the theoretical reflections.
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