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Journal articles on the topic 'Composing'

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Published: 4 June 2021
Last updated: 21 February 2023

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1

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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2

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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3

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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4

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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5

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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6

Waldrop, Rosmarie. "Composing Stick." Grand Street, no. 53 (1995): 258. http://dx.doi.org/10.2307/25007908.

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7

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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8

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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9

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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10

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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11

Erickson, Robert. "Composing Music." Perspectives of New Music 26, no. 2 (1988): 86. http://dx.doi.org/10.2307/833187.

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12

Swarts, Jason. "Composing Networks." Written Communication 33, no. 4 (September 24, 2016): 385–417. http://dx.doi.org/10.1177/0741088316666807.

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13

Charpentier, Michel. "Composing invariants." Science of Computer Programming 60, no. 3 (May 2006): 221–43. http://dx.doi.org/10.1016/j.scico.2005.08.001.

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14

Watson, Aaron. "Composing Avebury." World Archaeology 33, no. 2 (January 2001): 296–314. http://dx.doi.org/10.1080/00438240120079307.

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15

Ciardelli, Ivano, Floris Roelofsen, and Nadine Theiler. "Composing alternatives." Linguistics and Philosophy 40, no. 1 (October 25, 2016): 1–36. http://dx.doi.org/10.1007/s10988-016-9195-2.

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16

Abadi, Martín, and Leslie Lamport. "Composing specifications." ACM Transactions on Programming Languages and Systems 15, no. 1 (January 1993): 73–132. http://dx.doi.org/10.1145/151646.151649.

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17

Soulez, Antonia, and Horacio Vaggione. "Composing, listening." Contemporary Music Review 24, no. 4-5 (October 2005): 335–37. http://dx.doi.org/10.1080/07494460500172196.

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18

Fleming, James Dougal. "Composing 1629." Milton Quarterly 36, no. 1 (March 2002): 20–33. http://dx.doi.org/10.1111/1094-348x.00027.

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19

Graham-Hannah, Dorothy Jean, Eloise Balasco Cathcart, Linda Honan-Pellico, and Judith Kunisch. "Composing growth." Nursing Management (Springhouse) 48, no. 6 (June 2017): 40–45. http://dx.doi.org/10.1097/01.numa.0000515795.72097.e3.

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20

Peyton Jones, Simon, Jean-Marc Eber, and Julian Seward. "Composing contracts." ACM SIGPLAN Notices 35, no. 9 (September 2000): 280–92. http://dx.doi.org/10.1145/357766.351267.

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21

Segré, Daniel, and Doron Lancet. "Composing life." EMBO reports 1, no. 3 (September 2000): 217–22. http://dx.doi.org/10.1093/embo-reports/kvd063.

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22

Platte, Nathan. "Composing Himself." Journal of Film Music 9, no. 1-2 (February 24, 2022): 107–20. http://dx.doi.org/10.1558/jfm.21421.

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The beginning of Steiner’s Hollywood career is typically overlooked in studies of the composer, in part because scrutiny of his work hinges on film scores attached to celebrated films. This article argues that Steiner’s initial years are vital in understanding how a former Broadway music director exploited musical opportunities in Hollywood to develop a new career profile grounded in composition. Through his eclectic labors at RKO Radio Pictures and his connections with commentators in the trade press, Steiner formed a new and necessary position that extended beyond the arranging of numbers for musicals to the composition of incidental music for films of various genres.
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23

Asia, Daniel. "Composing History." Academic Questions 30, no. 2 (April 29, 2017): 232–36. http://dx.doi.org/10.1007/s12129-017-9626-8.

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24

Macgill, Andrew. "Composing in the School: Composing for the School." British Journal of Music Education 5, no. 1 (March 1988): 35–43. http://dx.doi.org/10.1017/s0265051700006318.

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This article describes some of the experiences of, and lessons learnt by a composer working as Head of Music in a secondary school. The article highlights in particular aspects which are considered to be of value to teachers and other colleagues now embarking on a new era of musical education in schools, notably aspects relevant to the composing component in public examinations. The text includes details of a recording of newly composed music.
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25

Flynn, Elizabeth A. "Composing "Composing as a Woman": A Perspective on Research." College Composition and Communication 41, no. 1 (February 1990): 83. http://dx.doi.org/10.2307/357885.

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26

Ryan, David. "De-Composing Opera/Re-Composing Listening: John Cage's Europeras." Leonardo Music Journal 9 (December 1999): 121. http://dx.doi.org/10.1162/lmj.1999.9.121a.

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27

Berkley, Rebecca. "Teaching composing as creative problem solving: conceptualising composing pedagogy." British Journal of Music Education 21, no. 3 (November 2004): 239–63. http://dx.doi.org/10.1017/s026505170400587x.

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This article reports on a school-based research project into teaching composing at GCSE, setting this alongside a review of the literature. It suggests that research into cognition in composing in school students and teaching composing within a school context may be synthesised by understanding composing as problem solving. Composing is described as knowledge-rich, complex, multiple and creative problem solving, requiring the development of skills of hypothesis and verification in students. A series of case studies of individual teachers is analysed using Bernstein's framework for coding knowledge in the curriculum. Research data presented suggest that although there is significant variation in the practice of individual teachers, teaching composing is characterised in the main activities of instruction and training in composing skills and knowledge; management of a positive creative learning environment; and facilitation of ownership, autonomy and authority in students. The article concludes by suggesting that conceptualising teaching composing as problem solving enables music educators to rationalise the specific demands of the curriculum context in which they are operating by providing students with a framework for cognitive development in composing.
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28

Lei, Zheng, Wei Min Zuo, Bao Fu Feng, and Jun Tan Yuan. "A Technical Study of Hole Drilling in Ceramics/FRP Laminate Composite Components." Advanced Materials Research 97-101 (March 2010): 1965–70. http://dx.doi.org/10.4028/www.scientific.net/amr.97-101.1965.

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Drilling process of the ceramic composite component (ceramics/FRP/aluminum alloy), as an example of similar ceramics/FRP laminate composite components, was studied intensively. According to the diverse machining properties of the composing materials of ceramic composite components, the special thinwall diamond core bit was developed, with copper based matrix of complex alloy and hot pressing process. Through machining competitive experiments, the feeding mode with constant pressure was determined. After analyzing the diverse hole defects, the process equipment with compressive pre stress was introduced to improve the hole drilling quality, with good validity proved theoretically by the finite element analysis and on this condition, water can be used as the coolant. The process technology presented in this paper can be used for hole drilling in similar composite components made of the same composing materials.
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29

Pickering, Samuel. "Composing a Life." College English 47, no. 3 (March 1985): 289. http://dx.doi.org/10.2307/376779.

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30

Barclay, Katie. "Composing the Self." Cultural and Social History 7, no. 3 (September 2010): 337–53. http://dx.doi.org/10.2752/147800410x12714191853300.

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31

Leiner, George H. "Composing the Soul." New Nietzsche Studies 3, no. 3 (1999): 103–7. http://dx.doi.org/10.5840/newnietzsche199933/416.

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32

Hutchinson, Derek A., and M. Shaun Murphy. "Composing Lives Alongside." International Journal of Bias, Identity and Diversities in Education 6, no. 2 (July 2021): 1–14. http://dx.doi.org/10.4018/ijbide.2021070101.

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Drawing on a broader narrative inquiry into the curriculum making of participants who compose identities dissonant with dominant stories of gender and sexuality, this article explores the shaping influence of the social (relationships, communities, and contexts) in one participant's life story around sexuality from a curricular perspective. The term curriculum making represents an ongoing process through which individuals make sense and meaning of experience, position curriculum broadly as a course of life, and shift notions of curriculum and curriculum making beyond the bounds of school. Individuals engage in identity making as they make sense of themselves in relation to their curriculum making, narratively understood as the composition of stories to live by. This inquiry highlights the ways that life stories are composed alongside, connected to, and shaped by other people and draws the attention of educators to the complex lives unfolding in schools.
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33

Quinto, Lena, and William Forde Thompson. "Composing by Listening." International Journal of Synthetic Emotions 3, no. 2 (July 2012): 48–67. http://dx.doi.org/10.4018/jse.2012070103.

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Most people communicate emotion through their voice, facial expressions, and gestures. However, it is assumed that only “experts” can communicate emotions in music. The authors have developed a computer-based system that enables musically untrained users to select relevant acoustic attributes to compose emotional melodies. Nonmusicians (Experiment 1) and musicians (Experiment 3) were progressively presented with pairs of melodies that each differed in an acoustic attribute (e.g., intensity - loud vs. soft). For each pair, participants chose the melody that most strongly conveyed a target emotion (anger, fear, happiness, sadness or tenderness). Once all decisions were made, a final melody containing all choices was generated. The system allowed both untrained and trained participants to compose a range of emotional melodies. New listeners successfully decoded the emotional melodies of nonmusicians (Experiment 2) and musicians (Experiment 4). Results indicate that human-computer interaction can facilitate the composition of emotional music by musically untrained and trained individuals.
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34

Golomb, Jacob. "Composing the Soul." International Studies in Philosophy 29, no. 4 (1997): 134–35. http://dx.doi.org/10.5840/intstudphil1997294123.

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35

Whalen, David M. "“Composing the Imperfect”." Ben Jonson Journal 2, no. 1 (January 1995): 129–41. http://dx.doi.org/10.3366/bjj.1995.2.1.8.

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36

Daniell, Beth. "Composing (As) Power." College Composition and Communication 45, no. 2 (May 1994): 238. http://dx.doi.org/10.2307/359009.

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37

Outka, P. "(De)composing Whitman." Interdisciplinary Studies in Literature and Environment 12, no. 1 (January 1, 2005): 41–60. http://dx.doi.org/10.1093/isle/12.1.41.

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38

Badley, Graham Francis. "Composing Academic Identities." Qualitative Inquiry 22, no. 5 (December 16, 2015): 377–85. http://dx.doi.org/10.1177/1077800415615845.

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39

Fagin, Ronald, Phokion G. Kolaitis, Lucian Popa, and Wang-Chiew Tan. "Composing schema mappings." ACM Transactions on Database Systems 30, no. 4 (December 2005): 994–1055. http://dx.doi.org/10.1145/1114244.1114249.

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40

DeRose, Tony D. "Composing Bézier simplexes." ACM Transactions on Graphics 7, no. 3 (July 1988): 198–221. http://dx.doi.org/10.1145/44479.44482.

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41

Kirby, Jenn. "Composing Perceivable Time." Leonardo 48, no. 1 (February 2015): 6–12. http://dx.doi.org/10.1162/leon_a_00931.

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Time is an integral element in music. The chronometric duration of a piece of music often differs from the duration perceived by the listener. This paper presents a composition that aims to manipulate the listener’s perception of time and presents the research findings that influenced the compositional decisions.
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42

Herold, Ken. "Introduction: Composing Information." Library Trends 63, no. 3 (2015): 315–16. http://dx.doi.org/10.1353/lib.2015.0003.

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43

Ziv, Ofri, Alex Aiken, Guy Golan-Gueta, G. Ramalingam, and Mooly Sagiv. "Composing concurrency control." ACM SIGPLAN Notices 50, no. 6 (August 7, 2015): 240–49. http://dx.doi.org/10.1145/2813885.2737970.

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44

Eugster, Patrick, and Sebastien Vaucouleur. "Composing atomic features." Science of Computer Programming 63, no. 2 (December 2006): 130–46. http://dx.doi.org/10.1016/j.scico.2006.05.007.

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45

Kosunen, Ilkka, and Aleksander Väljamäe. "Designing symbiotic composing." Acoustical Science and Technology 41, no. 1 (January 1, 2020): 322–25. http://dx.doi.org/10.1250/ast.41.322.

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46

Fox, Christopher. "TIME, HISTORY, COMPOSING." Tempo 72, no. 286 (September 6, 2018): 64–72. http://dx.doi.org/10.1017/s0040298218000360.

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AbstractThis article is based on a lecture given on 28 April 2018 as the keynote address at the inaugural conference of CenM@S, the Centre for New Music at Sheffield University. It offers a series of reflections on time and musical composition, time being considered both in the sense of history – our present sense of the past – and experiential time as we listen to music. Specific reference is made to the author's Canti del carcere (2012–18) and the texts by Gramsci and Dante that are set in these madrigals, each of which is also concerned with the passage of time and the ways in which ideas become consolidated. Ideas of time and history in the music of Cage, Nono and Feldman are also considered.
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47

Heijmans, H. J. A. M. "Composing morphological filters." IEEE Transactions on Image Processing 6, no. 5 (May 1997): 713–23. http://dx.doi.org/10.1109/83.568928.

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48

Flenady, Liam. "Composing musical branes." Directions of New Music, no. 1 (February 14, 2017): 1–20. http://dx.doi.org/10.14221/dnm.i1/3.

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49

McKinley, P. K., S. M. Sadjadi, E. P. Kasten, and B. H. C. Cheng. "Composing adaptive software." Computer 37, no. 7 (July 2004): 56–64. http://dx.doi.org/10.1109/mc.2004.48.

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50

Hall, Matthew. "Composing in Public." Journal of Adolescent & Adult Literacy 59, no. 3 (July 14, 2015): 309–18. http://dx.doi.org/10.1002/jaal.465.

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