Relevant bibliographies by topics / Composition (Language arts)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Composition (Language arts)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Composition (Language arts)"

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Pacheco, Mark B., Blaine E. Smith, and Stephanie Carr. "Connecting Classrooms and Communities with Language and Technology: A Multimodal Code-Meshing Project." Voices from the Middle 24, no. 3 (March 1, 2017): 63–67. http://dx.doi.org/10.58680/vm201728998.

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The authors explore how students in an English language arts class connect their classroom to their communities through creating digital projects that leverage multiple languages and multimodal composition in a process they call “multimodal code-meshing”—. Drawing from student examples, teachers detail how multilingual students respond to a text about heroism by interviewing "everyday heroes" in their communities, creating multimodal compositions and sharing these compositions with classmates in a type of community literacy that pushes students to both critique and create community texts.
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Baines, Lawrence A. "From Tripod to Cosmos: A New Metaphor for the Language Arts." English Journal 87, no. 2 (February 1, 1998): 24–35. http://dx.doi.org/10.58680/ej19983527.

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Argues that the contemporary language arts curriculum encompasses eight areas: literature, language, composition, speech and drama, critical thinking, technology, media literacy, and interdisciplinary studies. Offers a rationale for “cosmos” as a new metaphor for the language arts. Discusses the content of each of the eight curricular areas, and provides a glimpse at some relevant texts and research.
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Dalton, Bridget. "Bringing Together Multimodal Composition and Maker Education in K–8 Classrooms." Language Arts 97, no. 3 (January 1, 2020): 159–71. http://dx.doi.org/10.58680/la202030415.

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This article makes a case for integrating multimodal composition in language arts classrooms, presenting core features and practices of multimodal composition workshops and maker spaces and showcasing promising projects.
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Bruce, David L. "Writing with Visual Images: Examining the Video Composition Processes of High School Students." Research in the Teaching of English 43, no. 4 (May 1, 2009): 426–50. http://dx.doi.org/10.58680/rte20097073.

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This teacher-researcher study explored the manner in which students created video compositions in a secondary English language arts media studies program. The study found that video composition is a complex, recursive process that allows for sequential multimodal representation of thoughts and ideas. Four areas are addressed: video allows for the expansion of compositional choices, demonstrates the verisimilitude of students’ initial concept to videotaped image, highlights the visuality in students’ re-presentations of ideas, and provides research methodological considerations.
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Quick, Nancy, and Karen Erickson. "A Multilinguistic Approach to Evaluating Student Spelling in Writing Samples." Language, Speech, and Hearing Services in Schools 49, no. 3 (July 5, 2018): 509–23. http://dx.doi.org/10.1044/2018_lshss-17-0095.

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Purpose Spelling is a critical component of literacy and language arts that can negatively influence other aspects of written composition. This clinical focus article describes a spelling error classification system that can be used to identify underlying linguistic deficits that contribute to students' spelling errors. The system is designed to take advantage of the linguistic expertise of speech-language pathologists to efficiently assess student errors in written compositions that are generated as a component of everyday classroom instruction. Method A review of the literature was conducted regarding spelling as a component of literacy and language arts, the development of spelling, and the linguistic contributions to spelling. Then, existing criterion-referenced measures of spelling simple and morphologically complex words were reviewed, and a new, manual technique for analyzing spelling in student written compositions was created. Conclusions The language expertise of speech-language pathologists enables them to readily evaluate the phonological, orthographic, and morphological errors in student misspellings, in order to identify specific underlying linguistic deficits and plan targeted interventions. The error classification system provides speech-language pathologists with a tool that is both simple and time efficient and, thus, may help increase their confidence and ability in addressing the spelling needs of students.
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Bianchi, Lisa Lenz, and Barbara A. Cullere. "Research as Duet: Teachers with Complementary Literacies Study Orality’s Links to Literacy." Language Arts 73, no. 4 (April 1, 1996): 241–47. http://dx.doi.org/10.58680/la199624359.

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A primary goal of language arts educators is to help children develop their skill in composition. But as this research shows, to help all children become better composers, we must involve them in authentic oral, as well as written, composition.
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Aleo, Trevor, Sarah Jerasa, and Brady L. Nash. "“What Would Other Swifties Think?”: Multimodal Composing with Communities in Mind." English Journal 113, no. 4 (March 1, 2024): 27–36. http://dx.doi.org/10.58680/ej2024113427.

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Park, HoGwan. "Case Study on the Class Content Composition and Practice of Academy Writing Utilizing Digital Media." Korean Association of General Education 16, no. 2 (April 30, 2022): 141–56. http://dx.doi.org/10.46392/kjge.2022.16.2.141.

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Undergraduate students in the 21st century need to understand both the process of expressing their opinions and that of the critical acceptance of those opinions utilizing digital media. They also need to recognize the linguistic characteristics and linguistic expressions that are used in digital media in the language of their everyday lives. Since undergraduate students are both receivers of information utilizing digital media language and producers of new digital information, they should develop communication skills that better correspond to the language that they use in their offline lives. Hence, it is necessary to open liberal arts courses for the purpose of fostering more effective communication skills utilizing digital media. In keeping in line with the daily life and practical needs of undergraduate students living in the digital age, the writer developed a course (Digital Culture and Language) in the first semester of 2020, and has delivered lectures to the present date as part of a balanced (elective) liberal arts course (3/3). This thesis aims to suggest certain communication education content and to provide class cases utilizing the digital media that appeared in the Digital Culture and Language course, as taught in the second semester of 2021.
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Mroz, Daniel, and Laura Astwood. "Speaking in a Visceral Language: From performer preparation to performance composition." Theatre Research in Canada 27, no. 1 (April 2006): 155–77. http://dx.doi.org/10.3138/tric.27.1.155.

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McGrail, Ewa, Kristen Hawley Turner, Amy Piotrowski, Kathryn Caprino, Lauren Zucker, and Ellen Greenwood. "Research: An Interconnected Framework for Assessment of Digital Multimodal Composition." English Education 53, no. 4 (July 1, 2021): 277–302. http://dx.doi.org/10.58680/ee202131483.

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Drawing from the Beliefs for Integrating Technology into the English Language Arts Classroom, as well as prior scholarship on digitally mediated communication, rhetorical studies and composition, assessment, and digital literacies, this theoretical article presents a framework for creating and assessing digital multimodal compositions. The Interconnected Framework for Assessment of Digital Multimodal Composition conceptualizes digital multimodal composing through three interconnected and layered domains: audience, mode and meaning, and originality. Though the three domains are defined individually, they are inextricably linked within the recursive processes and products of digital multimodal composing to contribute to intended meaning. The authors describe and justify the domains, present assessment considerations, and conclude with implications for practice and suggestions for designing assessments relevant to context and task.
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Dissertations / Theses on the topic "Composition (Language arts)"

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Eagleton, Maya Blair. "Hypermedia composition in a seventh grade language arts classroom." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284031.

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This microethnographic study describes what happened when a small group of 12- and 13-year olds were given the opportunity to compose with hypermedia in their language arts class. Drawing from semiotic, sociocultural, constructivist, transactional and holistic theories, the researcher interpreted the meanings the students and their language arts teacher ascribed to the creation of a student-run online magazine. The researcher investigated the kinds of things that the seventh graders in this study value, what the webzine project meant to the student editors, what processes are involved in the creation of a webzine, how hypermedia literacy functions as a language form, how the hypermedia design project impacted the language arts curriculum, and the roles that computers can play in the classroom. Hypermedia is a multi-symbolic semiotic language form that is still in the process of evolving. Hypermedia literacy requires transmediation, among print literacies, oral literacies, visual literacies, computer literacies and hypertext literacies. Becoming fluent in hypermedia involves orchestrating the various elements (cueing systems) of hypermedia and flexibly applying this knowledge within a variety of hypermedia genres. The webzine project was a positive experience for the seventh graders in this study because it met their affective needs to be active, to learn new things, to have new experiences, to feel motivated and interested, to be social, to have freedom, to feel proud and to have a sense of audience. It also stimulated the cognitive processes of generating ideas, collaborating, problem solving, representing concepts and monitoring their own learning. It is suggested that hypermedia design projects cannot be fully integrated into the language arts curriculum unless the district and/or the classroom teacher has made a paradigmatic shift from a transmission model to a constructivist philosophy of education. Successful integration of hypermedia composition in the curriculum is also related to the students' and the teachers' perception of the potential roles of computers. Based on the results of this study and others, the author concludes that junior high language arts students should be given invitations to compose with hypermedia whenever feasible, but that educators should not dismiss the challenges associated with such an undertaking.
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McConnell, Rodney K. "The pedagogy of testing a case study of writing instruction in Texas /." Laramie, Wyo. : University of Wyoming, 2006. http://proquest.umi.com/pqdweb?did=1232419301&sid=2&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Locke, David. "Syswrite : theory-based writing analysis /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/7847.

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Woodall, Billy Ray. "Language-switching in second language writing /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/7545.

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Ostergaard, Lori Alden Neuleib Janice. "Composition in the Illinois State Normal University and Illinois high schools 1892-1921 /." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1251813371&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1178893688&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2006.
Title from title page screen, viewed on May 11, 2007. Dissertation Committee: Janice W. Neuleib (chair), Douglas D. Hesse, Julie M. Jung. Includes bibliographical references (leaves 171-184) and abstract. Also available in print.
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Denecker, Christine. "Toward seamless transition? Dual enrollment and the composition classroom /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1194187966.

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Marzell, TerryLee Hutton. "Constructing experiential learning in the language arts classroom." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2013.

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Recent research in educational practice has identified and emphasized the value of connecting school curriculum to the personal experiences of the students; but to be effective, learners must possess a collection of baseline experiences the teacher can connect new learnings to. If the baseline experiences are lacking, the instructor could choose to create a classroom experience upon which to build additional learnings.
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Alsup, Janet. ""We weren't on the same wavelength at all" : negotiating authority in the writing class /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974606.

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Martindale, Teresa Lynn. "How three secondary students made sense of writing strategies /." Connect to title online (ProQuest), 2008. http://proquest.umi.com/pqdweb?did=1678702871&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ed. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 94-98). Also available online in in ProQuest, free to University of Oregon users.
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Harms, Aaron A. "First-year composition and writing center usage." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4933.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 27, 2008) Includes bibliographical references.
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Books on the topic "Composition (Language arts)"

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F, Johnson Paul, ed. Reading & language arts. East Moline, IL: LinguiSystems, 2001.

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Shulman, Mark. Outsmart language arts. New York: Kaplan Publishing, 2008.

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(Firm), J. Weston Walch, ed. English/language arts: Writing sentences : introductory composition. Portland, Me: J. Weston Walch Publisher, 2000.

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Publishing, Arco, ed. Master the GED: Language arts, writing. 3rd ed. Australia: ARCO, 2002.

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Christensen, Robert. PreGED language arts, writing. Austin, Tex: Steck-Vaughn, 2003.

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Glencoe/McGraw-Hill. Glencoe language arts: Spelling power. New York, N.Y: Glencoe/McGraw-Hill, 2003.

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Muriel, Gill, and Hyacinth Joan, eds. Caribbean language arts project. London: Macmillan Caribbean, 1987.

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Muriel, Gill, and Hyacinth Joan, eds. Caribbean language arts project. London: Macmillan, 1987.

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Edwards, Viv. [Language arts in multilingual classrooms]. Reading [England]: Reading and Language Information Centre, University of Reading, 1995.

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Edwards, Viv. [Language arts in multilingual classrooms]. Reading [England]: Reading and Language Information Centre, University of Reading, 1995.

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Book chapters on the topic "Composition (Language arts)"

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Jongmans, Sung-Shik, and Nobuko Yoshida. "Exploring Type-Level Bisimilarity towards More Expressive Multiparty Session Types." In Programming Languages and Systems, 251–79. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44914-8_10.

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AbstractA key open problem with multiparty session types (MPST) concerns their expressiveness: current MPST have inflexible choice, no existential quantification over participants, and limited parallel composition. This precludes many real protocols to be represented by MPST. To overcome these bottlenecks of MPST, we explore a new technique using weak bisimilarity between global types and endpoint types, which guarantees deadlock-freedom and absence of protocol violations. Based on a process algebraic framework, we present well-formed conditions for global types that guarantee weak bisimilarity between a global type and its endpoint types and prove their check is decidable. Our main practical result, obtained through benchmarks, is that our well-formedness conditions can be checked orders of magnitude faster than directly checking weak bisimilarity using a state-of-the-art model checker.
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Yi, Jingrui, Liya Song, and Jiapeng Meng. "Composition Analysis and Identification Study of Ancient Glass Products." In Proceedings of the 2nd International Conference on Education, Language and Art (ICELA 2022), 420–31. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-004-6_53.

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Priuli, Ausilio. "Arms and the Armed: The Evocative Ritual Language in Val Camonica Rock Art." In Martial Culture and Historical Martial Arts in Europe and Asia, 3–43. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_1.

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AbstractDepictions of weapons and of armed human figures in Camunianand Alpinerock art are common, particularly after the advent of metalwork and especially beginning with the Copper Age. They are found on monuments and on rocks, as can be seen clearly in the megalithic sanctuaries featuring stelae, anthropomorphic stelae, and statues-menhir, as well as in the most significant Alpine spiritual centers and elsewhere, such as Val Camonica (It. Valle Camonica, Lo. Al Camònega), Mount Bego (Mont Bégo), Val Tellina, and Monte Baldo, on the Veroneseshore of Lake Garda (Lago di Garda). Depictions of weapons are important for the chronological and cultural placement of the engraved complexes; the depictions of armed human figures that dominate some Alpine engraving sets are no less important. That is particularly the case in Val Camonica and Val Tellina, over a very long period of time running from the Bronze Age up to the Iron Age and even into prehistoric times. The depictions of men holding weapons—in a wide variety of stylistic, iconographic, and compositional arrangements, and belonging to many different periods and stages of engraving—represent a ritual language that was used at the very time the pictures were being created. They are an evocative language that commemorated, revived, and spoke of mythical forefathers, ancestral heroes, departed warriors, founders of communities, and indeed anyone who played an important role in the past and became an object of worship. The ritual gesture of depicting them might have served the ritual function not only of commemoration but of calling their presence back from the past into the community in times of particular need.
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Atwell, Mary Stewart. "“You Will Be Surprised that Fiction Has Become an Art”: The Language of Craft and the Legacy of Henry James." In New Directions in Book History, 79–105. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_3.

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AbstractAs some scholars have noted, the technical principles that modern creative writing workshops identify as “the craft of fiction” owe a great deal to Henry James and the prefaces to the New York edition of his novels, later published in a single volume as The Art of the Novel. However, James, far from setting out to help aspiring writers to develop their technical knowledge, was in fact fairly hostile to the very idea of craft, famously declaring that he “cannot imagine composition existing in a series of blocks.” The prefaces were instead intended to provide a sort of Cliff’s Notes to his own work, naming the tricks of his trade for the edification of his most dedicated readers, and it was these readers, most notably including Percy Lubbock, Joseph Warren Beach, and Caroline Gordon, who adapted James’s principles in some of the first literary handbooks used in the creative writing classroom. Though Lubbock, Beach, and Gordon borrowed significantly from James, they balanced his emphasis on aesthetics with the more accessible and egalitarian approach of earlier authors of fiction-writing handbooks, including the work of Walter Besant. This essay argues that a scholarly examination of the historical development of the discourse of the craft of writing serves not only to correct an over-emphasis on James’s influence, but also to address the equally erroneous assumption that principles of technique are eternal and universal, and thus exist apart from subject position and historical contingency.
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"Creating Writing and Multimodal Composition." In Using Graphic Novels in the English Language Arts Classroom. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350112728.0017.

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Keyser, Beth R. "Investigating Metre through a Linguistic Lens in English Language Arts." In Theoretical Linguistics in the Pre-University Classroom, 177–90. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/9780197267479.003.0011.

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Abstract While teaching English, two questions have repeatedly arisen: 1. How does one teach grammar that aligns with students’ linguistic intuitions? 2. How does one teach poetic meter in a way that is consistent, accessible, and instructive? The answer to the first question has been a guide to the second one. This chapter will focus on the latter question by pointing out the limitations of conventional textbook definitions of meter, discussing the ways in which scientific method in linguistics lends itself to helping students understand the difficult task of scanning meter, and describing the ways in which scientific thinking with linguistic theory can be blended in a series of lessons for high school students in an Advanced Placement English Literature and Composition class.
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Moran, Clarice, and Carl A. Young. "Active Learning in the Flipped English Language Arts Classroom." In Promoting Active Learning through the Flipped Classroom Model, 163–84. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4987-3.ch009.

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This mixed-methods research study examines the engagement of high school students in a flipped English Language Arts (ELA) classroom. The students were enrolled in two sections of an Advanced Placement English Language Arts and Composition (AP Lang) course and were in the 11th grade. Forty-nine participants answered questions on a validated survey, and 8 participants took part in 2 focus groups. In addition, a researcher observed the flipped classroom and took field notes. Quantitative survey data was analyzed through STATA statistics software, and qualitative data was transcribed and coded. The results of the data analysis indicate that students had mixed feelings about the flipped method and its implementation in an ELA classroom. Survey data indicates general support for the method’s principles but revealed mixed attitudes toward it as a method of instruction, especially in terms of it as a strategy for addressing all instruction in the ELA classroom. Qualitative data indicates that some students felt more engaged by the flipped method, while others did not. The results of the research indicate that the flipped method might be effective, in part, in an ELA classroom, but not as a sole means of instruction.
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Lee, Clifford H., and Antero D. Garcia. "“I Want Them to Feel the Fear…”." In Exploring Multimodal Composition and Digital Writing, 364–78. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4345-1.ch022.

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By utilizing digital tools that are nearly ubiquitous in the lives of youth, writing teachers can leverage these practices for developing traditional English language arts instruction and skills proposed by state and federal standards. In this chapter, the authors propose how the development of computational literacies through multimodal writing and video game design can help guide critical and academic development in an inner-city Los Angeles public school. In a research project where high school youth designed and created (programmed) a video game about an issue significant in their lives, students demonstrated their critical computational literacies, a concept that blends the critical consciousness of critical literacy and the skills and concepts behind computational thinking. Critical computational literacy offers the ability to integrate two seemingly divergent fields. By using these new media tools, students developed a more expansive and sophisticated way to communicate their ideas. This has significant possibilities for the English Language Arts, where most K-12 state standards still relegate students’ literacies to over-indulgence of traditional means of reading and writing of text. In an ever-evolving culture that increasingly places more significance on visual, auditory, and textual stimuli through multimodal media on computers and mobile devices (Hull & Nelson, 2005; Jenkins, 2006; Kress, 2010), schools must educate students to critically “read” messages in the media, and in turn become effective producers of these tools of communication (Alvermann, et al., 1999; Margolis, 2008; Morrell, 2008). This research shows students engaged in deep, reflective processes in the production of their multimodal texts.
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Werderich, Donna E., and Michael Manderino. "The Multimedia Memoir." In Exploring Multimodal Composition and Digital Writing, 316–30. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4345-1.ch019.

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In this case study, two teacher educators in literacy education examine preservice teachers’ (N = 20) Multimedia Memoirs, focusing specifically on their learning of multimodal writing processes during a language arts methods course. Data analyzed for this study includes a set of Multimedia Memoirs and written reflections. The researchers find that preservice teachers navigate between writing their memoirs traditionally and digitally by drawing on their knowledge and experiences with the writing process and with technology integration. Multimedia Memoirs and reflections demonstrate that preservice teachers’ knowledge about the writing process and the use of multimodality increases for their own writing and their future writing pedagogy. Implications for teacher education programs include a need to provide scaffolded digital writing instruction using a variety of genres.
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Keyser, Beth R. "Investigating Metre through a Linguistic Lens in English Language Arts*." In Theoretical Linguistics in the Pre-University Classroom. Oxford: British Academy, 2023. http://dx.doi.org/10.5871/bacad/9780197267479.003.0011.

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Abstract While teaching English, two questions have repeatedly arisen: 1. How does one teach grammar that aligns with students’ linguistic intuitions? 2. How does one teach poetic meter in a way that is consistent, accessible, and instructive? The answer to the first question has been a guide to the second one. This chapter will focus on the latter question by pointing out the limitations of conventional textbook definitions of meter, discussing the ways in which scientific method in linguistics lends itself to helping students understand the difficult task of scanning meter, and describing the ways in which scientific thinking with linguistic theory can be blended in a series of lessons for high school students in an Advanced Placement English Literature and Composition class.
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Conference papers on the topic "Composition (Language arts)"

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Rosu, Adrian. "COMPOSITION POINTS OF REFERENCE AND MUSICAL LANGUAGE ELEMENTS IN "VINGT REGARDS SUR L ENFANT JESUS" BY OLIVIER MESSIAEN." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.035.

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Juncu, Alexandru. "Concerto no. 2 for trombon and orchestra by Oleg Negrutsa." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.04.

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This article is focused on the musicological and interpretive analysis of Concerto no. 2 for trombone and orchestra by Oleg Negrutsa. This composition, written in 2020, was dedicated to the memory of the composer's father, being performed for the first time by the author of this article during a doctoral recital on June 25, 2022, in the Great Hall of the Academy of Music, Theater and Fine Arts. In addition to the analysis carried out, the author of this study identified different optimal solutions to overcome the difficulties of performing and executing the elements of the musical language, proposing various exercises developed on the basis of the thematic material of the studied creation.
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Ramanayake, R. I. A., and H. M. K. D. Herath. "Confluence of music and architecture through artistic parallelism; a study of current building aesthetics in advanced music learning institutes with special reference to the university of performing arts in Colombo." In Empower communities. Faculty of Architecture Research Unit, 2023. http://dx.doi.org/10.31705/faru.2023.13.

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Music is authentically interpreted as a universal language due to its strong strings between humankind. In addition, as an art, it becomes the source for other fields, which carry both intellectual and intuitive aspects. Thus, the combination of Music and the art of visualizing spaces, Architecture derives because of the resemblance between its origin, elements, and composition. Becoming a part of the built environment, the spirit of music responds to different types of functions for its effective benefits to the involved parties. While straightening the subjective inquiry on this point, it was identified that ‘learning of music’ becomes the prior concern with its active phenomenon since it expresses the ‘art inside the art’. An expanded literature review has given supportive statements to the inquiry like the relevance of the classroom atmosphere as a distinctive aspect of music education that we may affect to maximize perception in this field besides the teacher's role and students’ involvement in particular. Furthermore, the research has been concerned with how much the built space is perceived as a musical space and its response to the music learning process, considering various music pedagogical practices. The tool for the process was investigated with the Artistic parallelism between Musical elements and Architectural elements, and its compositional relativity. For the inquiring convergence, the research methodology was generated to investigate two main aspects; to which extend the musical variables and architectonics have stated their relativity in studied music learning spaces and its building performances with essential physical attributes, from the user’s point of view. The study is intended to continue exploring how much the Artistic parallelism between Music and Architecture affects the conduciveness of Music Learning spaces and how it benefits the learning process and generation of good music, not only as a knowledge seeker but also as an artist.
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MUBARAK, Zia Hisni, and Gaguk RUDIANTO. "Cooperative Integrated Reading and Composition (CIRC) Technique in Writing Subject of EFL Context." In Sixth International Conference on Languages and Arts (ICLA 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icla-17.2018.8.

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Ibrar, Syamsul, and Mukhaiyar. "Composition of High Order Thinking Skill in English Course Book for the Tenth Grade of Senior High School in Indonesia." In Eighth International Conference on Languages and Arts (ICLA-2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200819.016.

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Wang, Anjun. "The Expression of Emotion and Feeling in Music Composition." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.160.

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Wang, Henan, Muli Yang, Kun Wei, and Cheng Deng. "Hierarchical Prompt Learning for Compositional Zero-Shot Recognition." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/163.

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Compositional Zero-Shot Learning (CZSL) aims to imitate the powerful generalization ability of human beings to recognize novel compositions of known primitive concepts that correspond to a state and an object, e.g., purple apple. To fully capture the intra- and inter-class correlations between compositional concepts, in this paper, we propose to learn them in a hierarchical manner. Specifically, we set up three hierarchical embedding spaces that respectively model the states, the objects, and their compositions, which serve as three “experts” that can be combined in inference for more accurate predictions. We achieve this based on the recent success of large-scale pretrained vision-language models, e.g., CLIP, which provides a strong initial knowledge of image-text relationships. To better adapt this knowledge to CZSL, we propose to learn three hierarchical prompts by explicitly fixing the unrelated word tokens in the three embedding spaces. Despite its simplicity, our proposed method consistently yields superior performance over current state-of-the-art approaches on three widely-used CZSL benchmarks.
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Dudenina, Svetlana, and Valery Korablev. "Approaches to Organization of Music Bands with Nontraditional Composition." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.91.

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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Du, Haoran. "Brief Discussion on Teaching Reform of Three-dimensional Composition Course." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.44.

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