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Published: 10 December 2022
Last updated: 28 January 2023

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1

Vandenbosch, Mark B. Confirmatory compositional approaches to the development of product spaces. London, Canada: Western Business School, University of Western Ontario, 1994.

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2

Kavanagh, James. A survey of the approaches to the teaching of English compositional writing in a sample of Irish primary schools. Dublin: University College Dublin, 1997.

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3

Hillston, J. A compositional approach to performance modelling. Cambridge: Cambridge University Press, 1996.

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4

Andrea, Greenbaum, ed. Insurrections: Approaches to resistance in composition studies. Albany: State University of New York Press, 2001.

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5

editor, Köpping Jan, ed. Approaches to meaning: Composition, values, and interpretation. Leiden: Brill, 2014.

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6

Legal writing: A systematic approach. 2nd ed. St. Paul, Minn: West Pub. Co., 1993.

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7

Pratt, Diana Volkmann. Legal writing: A systematic approach. 4th ed. St. Paul, MN: Thomson/West, 2004.

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8

Composing music: A new approach. Chicago: University of Chicago Press, 1988.

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9

Pratt, Diana Volkmann. Legal writing: A systematic approach. St. Paul, Minn: West Pub. Co., 1989.

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10

author, Brostoff Teresa, and Burkoff, Nancy M., 1948- author, eds. Legal writing: A contemporary approach. St. Paul, MN: West Academic Publishing, 2014.

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11

Pratt, Diana Volkmann. Legal writing: A systematic approach. St. Paul, MN: West Academic Publishing, 2015.

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12

Pratt, Diana Volkmann. Legal writing: A systematic approach. 3rd ed. St. Paul, Minn: West Group, 1999.

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13

Ruth, Vinz, and National Conference on Research in Language and Literacy, eds. Narrative inquiry: Approaches to language and literacy research. New York: Teachers College, 2011.

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14

Institute, American Law, American Bar Association, and American Law Institute-American Bar Association Committee on Continuing Professional Education., eds. Real world document drafting: A dispute-avoidance approach. Philadelphia, Pa: ALI ABA, 2008.

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15

Institute, American Law, American Bar Association, and American Law Institute-American Bar Association Committee on Continuing Professional Education, eds. Real world document drafting: A dispute-avoidance approach. 2nd ed. Philadelphia, Pa: ALI ABA, 2010.

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16

Pomer, Janice. Dance composition: An interrelated arts approach. Champaign, IL: Human Kinetics, 2009.

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17

N, Hedley Carolyn, ed. Natural approaches to reading and writing. Norwood, N.J: Ablex Pub. Corp., 1994.

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18

Legal writing: A competency-based approach. Manila, Philippines: Published & distributed by Rex Book Store, 2010.

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19

Fiderer, Adele. Teaching writing: A workshop approach. New York: Scholastic Professional Books, 1993.

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20

Louise, DeFelice, ed. Basic composition: A step-by-step approach. Syracuse, N.Y: New Readers Press, 1989.

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21

Jenkins, Mark. Writing: A content approach to ESL composition. Hemel Hempstead: Prentice-Hall, 1986.

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22

Writing, a content approach to ESL composition. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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23

1934-, Cooper Charles Raymond, and Greenbaum Sidney, eds. Studying writing: Linguistic approaches. Beverly Hills, Calif: Sage Publications, 1986.

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24

Seigel, Mike. Latin: A fresh approach. London: Wimbledon Pub., 1999.

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25

1933-, Gale Fredric G., and American Bar Association. Section of General Practice., eds. Teaching legal writing: A modern, case-study approach. Chicago, Ill: General Practice Section, American Bar Association, 1993.

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26

Busselle, Michael. Photographic assignments: The expert approach. Newton Abbot: David & Charles, 1992.

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27

Bearne, Eve. Visual approaches to teaching writing. London, England: Paul Chapman Pub., 2007.

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28

Bearne, Eve. Visual approaches to teaching writing. London, England: Paul Chapman Pub., 2007.

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29

Raimes, Ann. Exploring through writing: A process approach toESL composition. New York: St. Martin's Press, 1987.

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30

1949-, Jarvie Paul, ed. Casebook rhetoric: A problem-solving approach to composition. 2nd ed. New York: Holt, Rinehart, and Winston, 1985.

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31

Ambroszkiewicz, Stanisław. enTish: An approach to service description and composition. Warszawa: Instytut Podstaw Informatyki Polskiej Akademii Nauk, 2003.

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32

R, Adler Richard. Writing together: A peer-editing approach to composition. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1989.

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33

Redgate, Christopher. Composition changing instruments changing composition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0011.

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This chapter discusses the collaborative, cyclical relationship between composition and instrument development as it follows the journey from technically extreme compositions, via the design and manufacture of the Howarth-Redgate oboe, to composers’ responses to this new instrument. The chapter takes as its starting point the extreme technical demands that result from the development of extended techniques—for example, the problems with the standard instrument’s keywork that stem from such compositional approaches. Then, through reference to Roger Redgate’s Ausgangspunkte and other works that sit at the limits of the playable, the chapter explores the idea of compositional risk-taking as a forum for collaboration. Following a discussion of the first compositional explorations of the redesigned oboe, the potential for further development of the instrument is considered.
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34

Whittle, Bruno, Bradley Armour-Garb, and Bradley Armour-Garb. Truth, Hierarchy, and Incoherence. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199896042.003.0012.

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According to this chapter, approaches to truth and to the liar paradox appear to face a dilemma, as they must, it seems, appeal to some sort of hierarchy or contend that a putatively coherent concept is actually incoherent, either of which results in expressive limitations. The chapter proposes a new approach to the liar paradox that avoids such expressive limitations. This approach countenances classical semantic values while advocating a revision to how we think about compositional rules. The idea is that there are exceptions to the compositional rules associated with a language. To this end, the chapter adverts to theories that respect the “Chrysippus intuition,” which captures the idea that different tokens of the same type can have divergent semantic statuses. Such theories yield models of languages whose semantic values are classical but where the compositional rules associated with these languages have exceptions.
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35

Anders, Torsten. Compositions Created with Constraint Programming. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.5.

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This chapter surveys music constraint programming systems, and how composers have used them. The chapter motivates why and explains how users of such systems describe intended musical results with constraints. This approach to algorithmic composition is similar to the way declarative and modular compositional rules have successfully been used in music theory for centuries as a device to describe composition techniques. This systematic overview highlights the respective strengths of different approaches and systems from a composer’s point of view, complementing other more technical surveys of this field. This text describes the music constraint systems PMC, Score-PMC, PWMC (and its successor Cluster Engine), Strasheela, and Orchidée—most are libraries of the composition systems PWGL or OpenMusic. These systems are shown in action by discussions of the composition processes of specific works by Jacopo Baboni Schilingi, Magnus Lindberg, Örjan Sandred, Torsten Anders, Johannes Kretz, and Jonathan Harvey.
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36

Swanson, Eric. Probability in Philosophy of Language. Edited by Alan Hájek and Christopher Hitchcock. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199607617.013.39.

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This chapter uses four historically important approaches to conditionals to help illustrate ways of thinking about the language of subjective uncertainty more broadly construed. On the first, conditionals express propositions and `if' is a truth-functional connective. Problems here motivate the second hypothesis-that a conditional expresses a proposition the probability of which equals the probability of the consequent conditional on its antecedent. Problems for this approach in turn motivate a third kind of view on which conditionals do not express propositions that are true or false. According to one such approach, `if' has a non-compositional meaning: it is used to help express conditional beliefs in a special, non-semantic way. The costs of abandoning compositionality motivate the final family of views considered, on which compositional semantic interpretation functions output non-propositional objects; therefore semanticists can and should help themselves to tools developed by formal epistemologists.
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37

Stoll Knecht, Anna. Mahler's Seventh Symphony. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190491116.001.0001.

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Gustav Mahler’s Seventh Symphony stands out as one of the most provocative symphonic statements of the early twentieth century. This book offers a new interpretation of the Seventh based on a detailed study of Mahler’s compositional materials, combined with a close reading of the finished work. The Seventh has often been heard as “existing in the shadow” of the Sixth Symphony or as “too reminiscent” of Richard Wagner’s opera Die Meistersinger von Nürnberg. Focusing on sketches previously considered as “discarded,” this study reveals unexpected connections between the Seventh and both the Sixth and Meistersinger. These connections confirm that Mahler’s compositional project was firmly grounded in a dialogue with works from the past, and that this referential aspect should be taken as an important interpretive key to the work. Providing the first thorough analysis of the sketches and drafts for the Seventh, this book sheds new light on its complex compositional history. Each movement of the symphony is considered from a double perspective, genetic and analytic, showing how sketch studies and analytical approaches can interact with each other. The compositional materials raise the question of Mahler’s reception of Richard Wagner, and thus lead us to rethink issues concerning his own cultural identity. A close reading of the score enlightens these issues by exposing new facets of Mahler’s musical humor. The Seventh moves away from the tragedy of the Sixth toward comedy and shows, in a unique way within Mahler’s output, that humor can be taken as a form of transcendence.
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38

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.
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39

Ramnarine, Tina K., ed. Global Perspectives on Orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.001.0001.

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This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an institution. Orchestral musicians' testimonies are included to give practitioners' views. The study of orchestras contributes to developing global music histories and comparative theorization within ethnographic disciplines. This book offers timely insights into the connections between orchestras, colonial histories, postcolonial practices, and comparative theorizations to generate appreciation of orchestral performance as a creative, political and social practice.
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40

Hillston, Jane. Compositional Approach to Performance Modelling. Cambridge University Press, 2011.

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41

Hillston, Jane. Compositional Approach to Performance Modelling. Cambridge University Press, 2009.

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42

Schmelz, Peter J. Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.001.0001.

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This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many published interviews. It also engages further with his sketches for the Concerto Grosso no. 1 and contemporary Soviet musical criticism. The result is a more objective, historical appraisal of this rich, multifaceted composition. The Concerto Grosso no. 1 provided a utopian model of the contemporary soundscape. It was a decisive point in Schnittke’s development of the approach he called polystylism, which aimed to contain in a single composition the wide range of contemporary musical styles, including jazz, pop, rock, and serial music. Thanks to it and his other similar compositions, Schnittke became one of the most-performed and most-recorded living composers at the end of the twentieth century. The novel structure of this book engages the Concerto Grosso no. 1 conceptually, historically, musically, and phenomenologically: the six movements of the composition frame the six chapters. The present volume thus provides a holistic accounting of Schnittke’s Concerto Grosso no. 1, its influences, and its impact on subsequent music making in the Soviet Union and worldwide.
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43

Aleksander, and Jakimowicz, Adam Asanowicz. APPROACHES TO COMPUTER AIDED ARCHITECTURAL COMPOSITION. Technical University Of Bialystok, Faculty Of Architecture, 1996.

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44

Josef Brožek. Human Body Composition: Approaches and Applications. Elsevier Science & Technology Books, 2016.

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45

Maw, David. Improvisation as composition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0021.

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The close connection between improvisation and composition in the French organ school over several centuries warrants analysis of these practices in similar terms, and the advent of recording has afforded the means for carrying it out. This chapter analyses the work of Charles Tournemire and Louis Vierne, who were amongst the earliest organists to record improvisations. Highly accomplished composers and improvisers, they were also noted teachers, and the terms in which they taught improvisation serve to contextualize analysis of their own practice. Vierne emphasized a schematic approach, while Tournemire focused on spontaneity. This difference is mirrored in the contrast of their compositional styles. However, for both men their improvisational practice demonstrates a need to manifest itself self-consciously by exceeding the bounds of compositional convention.
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46

Edwards, Jane. Methods and Techniques. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.48.

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Methods and techniques in music therapy are distinct from approaches and models which provide theoretical principles to guide action. Methods and techniques are music-based ways in which the service user or client is engaged musically. The techniques used are based on improvisational, compositional, and music listening opportunities that music therapists engage with clients. Music therapists can use music-based techniques with any combination of acoustic, electric, or electronic instrumentation, and the use of vocalization or singing is also offered. Anyone with musical skills can play music for another person; a person who is tired, in pain, or has a chronic illness or disability. Music therapy is distinguished from other ways of using music to support people in health care by both the training of the clinician, and the use of theoretical thinking to guide the use of techniques and principles in making helpful, effective, and evidence-based responses to needs.
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47

Kelle, Brad E., and Brent A. Strawn, eds. The Oxford Handbook of the Historical Books of the Hebrew Bible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190261160.001.0001.

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The Oxford Handbook of the Historical Books of the Hebrew Bible offers thirty-six essays on the so-called “Historical Books”: Joshua, Judges, 1–2 Samuel, 1–2 Kings, Ezra-Nehemiah, and 1–2 Chronicles. The essays are organized around four nodes: contexts, content, approaches, and reception. Each essay takes up two questions: (1) what does the topic/area/issue have to do with the Historical Books? and (2) how does this topic/area/issue help readers better interpret the Historical Books? The essays engage traditional theories and newer updates to the same, and also engage the textual traditions themselves which are what give rise to compositional analyses. Many essays model approaches that move in entirely different ways altogether, however, whether those are by attending to synchronic, literary, theoretical, or reception aspects of the texts at hand. The contributions range from text-critical issues to ancient historiography, state formation and development, ancient Near Eastern contexts, society and economy, political theory, violence studies, orality, feminism, postcolonialism, and trauma theory—among others. Taken together, these essays well represent the variety of options available when it comes to gathering, assessing, and interpreting these particular biblical books.
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48

Flynn, Catherine, ed. The New Joyce Studies. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781009235693.

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The New Joyce Studies indicates the variety and energy of research on James Joyce since the year 2000. Essays examine Joyce's works and their reception in the light of a larger set of concerns: a diverse international terrain of scholarly modes and methodologies, an imperilled environment, and crises of racial justice, to name just a few. This is a Joyce studies that dissolves early visions of Joyce as a sui generis genius by reconstructing his indebtedness to specific literary communities. It models ways of integrating masses of compositional and publication details with literary and historical events. It develops hybrid critical approaches from posthuman, medical, and queer methodologies. It analyzes the nature and consequences of its extension from Ireland to mainland Europe, and to Africa and Latin America. Examining issues of copyright law, translation, and the history of literary institutions, this volume seeks to use Joyce's canonical centrality to inform modernist studies more broadly.
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49

Mattissen, Johanna. Sub-Types of Polysynthesis. Edited by Michael Fortescue, Marianne Mithun, and Nicholas Evans. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199683208.013.5.

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The structural heterogeneity of polysynthetic languages is captured by a sublassification of allegedly polysynthetic languages according to their word-formational type (number of roots allowed in a verb form), namely, compositional, transitional, or affixal, and their internal organization (template vs. scope or both). Further parameters show correlations to these independent ones: the number of participants encoded on a verb, the imaginable evolutionary path via which the structure has come about, namely layering (“onion type”), internal expansion (“sandwich type”) or coalescence (“burdock type”), and the characteristic design of a complex verb form: Grammatical category accumulation (integration of non-obligatory, rather grammatical information); ping-pong recategorization (multiple verbalization and nominalization); productive in/excorporation; dependent-head synthesis; multiple packing (integration of rather lexical information); holophrasis (all wordforms being predicates—or particles); composite-stem layout (composite root-like morphemes, unitary concept); and building-block design (multiple classifer-like morphemes make up a wordform). The classification along these parameters reconciles conflicting approaches to polysynthesis.
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50

Greenbaum, Andrea. Insurrections: Approaches to Resistance in Composition Studies. State University of New York Press, 2001.

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