Dissertations / Theses on the topic 'Compositional approaches'
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Broffitt, Virginia. "The Music of Jennifer Higdon: Perspectives on the Styles and Compositional Approaches in Selected Chamber Compositions." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275656288.
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Ensing, David John. "Novel approaches to evaluating compositional heterogeneity : a case study using grazing exclosures in alpine meadow communities." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45076.
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Despite a long history, accurately quantifying biological diversity remains a priority for ecologists and the continuing development of novel tools and approaches has identified areas that require further investigation. Currently, the quantification of evolutionary diversity (phylogenetic diversity) is receiving intense and critical interest, but few have attempted to quantify among sample phylogenetic variation (beta diversity) and fewer still have measured the influence of grazing on the phylogenetic diversity of plant communities. Novel partitions of beta diversity, which quantify the independent influence of richness differences and species replacement, may better clarify how heterogeneity is structured within a system, but such metrics have not yet been developed for phylogenetic diversity or applied to grazing investigations. Furthermore, it has recently been re-emphasized that, when measuring within-community heterogeneity, the only appropriate approaches that facilitate the concurrent measurement of partitioned beta diversity are ‘multiple site beta diversity’ metrics. To date ‘multiple site’ heterogeneity metrics do not exist for phylogenetic diversity. Drawing on previously published derivations of pairwise beta diversity partitions and their phylogenetic analogs, I developed novel multiple site beta diversity tools for taxonomic and phylogenetic diversity that may better quantify community heterogeneity and suggest how these new tools may be useful for the practicing community ecologist. Using long term grazing exclosures, I combined novel beta diversity tools with paired plots across the exclosure fence and appropriate null models to test the influence of grazing on herbaceous alpine plant community heterogeneity. I show that (i) taxonomic and phylogenetic diversity provide differing results, (ii) that grazing influences within community heterogeneity of herbaceous plant communities, but that the response may be site dependent, and (iii) that richness and replacement metrics of beta diversity exhibit different responses to grazing. Novel metrics of partitioned taxonomic and phylogenetic beta diversity therefore provide useful insight into the structuring of herbaceous alpine plant communities. As such, within-community heterogeneity as measured by ‘multiple site beta diversity’ is an important attribute of any ecosystem and efforts aimed at quantifying and preserving biodiversity for ecosystem management or conservation should include it in their goals.
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Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
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This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
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Tang, Fenfen. "Metabolic profiling of complex mixtures using novel NMR-based approaches and chemometrics: Pomegranate juice as a case study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1575485567931001.
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Fritz, Jochen [Verfasser]. "A decoupled model for compositional non-isothermal multiphase flow in porous media and multiphysics approaches for two-phase flow / von Jochen Fritz." Stuttgart : Inst. für Wasserbau, 2010. http://d-nb.info/1007183225/34.
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Georgiou, Chrystalla. "Beyond narrative : a cross-modal approach to soundtrack composition." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18621.
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This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.
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Chai, Jia. "Portfolio of compositions : developing a personal compositional approach based on attributes of spoken language." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/19792/.
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This compositional portfolio comprises eight original works presented in musical scores. The works were written between October 2013 and April 2017 during the course of my PhD research. The compositions featured are for a variety of combinations of voices and solo instrument up to full orchestra. Audio recordings of performances are included for all except the final orchestral work. In these compositions, I introduce a new compositional idea, declaiming, which I have been developing and which is explained in this commentary. This idea is used to determine the formal structure of these pieces. Unique approaches to using this compositional idea are described in this commentary, regarding individual works.
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Morais, Joanna. "Impact of media investments on brands’ market shares : a compositional data analysis approach." Thesis, Toulouse 1, 2017. http://www.theses.fr/2017TOU10040/document.
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L’objectif de cette thèse CIFRE, réalisée avec la société d’études de marché BVA en collaboration avec le constructeur automobile Renault, est de mesurer l’impact des investissements media pour différents canaux (télévision, affichage, etc.) sur les parts de marché de différentes marques, en prenant en compte la concurrence et les potentiels effets croisés et synergies entre ces marques, ainsi qu’en tenant compte du prix des véhicules, du contexte réglementaire (i.e. prime à la casse), et des effets retard de la publicité.Nous avons puisé dans les littératures marketing et statistique pour développer, comparer et interpréter plusieurs modèles qui respectent la contrainte de somme unitaire des parts de marché. Une application concrète au marché automobile français est présentée, pour laquelle nous montrons que les parts de marché des marques sont plus ou moins sensibles aux investissements publicitaires consentis dans chaque canal, et qu’il existe de synergies entre certaines marquesThe aim of this CIFRE thesis, realized with the market research institute BVA in collaboration with the automobile manufacturer Renault, is to build a model in order to measure the impact of media investments of several channels (television, outdoor, etc.) on the brands’ market shares, taking into account the competition and the potential cross effects and synergies between brands, as well as accounting for the price, the regulatory context (scrapping incentive), and the lagged effects of advertising. We have drawn from marketing and statistical literatures to develop, compare and interpret several models which respect the unit sum constraint of market shares. A practical application to the French automobile market is presented, for which it is shown that brands’ market shares are more or less sensitive to advertising investments made in each channel, and that synergies between brands exist
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Khan, Adil H. "Artificial intelligence approaches to music composition." Thesis, Northern Kentucky University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549922.
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Music composition using Artificial Intelligence is a well-established area of study with research dating back over six decades. From the time the mathematical model of computation was developed by Alan Turing in the 1940s, the question of whether computers can be built to match human level intelligence has been debated. Creativity is certainly considered to be a sign of intelligence, and many areas of Artificial Intelligence have pursued ways to emulate the creative spark found in humans. Music Composition via Artificial Intelligence falls into this category. This thesis explores the application of Artificial Intelligence approaches towards the goal of composing music by implementing three approaches found in Artificial Intelligence and studying their results.
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Hillston, Jane. "A compositional approach to performance modelling." Thesis, University of Edinburgh, 1994. http://hdl.handle.net/1842/15027.
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Performance modelling is concerned with the capture and analysis of the dynamic behaviour of computer and communication systems. The size and complexity of many modern systems result in large, complex models. A compositional approach decomposes the system into subsystems that are smaller and more easily modelled. In this thesis a novel compositional approach to performance modelling is presented. This approach is based on a suitably enhanced process algebra, PEPA (Performance Evaluation Process Algebra). The compositional nature of the language provides benefits for model solution as well as model construction. An operational semantics is provided for PEPA and its use to generate an underlying Markov process for any PEPA model is explained and demonstrated. Model simplification and state space aggregation have been proposed as means to tackle the problems of large performance models. These techniques are presented in terms of notions of equivalence between modelling entitles. A framework is developed for analysing such notions of equivalence and it is explained how the bisimulation relations developed for process algebras fit within the framework. Four different equivalence relations for PEPA, two structural and two based on bisimulation are developed and considered within this framework. For each equivalence the implications for the underlying Markov process are studied and its potential use as the basis of a model simplification technique is assessed. Three of these equivalences are shown to be congruences and all are complementary to the compositional nature of the models considered. As well as their intrinsic interest from a process algebra perspective, each of these notions of equivalence is also demonstrated to be useful in a performance modelling context. The strong structural equivalence, isomorphism, generates equational laws which form the basis of model transformation techniques. This is weakened to define weak isomorphism.
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Ziegenbein, Dirk. "A compositional approach to embedded system design." [S.l.] : [s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=96721954X.
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Alekseyev, Arseniy. "Compositional approach to design of digital circuits." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2590.
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In this work we explore compositional methods for design of digital circuits with the aim of improving existing methodoligies for desigh reuse. We address compositionality techniques looking from both structural and behavioural perspectives. First we consider the existing method of handshake circuit optimisation via control path resynthesis using Petri nets, an approach using structural composition. In that approach labelled Petri net parallel composition plays an important role and we introduce an improvement to the parallel composition algorithm, reducing the number of redundant places in the resulting Petri net representations. The proposed algorithm applies to labelled Petri nets in general and can be applied outside of the handshake circuit optimisation use case. Next we look at the conditional partial order graph (CPOG) formalism, an approach that allows for a convenient representation of systems consisting of multiple alternative system behaviours, a phenomenon we call behavioural composition. We generalise the notion of CPOG and identify an algebraic structure on a more general notion of parameterised graph. This allows us to do equivalence-preserving manipulation of graphs in symbolic form, which simplifies specification and reasoning about systems defined in this way, as displayed by two case studies. As a third contribution we build upon the previous work of CPOG synthesis used to generate binary encoding of microcontroller instruction sets and design the corresponding instruction decoder logic. The proposed CPOG synthesis technique solves the optimisation problem for the general case, reducing it to Boolean satisfiability problem and uses existing SAT solving tools to obtain the result.
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Tzedaki, Aikaterini. "Into the sounding environment : a compositional approach." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/6529.
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The focus of the compositional approach presented in this folio is the sounding environment. The term sounding environment is used in this context to refer to the whole of our living experience in the world which we might register as relating to sound. It might include everything that is sounding, seemingly sounding, imagined sounding, remembered sounding, sensed as sounding, composed to sound. It includes thus the actual sound environment, all that is sensed or interpreted as sound and imaginary sounds. This dissertation accompanies the seven acousmatic and the two sound installation works included in the folio. It is divided into two parts. In the first part relevant ideas and theories both from the literature of electroacoustic music composition and soundscape composition are discussed while in the second the compositional approach to the sounding environment is presented as applied to the works.
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Constantinou, Stace. "Processes of creative patterning : a compositional approach." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/32434/.
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This thesis consists of three main bodies of work: 1) a portfolio of seven musical compositions, six of which are presented in notated score format, and one of which is an electroacoustic work; 2) the same portfolio of seven musical compositions presented as audio recordings; 3) a written critical commentary focussed on the development and deployment of processes of creative patterning within the seven portfolio compositions. The critical commentary provides the following: an insight into the musical context underpinning the development of the portfolio of works; the research questions posed, and how I have proceeded to answer them; detailed information about the compositional processes employed in each of the seven pieces. I include a survey of some of the ideas and practices of eight composers that have provided a musical context for my work: Olivier Messiaen, Jonathan Harvey, Iannis Xenakis, Denis Smalley, Trevor Wishart, Elliott Carter, Milton Babbitt, and Brian Ferneyhough. I situate my music within a Post-Tonal setting by utilising various elements, ideas, speculations and practices associated with compositional qualities that are not tonal in a traditional sense (Whittall, 2008, p.276), including for example: serial techniques, electroacoustic techniques, spectralism and microtonalism. The main objectives of this doctorate may be summarised by asking two questions: 1) is it possible to develop a novel style of music composition through the exploration and deployment of processes of creative patterning? 2) Is it possible to discover any general principles of composing with processes of creative patterning? In answering these two questions, the starting point was to define the nature of pattern, which occurs in three types: 1) numerical object patterns; 2) geometric patterns (which can be reduced to numbers); and 3) statistical self-similarity, or the pattern of formlessness (Stewart, I., 1998, p.11). Following from this study, it becomes possible to create an analogy between musical parameters and patterns by, for example, linking time with number. The patterns that are used creatively to form the musical material are as follows: the Golden ratio; a template of proportions; a short sequence of prime numbers; a Quadratic Recurrence Equation; an equation of the Poisson Distribution; a random data sample; and a Squaring Formula. A variety of forces have been employed in the seven compositions presented in this study including solo instrument, ensemble, electroacoustic composition, solo instrument and live electronics, and solo voice with tape. The seven compositions presented in the portfolio are: From the Book Of Songs for solo soprano and tape (c. 20 minutes); Pallimorphony for string quartet (c. 10 minutes); Trainofthoughts, electroacoustic composition (c. 30 minutes); On Sensations Of Cactus for solo piano and tape (c. 15 minutes); Trak-Ea for saxophone quartet (c. 8 minutes); Multiquadphonic for solo oboe and live-electronics (c. 8 minutes); Oryana Seven for ensemble (7 players, c. 6 minutes). The total duration of the seven compositions in the portfolio is approximately 1 hour and 30 minutes. Each of the seven chapters within this commentary focuses on one composition. Every chapter explores either a new creative patterning technique, or a new combination of creative patterning techniques, that has been used during the compositional process. Chapter 1 applies a prime number sequence to create a microtonal harmonic field in my song cycle From The Book Of Songs. Chapter 2 shows the development of three processes of creative patterning in my second string quartet Pallimorphony. Chapter 3 details how combining three different patterning processes creates the thirty-minute piece Trainofthoughts. Chapter 4 reveals how a random data sample and a five-note cell are applied as patterning processes in On Sensations Of Cactus, for solo piano and tape. Chapter 5 shows how the development of a comprehensive set of pre-compositional materials forms an important part in the process and application of creative patterning in Trak-Ea, for saxophone quartet. Chapter 6 explores how multiphonics, Pitch-Class sets, and a disruptive technique have been linked in Multiquadphonic, for solo oboe and live electronics. Chapter 7 details how a prime number sequence and the Fibonacci sequence are juxtaposed to determine the instrumentation, texture and harmonic movement within the ensemble piece Oryana Seven. The chapters are presented in such a way as to elucidate the development of my techniques and working methods. The order in which the compositions are shown in this commentary corresponds to the order in which each piece was begun, except for Multiquadphonic, which was started before Oryana Seven and completed afterwards. The chamber ensemble piece has been placed last as it uses larger instrumental forces than Multiquadphonic, and the pre-planning stage occurred after that of the oboe and live electronics work. In Oryana Seven my creative patterning techniques are applied to more instruments and therefore across a larger range of parameters than any other work. In the concluding chapter it is argued that a novel style of music composition has been achieved, through the exploration, development and use of processes of creative patterning. In addition, two general principles of creative patterning have emerged: 1) establishing a pattern in template form; 2) changing the template through replication, transformation and merger. Finally, the critical commentary speculates on possible future work, including a proposed utilisation of creative patterning techniques applied to Pitch-Class sets in such as way as to transform them into microtonal patterns.
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Verdi, David S. M. Massachusetts Institute of Technology. "A compositional approach to robotic impedance control." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123635.
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Thesis: S.M., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2019Cataloged from PDF version of thesis.
Includes bibliographical references (pages 121-129).
While the gap between robot and human performance is rapidly closing, humans still vastly outperform robots at dynamic interaction tasks, particularly those which involve manipulation into kinematic singularities, and those which might involve collaborative or closed kinematic chain manipulation with multiple actuators. In this work, compositional impedance control, or linearly superimposing impedance controllers on a robot, is presented as a step towards closing this performance gap. First, an overview of compositional impedance control is provided, along with a discussion of the control framework's applications to redundancy resolution, controlling closed kinematic chains, managing collaborative manipulation, and tackling high-DOF manipulation tasks. This control scheme was implemented on a Baxter Research Robot, and a series of system identification experiments were conducted to determine how well the robot was able to render the desired impedance parameters, and how well those parameters linearly superimposed between two arms collaboratively manipulating an object. Commanded static stiffness was found to be delivered by each individual arm to within a 2% error, while the linear superposition was verified to within 3% error. Commanded endpoint damping was found to be delivered by the robot with a 17% and 57% error by the left arm and right arm respectively. Linear superposition for damping was verified to within 7% error. Using this compositional impedance control framework, sample manipulation tasks such as closed-chain manipulation into singularity, and high-speed closed-chain cloth manipulation (in the form of robotic shoe-shining) were implemented. Finally, nullspace projection methods for redundant manipulators are discussed, and an impedance based implementation of the nullspace projection method is presented.
by David Verdi.
S.M.
S.M. Massachusetts Institute of Technology, Department of Mechanical Engineering
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Jefferson, Nigel Patrick. "Dependable compositions : a formal approach." Thesis, University of Newcastle Upon Tyne, 2007. http://hdl.handle.net/10443/1959.
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Design processes for most engineering disciplines are based on component reuse. In much the same way as the need for customizable reuse of software fueled the growth and development of object-oriented programming languages over module-based languages, the same driving force for component-based solutions is leading to object-oriented languages being transcended by component-based composition languages. Existing declarative programming languages are ideally suited to the construction of software components, but are inappropriate for specifying compositions of components in a high level manner. Indeed several composition environments exist that are built on top of object-oriented languages though they fail to supply the level of abstraction required to specify compositions of components. This is particularly true when the components are black boxes. In order to reuse a black box component, an accurate and unambiguous description of the component's functionality must exist. It is doubtful that natural language can fulfil this requirement. This thesis advocates a formal approach to specifying a component and demonstrates that this approach will aid in the composition and verification of component based systems. The thesis presents a general solution to the problem by defining the formal semantics for a composition of components. Building on this work, a formal definition of exceptional component behaviour is provided along with a formal reasoning about component dependability. These then form the basis for the formal definition of a composition specification language and theoretical declarative compositional programming language. Such a language would afford the programmer the tools required to construct a dynamic composition of components.
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Yazdani, Arash. "An acoustical approach toward composition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1252.
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Alvarez, Munoz Pedro. "A situational approach to composition." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/23450/.
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This commentary presents my compositional work of the last two years. It consists of musical pieces that follow a formal approach emphasising static, self-enclosed musical situations. Designed to avoid processual ways of formal organisation, these pieces present collections of rich instrumental textures that do not evolve; they point toward a music of 'being' rather than 'becoming'. Drawing on conceptual traces from discussions of Karlheinz Stockhausen's 'moment form' and Helmut Lachenmann's ideas of 'sound as state'; on musical traces from Morton Feldman and Aldo Clementi, and reflecting on similar approaches by contemporary referents such as Harald Muenz and Bryn Harrison, I seek to contextualise the formal aspects of my own compositional practice comprised in what I call a 'situational' approach. A detailed observation of the musical material and modes of inner organisation used in the construction of these pieces will be necessary in order to reveal the features that give situations their characteristic sense of stasis. I also seek to explore different effective ways of formal organisation based on the co-existence of situations. I do this by means of juxtaposing either single such situations, or several instances of them, reoccurring in different combinations. Both formal approaches seek to emphasise the syntactic independence and lack of relations of consequence between such segments.
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Dorrell, R. "Approaches to integrating improvisation into notated big band compositions." Thesis, Bath Spa University, 2018. http://researchspace.bathspa.ac.uk/11592/.
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This research attempts to discover new guidance methods for jazz improvisers working within the context of a big band that provide greater thematic continuity than solos based purely on chord symbols. After an introductory chapter, Chapter 2 examines the research context in terms of existing academic texts and the working practices of jazz composer, Graham Collier. Because of the lack of existing academic literature on this topic, in Chapter 3, an interview with Darcy James Argue and a survey of responses from 57 other currently-active jazz composers from around the world is analysed. The survey presents diverse views on the problem of thematically integrating the soloist into a big band, as well as suggesting a range of approaches and techniques for doing so. In subsequent chapters, four new compositions for big band and soloist are introduced. Multiple recorded performances of each of the works with different professional soloists of varying age and musical backgrounds generated ten improvised solos based on thematic melodic motifs and a variety of pitch sets. These solos were then transcribed and analysed for motivic development. The concluding chapter studies the hindrances to the development of thematic melodic material found in these solos and analyses the impact of these unusual guidance methods on the improvising soloist and the process of composing new work. The final section suggests future possible developments based on the findings and experiences of conducting the research.
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Gutierrez, Ignacio Brasa. "Empathetic processes, poetic forms, and heterogeneous approaches to composition." Thesis, University of Southampton, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664753.
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Finding a balance between intellectual tools and a spontaneous development of ideas is one of the most challenging aspects of composition. With the common ground of a preference for rich and varied musical grammars, this thesis looks at three different strategies to organize materials and structures, and explores the individuality and variety that emerges from an improvisatory approach to writing music. The research that is described in this commentary has resulted in the development of a rational system that, using mathematical constants, modifies pitch, durations and dynamics in a continuous and predetermined way. The relevance of this method lies on its potential to unfold directional material and create subtle deviations from an original sound or group of sounds. A second strategy explores music in which motivic connections relate analogously to poetic structures. This approach reveals the potential of literary forms to construct meaningful musical nanatives; phonetic resemblances are translated into motifs in order to experiment with the proportions and rhythms of poetry. Finally, free compositional strategies (variant types of improvisation) have been used to create a comprehensive musical language. Making use of textures and techniques that derive from the previous two strategies, this approach draws upon atonality and elements borrowed from functional tonality to outline heterogeneous narratives. In relation to form, the contrast between complex textures and simple settings, and the coexistence of diverse materials, contribute to yield dynamism and directionality. Richness is an essential part of this language as musical objects are frequently presented in a wide variety of forms.
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Morales, Murguía Hugo. "Hacking traditional instruments : approaches to sound-oriented instrumental composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/14561.
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Technology plays a vital role in the creation of any form of art. In music this has been dominated by a stationary condition in which contemporary ‘academic music’ (new music created in institutions and descending from traditional European models) is in its majority still generated exclusively by a technology of more than a century ago. Additionally, the totality of sound as musical material is now commonly acknowledged, posing problems about the nature and efficiency of the already existing musical instruments and the development of new ones. The current situation in the creation of contemporary music offers a myriad of possibilities in which tools, controllers and instruments have an impact on the creation and conceptualization of music, giving rise to different aesthetic positions and creating new dilemmas in which present, past and future are in constant assessment. This thesis seeks to examine some of the concepts and ideas behind a number of my works in which instrumental sound exploration is essential for the development of the compositional process. As a result, a series of questions, systems and techniques are analyzed, investigating the relation between tools, technique, notation, composition and musical result. This text is intended as an illustration of my own choices and methods, hoping to offer an insight into my own compositional practice as a product of an exercise of self-analysis and rationalization of my current musical output.
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Burgess, Linda Kathryn. "The Sufi teaching story and contemporary approaches to composition." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1533.
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Jensen, Johannes Høydahl. "Evolutionary Music Composition : A Quantitative Approach." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-14036.
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Artificial Evolution has shown great potential in the musical domain. One task in which Evolutionary techniques have shown special promise is in the automatic creation or composition of music. However, a major challenge faced when constructing evolutionary music composition systems is finding a suitable fitness function.Several approaches to fitness have been tried. The most common is interactive evaluation. However, major efficiency challenges with such an approach have inspired the search for <i>automatic</i> alternatives.In this thesis, a music composition system is presented for the evolution of novel melodies. Motivated by the repetitive nature of music, a <i>quantitative</i> approach to automatic fitness is pursued. Two techniques are explored that both operate on frequency distributions of musical events. The first builds on <i>Zipf's Law</i>, which captures the scaling properties of music. Statistical <i>similarity</i> governs the second fitness function and incorporates additional domain knowledge learned from existing music pieces.Promising results show that pleasant melodies can emerge through the application of these techniques. The melodies are found to exhibit several favourable musical properties, including rhythm, melodic locality and motifs.
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Miller, Paul Brian. "Composition and technology : a pragmatic approach." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287410519.
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Buurman, Erica. "Beethoven's compositional approach to multi-movement structures in his instrumental works." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/beethovens-compositional-approach-to-multimovement-structures-in-his-instrumental-works(9efc31c0-a545-4a66-8045-d975f1119f7b).html.
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The multi-movement structures of Beethoven’s instrumental works include some of the most obvious manifestations of his originality as a composer. His very first Viennese publications—the Piano Trios op. 1 and the Piano Sonatas op. 2—adopt the four-movement cycle that had previously been associated primarily with the symphony. And in his last five string quartets he transformed the conventional multi-movement cycles almost beyond recognition, particularly in the seven-movement Quartet op. 131, in which each movement runs directly into the next. This study investigates Beethoven’s compositional approach to multi-movement structure, with the aim of gaining a better understanding of the underlying principles that influenced his musical decisions. Particular attention is given to an aspect of his sketching process that has received relatively little scholarly attention: multi-movement plans. These plans were generally sketched at an early stage in the compositional process, and outline preliminary ideas for the different movements of a work as a whole. Although Lewis Lockwood hypothesised that such plans were particularly frequent amongst Beethoven’s sketches from 1800 to 1804, until now there has never been a detailed study of their role within Beethoven’s sketching process throughout his career. This study reveals that multi-movement plans were a regular feature in sketches for instrumental works from 1800 onwards, and that they served a variety of purposes within the compositional process. Multi-movement plans from all stages of Beethoven’s compositional career are transcribed and examined for what they can reveal about his conception of multi-movement structures.
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Catchpole, Gareth S. "Novel spectroscopic approaches for analysing the composition of plant tissue." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268510.
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Guehria, Fawzie M. "A new efficient fully integrated approach to compositional reservoir simulation /." Access abstract and link to full text, 1991. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9203795.
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Davis, N. D. "A compositional hybrid approach to the design of manufacturing simulators." Thesis, University of Warwick, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288543.
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DAMASCENO, Adriana Carla. "Towards a test generation approach for compositional real-time systems." Universidade Federal de Campina Grande, 2015. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/241.
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We can find many examples of Real-time Systems (RTS) in critical applications such as patient monitoring, air traffic control and others. A failure in this kind of system can be catastrophic. For example, it can harm human lives or increase project budgets. Hence, the testing of real-time systems must be accurate. Models are used to perform this task, since they contain information about how the system behaves and when actions may happen. Due to the complexity of the available systems, most RTS are composed of subsystems that interact as part of a bigger system. These subsystems are combined through operators to model their specification behavior. However, works on the testing of compositional models for RTS are practically nonexistent. Among the available approaches to perform testing for non-compositional RTS models, the tioco conformance testing theory focuses on generating test cases based on implementation and specification models. Moreover, a conformance relation defines whether success in testing means conformance between an implementation and a specification. To express specifications and to represent implementations under test, we use Timed Input Output Symbolic Transitions Systems (TIOSTS). These models store symbolic data and clock variables, avoiding the state space and region explosion problems. Regarding the testing of compositional models, some questions may arise: If two subsystem implementations are tioco conformant to their specifications, is it correct to assume that the composition of the implementations is also tioco conformant to the composition of their specifications? In this case, how can operators be defined to work with TIOSTS and tioco? To answer these questions, this thesis proposes the sequential, interruption and parallel operators for the TIOSTS model. For each operator, we study how the tioco conformance relation behaves with respect to subsystems and the composed system. We present results towards properties of compositional operators when the subsystems are composed, as well as implementing them. Besides, we show three examples where each operator can be used and illustrate the applicability of our approach in two exploratory studies. The first models components of a aircraft specification and the second presents application level interruptions in an Android system.
We can nd many examples of Real-time Systems (RTS) in critical applications such as patient monitoring, air tra c control and others. A failure in this kind of system can be catastrophic. For example, it can harm human lives or increase project budgets. Hence, the testing of real-time systems must be accurate. Models are used to perform this task, since they contain information about how the system behaves and when actions may happen. Due to the complexity of the available systems, most RTS are composed of subsystems that interact as part of a bigger system. These subsystems are combined through operators to model their speci cation behavior. However, works on the testing of compositional models for RTS are practically nonexistent. Among the available approaches to perform testing for non-compositional RTS models, the tioco conformance testing theory focuses on generating test cases based on implementation and speci cation models. Moreover, a conformance relation de nes whether success in testing means conformance between an implementation and a speci cation. To express speci cations and to represent implementations under test, we use Timed Input Output Symbolic Transitions Systems (TIOSTS). These models store symbolic data and clock variables, avoiding the state space and region explosion problems. Regarding the testing of compositional models, some questions may arise: If two subsystem implementations are tioco conformant to their speci cations, is it correct to assume that the composition of the implementations is also tioco conformant to the composition of their speci cations? In this case, how can operators be de ned to work with TIOSTS and tioco? To answer these questions, this thesis proposes the sequential, interruption and parallel operators for the TIOSTS model. For each operator, we study how the tioco conformance relation behaves with respect to subsystems and the composed system. We present results towards properties of compositional operators when the subsystems are composed, as well as implementing them. Besides, we show three examples where each operator can be used and illustrate the applicability of our approach in two exploratory studies. The rst models components of a aircraft speci cation and the second presents application level interruptions in an Android system.
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McDonald, Iain. "Playing with technology an approach to composition /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/669/.
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Thesis (MMus) - University of Glasgow, 2007.MMus. thesis submitted to the Faculty of Arts, Department of Music, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "An intercultural approach to composition and improvisation." THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.
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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundariesMaster of Arts (Hons.)
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Strazzullo, Guy. "An intercultural approach to composition and improvisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051013.095017/index.html.
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Hoover, Amy K. "Functional Scaffolding for Musical Composition: A New Approach in Computer-Assisted Music Composition." Doctoral diss., University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6290.
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While it is important for systems intended to enhance musical creativity to define and explore musical ideas conceived by individual users, many limit musical freedom by focusing on maintaining musical structure, thereby impeding the user's freedom to explore his or her individual style. This dissertation presents a comprehensive body of work that introduces a new musical representation that allows users to explore a space of musical rules that are created from their own melodies. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and an additional generated voice. This relationship is encoded by a type of artificial neural network called a compositional pattern producing network (CPPN). A human user without any musical expertise can then explore how these additional generated voices should relate to the scaffold through an interactive evolutionary process akin to animal breeding. The utility of this insight is validated by two implementations of FSMC called NEAT Drummer and MaestroGenesis, that respectively help users tailor drum patterns and complete multipart arrangements from as little as a single original monophonic track.
The five major contributions of this work address the overarching hypothesis in this dissertation that functional relationships alone, rather than specialized music theory, are sufficient for generating plausible additional voices. First, to validate FSMC and determine whether plausible generated voices result from the human-composed scaffold or intrinsic properties of the CPPN, drum patterns are created with NEAT Drummer to accompany several different polyphonic pieces. Extending the FSMC approach to generate pitched voices, the second contribution reinforces the importance of functional transformations through quality assessments that indicate that some partially FSMC-generated pieces are indistinguishable from those that are fully human. While the third contribution focuses on constructing and exploring a space of plausible voices with MaestroGenesis, the fourth presents results from a two-year study where students discuss their creative experience with the program. Finally, the fifth contribution is a plugin for MaestroGenesis called MaestroGenesis Voice (MG-V) that provides users a more natural way to incorporate MaestroGenesis in their creative endeavors by allowing scaffold creation through the human voice. Together, the chapters in this dissertation constitute a comprehensive approach to assisted music generation, enabling creativity without the need for musical expertise.Ph.D.
Doctorate
Computer Science
Engineering and Computer Science
Computer Science
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Wallace, Derek Francis. "Approaches towards the composition of the microorganisms associated with epiphytic bromeliads." Thesis, University of Newcastle Upon Tyne, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401686.
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Avellar, Marcio Guilherme Bronzato de. "Different approaches to the Composition of Neutron Stars and their Environment." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/14/14131/tde-12062012-213540/.
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Even after 80 years of intense research, the composition of neutron stars remains unknown, since both the dense matter in the interior of these compact objects and the matter moving around them are in extreme physical conditions, unreproducible in terrestrial laboratories. In this Thesis, we follow four different interconnected ways to approach these extreme objects. First, we explore the mathematical structure of neutron stars, building solutions parametrised solely by the central density, what are very appropriate to study the structural behaviour of these stars in different situations. Then, we adopted a novel approach, the information theory, to infer a hierarchy of equations of state, showing that quark stars would be, by its configuration, favoured by Nature. Studying the X-ray emission arising from the low-mass binary system 4U 1608-52, which contains a neutron star, we limit the physical size of the emitting source, showing that it should not be far from the surface of the compact star. For this, we employed a technique to calculate the time lags never used before. Finally, we show that it is possible to obtain restrictions on the strange quark mass and the energy gap of the CFL directly from observations. We conclude this Thesis with the statement that the strange quark matter is, structurally and energetically favoured by Nature, though there is an entropic barrier to be overcame and a minimum central density to be reached just after the collapse of the progenitor star. If this barrier is actually overcame in Nature, only refined observations will tell.Mesmo depois de 80 anos de pesquisas intensas, a composição das estrelas de nêutrons permanece desconhecida, uma vez que tanto a matéria densa do interior desses objetos compactos quanto a matéria se movendo em torno deles encontram-se em condições físicas extremas, irreprodutíveis em laboratórios terrestres. Nessa Tese, seguimos quatro diferentes caminhos interconectados para abordar esses objetos extremos. Primeiramente, exploramos a estrutura matemática das estrelas de nêutrons, construindo soluções parametrizadas unicamente pela densidade central, apropriadas para estudar o comportamento estrutural dessas estrelas em diversas situações. Em seguida, adotamos uma abordagem nova, a teoria da informação, para inferir uma hierarquia de equações de estado, mostrando que as estrelas de quarks seriam, por sua conformação, favorecidas na Natureza. Estudando a emissão em raios-X advinda do sistema binário de baixa massa 4U 1608--52, que contém uma estrela de nêutrons, limitamos o tamanho físico da fonte emissora, mostrando que não deve estar longe da superfície da estrela compacta. Para isso, empregamos uma técnica inédita no cálculo dos \"time lags\". Por fim, mostramos que é possível obter restrições à massa do quark estranho e ao \"gap\" de energia da CFL diretamente das observações. Concluímos essa Tese com a afirmação de que a matéria estranha é, estrutural e energeticamente, favorecida pela Natureza, muito embora exista uma barreira entrópica a ser superada e uma densidade central mínima a ser atingida logo após o colapso da estrela progenitora. Se essa barreira foi superada na Natureza, apenas observações futuras mais refinadas dirão.
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Andrade-Gómez, Héctor Adolfo. "Model checking for open systems a compositional approach to software verification /." [Gainesville, Fla.] : University of Florida, 2001. http://purl.fcla.edu/fcla/etd/ank6403.
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Thesis (Ph. D.)--University of Florida, 2001.Title from first page of PDF file. Document formatted into pages; contains xi, 144 p.; also contains graphics. Vita. Includes bibliographical references (p. 139-143).
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Macedo, Frederico Alberto Barbosa. "Three senses of space in electroacoustic music : a phenomenological-compositional approach." Thesis, Lancaster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654555.
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This thesis in composition started with a reflection about the nature and meaning of space in music and how it has been used in composition, especially in electroacoustic music. My reflection resulted in two research questions - 'What is space in music?' and 'How can space be used as an essential aspect of composition?' I followed a phenomenological approach, in its French ramification, represented by Mikel Dufrenne (1973) and Maurice Merleau-Ponty (1996, 2004). As phenomenology recognises the centrality of perception as the foundation of all knowledge and the arts, I focussed on the concept of perceived space, as conceptualised by J. J. Gibson (1966, 1986), examining the role of the different perceptual systems in the perception of space, with special emphasis on the auditory system. I defined three senses of space which I believe tQ be fundamental in electroacoustic music: musical space as reverberation, sound spatialisation and reference. I develop each concept and give examples of different composers who have worked with each of them. I composed four pieces - Journey I and 11, and Night Song I and 11 - in which I exemplify and develop in practice the concepts discussed in theory, using a number of spatial compositional techniques which I learned from my theoretical research, while also developing my own techniques. In Chapter 7 I describe the most relevant aspects of my compositional process which are more directly related to the spatial aspects of the works composed, introducing the concepts of spatial narrative and spatial design, providing a bridge between the theory discussed in the previous chapters and my compositional practice. I finish the thesis with a reflection about possible connections which can be made between the development of spatial music and a broader cultural context.
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NUNES, DEBORAH COUTINHO GIL. "PERCEPTUAL MAPPING OF HOTELS IN RIO DE JANEIRO: A COMPOSITIONAL APPROACH." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24468@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A indústria hoteleira vem se desenvolvendo significativamente nos últimos anos impulsionada por grandes investimentos privados e do governo no setor de turismo e infraestrutura. Inteiramente vinculada à demanda turística e inserida no setor de serviços, a indústria apresenta um composto variável de bens e serviços, que requer o entendimento das necessidades e dos desejos de seus clientes para adotar as estratégias adequadas. Tal mercado é particularmente sensível à qualidade dos serviços prestados e produtos oferecidos aos hóspedes. A satisfação do consumidor é, portanto, um dos principais objetivos do setor, que busca criar valor para os seus clientes ao antecipar e gerenciar suas expectativas, sejam elas no segmento de turismo de lazer, sejam no segmento de turismo de negócios. Nesta pesquisa alguns atributos apontados como essenciais aos serviços de hotelaria foram utilizados com o objetivo de entender como o mercado percebe um conjunto de hotéis localizados na cidade do Rio de Janeiro. Para tanto, foi realizado um estudo em que se empregou análise de correspondência para desenhar o mapa de percepções relativo a um conjunto pré-definido de atributos e hotéis. O mapa bidimensional indica prevalência dos atributos área de lazer e valor para a dimensão I e de um conjunto de atributos mais voltados para o segmento de negócios no caso da dimensão II, onde localização e restaurante são destaques positivos e qualidade do quarto e limpeza têm relevo negativo. O Othon Palace enfatiza os dois segmentos (as duas dimensões). O hotel Pestana Rio Atlântica prioriza o turismo lazer, enquanto que os outros oito hotéis pesquisados estão mais concentrados em torno da origem (coordenadas normalizadas com valor absoluto inferior a 0,4), o que caracteriza um posicionamento estratégico ambíguo, buscando privilegiar tanto o turismo de negócios quanto o de lazer.
The hotel industry has been developing significantly in the last years, driven by large public and private investments in the tourism and infrastructure sectors. Said industry is entirely related to the demand of tourism activity and is inserted in the service sector. Additionally, it is made up of a variable of good and services, which requires the understanding of the needs and wants of its clients in order to adopt the adequate strategies. Such a market is particularly sensitive to the quality of services rendered as well as to products offered to guests. Therefore, customer satisfaction is one of the main objectives of the sector that strives to create value for its clients by anticipating and managing their expectations, be them in the leisure or business tourism segments. In this research some attributes considered to be essential to the services of the hotel industry were used with the purpose of understanding how the market perceives a group of hotels located in the City of Rio de Janeiro. To this effect, a study was done in which correspondence analysis was implemented to conceptualize the perceptions map concerning a group of predefined attributes and hotels. The bi-dimensional map indicates mostly leisure attributes and value to the Dimension I and a group of attributes pertaining to the business segment in the Dimension II, where location and restaurant stand out as positive factors and room quality and cleanliness have a negative relevance. Othon Palace hotel emphasizes the two segments (the two dimensions). Pestana Rio Atlântica hotel prioritizes leisure tourism, while the other eight hotels that were analyzed are more concentrated due to their origin (normalized coordinates with an absolute value inferior to 0.4), which characterizes an ambiguous strategic positioning, striving to excel both in leisure and business tourism.
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MacDonald, James Donald III. "Study in Rain and Light: An approach for audiovisual composition." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554491734331463.
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Foster, Howard. "A rigorous approach to engineering web service compositions." Thesis, Imperial College London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423091.
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." University of Sydney. Music, 2001. http://hdl.handle.net/2123/802.
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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Nadkarni, Dinanath. "An iterative approach towards web service composition using feedback from analysis of composition failures." [Ames, Iowa : Iowa State University], 2008.
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Ben, hadj yahia Elyas. "A Language-Based Approach for Web Service Composition." Thesis, Bordeaux, 2017. http://www.theses.fr/2017BORD0783/document.
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Au vu des dernières avancées dans le domaine de l’ingénierie web, ainsi qu’avec la baisse de coût du cloud computing, les architectures orientées services sont rapidement devenues la solution prépondérante pour fournir des services à valeur ajoutée aux clients. Suite à cette tendance, la composition de services tiers est devenue un paradigme de référence pour le développement d’applications robustes et riches, ou encore pour l’automatisation de processus métiers. Avec la disponibilité de centaines de milliers de services et APIs web, la réalisation de telles intégrations devient lourde et fastidieuse quand effectuée manuellement. Par ailleurs, chaque client peut exiger des besoins et politiques d’intégration différentes, ce qui complexifie davantage la tâche. De plus, fournir une telle solution qui soit à la fois robuste et scalable est une tâche non-triviale. Il est donc primordial d’étudier comment coordonner de manière efficace les interactions entre les services web existants. Ainsi, cette thèse vise à étudier les problématiques liées à la composition de services web dans le contexte des pratiques de développement web modernes. Nous présentons un cadre architectural permettant la spécification de compositions de services web grâce à une approche orientée langage, et montrons comment supporter leur exécution de manière scalable grâce à MEDLEY, une plateforme légère et orientée événementsIn light of the recent advances in the field of web engineering, along with the decrease of cost of cloud computing, service-oriented architectures rapidly became the leading solution in providing valuable services to clients. Following this trend, the composition of third-party services has become a successful paradigm for the development of robust and rich distributed applications, as well as automating business processes. With the availability of hundreds of thousands of web services and APIs, such integrations become cumbersome and tedious when performed manually. Furthermore, different clients may require different integration requirements and policies, which further complexifies the task. Moreover, providing such a solution that is both robust and scalable is a non-trivial task. Therefore, it becomes crucial to investigate how to efficiently coordinate the interactions between existing web services. As such, this thesis aims at investigating the underlying challenges in web service composition in the context of modern web development practices. We present an architectural framework to support the specification of web service compositions using a language-based approach, and show how we support their execution in a scalable manner using MEDLEY, a lightweight, event-driven platform
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Gélineau, Samuel. "Commutative composition - a conservative approach to aspect weaving." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92277.
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Aspect-oriented programming is very good at separating concerns, but a little less at combining them back together; some aspects are simply incompatible, causing unexpected behaviours when used together. To prevent such conflicts, a conservative approach is to construct sets of aspects which are provably guaranteed to be compatible with one another. Surprisingly, to establish that two aspects are compatible, it is enough to show that they yield the same result regardless of the order in which they are woven. This principle can be used to construct, extend and transform sets of useful and compatible aspects.La programmation orientée aspect a atteint son objectif, la séparation des considérations. Une fois séparées, par contre, ces considérations ne se remboîtent pas toujours parfaitement; certaines, tout simplement incompatibles, se comportent de manière surprenante lorsqu'elles sont utilisées ensemble. Afin de prévenir ces conflits, une approche conservatrice consiste à définir des ensembles d'aspects pour lesquels nous avons la preuve qu'ils sont compatibles les uns avec les autres. Pour obtenir cette preuve, étonnament, il suffit de s'assurer que ces aspects produisent les mêmes effets, qu'ils soient tissés dans un ordre ou dans l'autre. Ce principe est à la base d'une série de preuves permettant de construire, d'étendre et de transformer des ensembles d'aspects à la fois utiles et compatibles.
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Sakellaridou, Irini. "A top-down analytic approach to architectural composition." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504524.
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This thesis is an exercise in theory with an empirical exercise. It deals with the traditional architectural ideas of 'composition' and 'parti', and applies a formal analytic approach to them. It takes a top-down approach to the notion of 'composition', which tries to reflect the way architects think, and looks at the 'parti' as the deep structure of the building, which is abstract, global, and capable of many realisations. As a case study, 19 houses of Mario Botta are analysed. The purpose of the empirical exercise is to explore how far it is possible to produce an analytic construction of the notion of 'parti'. It asks: are there formal top-down themes which underly the composition of the houses and have to do with their relational structure? After the description of the houses a formal analysis of the identified themes takes place. These formal top-down themes are defined as rules. A distinction is made between the nature of the rule, the degree of its realisation and the domains (mass, elevations, plan) of its realisation. Formal analysis, thus, measures properties of the mass, the elevations and the plan. What analysis shows is that the interrelations of the rules define the 'parti'. Three phases are identified in the development of the 'parti' of the houses which show an evolution of it from combinations to structure. A distinction between a short and a long genotype for order is thus made, as well as a distinction between the intension and the extension of the rule seen as a relation. In the last part the thesis explores what these findings suggest towards theory building as well as implications for further research by addressing the notion of relation and by defining two different types of interrelations.
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Ashworth, Philip James. "Developing an approach to large-scale musical composition." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633497.
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This accompanying commentary details my development of a large-scale approach to composition. Outlining my need to find a way of dealing more comprehensively with my material, the essay explores the nature of material itself and what it is to be large-scale. The works of other composers and theorists are examined and discussed alongside analyses of my composition portfolio
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McIver, Russell P. "A knowledge-based approach to scientific workflow composition." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/80633/.
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Scientific Workflow Systems have been developed as a means to enable scientists to carry out complex analysis operations on local and remote data sources in order to achieve their research goals. Systems typically provide a large number of components and facilities to enable such analysis to be performed and have matured to a point where they offer many complex capabilities. This complexity makes it difficult for scientists working with these systems to readily achieve their goals. In this thesis we describe the increasing burden of knowledge required of these scientists in order for them to specify the outcomes they wish to achieve within the workflow systems. We consider ways in which the challenges presented by these systems can be reduced, focusing on the following questions: How can metadata describing the resources available assist users in composing workflows? Can automated assistance be provided to guide users through the composition process? Can such an approach be implemented so as to work with the resources provided by existing Scientific Workflow Systems? We have developed a new approach to workflow composition which makes use of a number of features: an ontology for recording metadata relating to workflow components, a set of algorithms for analyzing the state of a workflow composition and providing suggestions for how to progress based on this metadata, an API to enable both the algorithms and metadata to utilise the resources provided by existing Scientific Workflow Systems, and a prototype user interface to demonstrate how our proposed approach to workflow composition can work in practice. We evaluate the system to show the approach is valid and capable of reducing some of the difficulties presented by existing systems, but that limitations exist regarding the complexity of workflows which can be composed, and also regarding the challenge of initially populating the metadata ontology.
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Mollá-Aliod, Diego. "Aspectual composition and sentence interpretation : a formal approach." Thesis, University of Edinburgh, 1997. http://hdl.handle.net/1842/22501.
Full textAbstract:
This thesis is principally concerned with aspectual composition. Although there have been some recent studies on this topic, none has succeeded in explaining all the different aspectual interactions existing between a verb and its arguments. This thesis explores the interpretation of sentences containing transitive or intransitive verbs and their arguments. It is found that sentence interpretation (in terms of distributive and collective readings) together with a speaker's linguistic knowledge of the world plays a decisive role in determining the aspectual interaction between a verb and its arguments. An important part in this thesis is the study of predicate properties. The parallelism between the domain of objects and that of events is stressed by defining a set of properties which may apply to predicates over both domains, namely quantisation and homogeneity. The analysis is formalised by means of lattices which represent our linguistic knowledge of the structure of the world. Objects and events are categorised by means of predicates, according to the standard (extensional) definition of a predicate in Predicate Logic. Quantisation and homogeneity are defined as properties of first-order predicates, allowing the use of classical deduction procedures to prove the different aspectual interactions. These aspectual interactions are possible thanks to the link which exists between objects and events, which always appears in the semantics of a sentence. These links are interpreted as thematic roles, although in this thesis we take a look not at the thematic roles in themselves but at those properties which license one or another aspectual interaction. The properties of the thematic roles which are studied here and which are therefore relevant for the several types of aspectual interactions are very closely related to the readings of the sentence in the sense of distributivity and collectivity. There are three types of properties: those involved in a distributive reading; those involved in a collective reading; and those involved in a gradual reading (which here is treated as a special reading which shares properties from both the distributive and the collective readings). Again, as is the case with predicate properties, the link properties are formally defined by means of expressions in first-order predicate logic, and the possible aspectual interactions are demonstrated by applying classical deduction procedures.
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Neighbors, Jeffrey Michael. "A special education composition curriculum: An interactive approach." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1770.
Full textAbstract:
Writing instruction that reflects the variety or represented pupil intelligences and learning styles in a special day classroom can significantly increase a child's opportunity for success. Attending to these areas while simultaneously taking into account student strengths, interests, and desires can facilitate the academic process. Written language skills and achievement must be addressed in a supportive and encouraging climate motivating children and maximizing their willingness to undertake new concepts.