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Dissertations / Theses on the topic 'Compositional practices'

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Published: 10 December 2022

Last updated: 28 January 2023

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1

Derrenbacker, Robert Allen. "Ancient compositional practices and the Synoptic Problem." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ64776.pdf.

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2

Davies, Alexandra Mary. "Poetry in process: the compositional practices of D.H. Lawrence, Dylan Thomas and Philip Larkin." Thesis, University of Hull, 2008. http://hydra.hull.ac.uk/resources/hull:1738.

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Philip Larkin used the image of Winston Smith's blank notebook in George Orwell's 1984 to illustrate the excitement experienced by the writer faced with an as yet unwritten text. He explains that: the books the past has given usare printed; they are magnificent, but they are finite. Only the blank book, the manuscript book, may be the book we shall give the future. Its potentialities are endless. This study of 'poetry in process' will compare the 'compositional practices' of three twentieth century poets in order to come closer to understanding the means by which poems are written. One conclusion which is perhaps inevitable from such a comparative study as this is that there is not a single approach to writing a poem. Each poet has idiosyncratic habits.

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3

Morris, Paul. "Establishing design thinking : accident, program frameworks and personal practices." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61051/1/Paul_Morris_Thesis.pdf.

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Distribution through electronic media provides an avenue for promotion, recognition and an outlet of display for graphic designers. The emergence of available media technologies have enabled graphic designers to extend these boundaries of their practice. In this context the designer is constantly striving for aesthetic success and is strongly influenced by the fashion and trends of contemporary design work. The designer is always in a state of inquiry, finding pathways of discovery that lead to innovation and originality that are highly valued criteria for self-evaluation. This research is based on an analysis of the designer perspective and the processes used within an active graphic design practice specializing entirely within a digital collage domain. Contemporary design methodologies were critically examined, compared and refined to reflect the self-practice of the researcher. The refined methodology may assist designers in maintaining systematic work practices, as well as promote the importance of exploration and experimentation processes. Research findings indicate some differences in the identified methodologies and the design practice of the researcher in the sense that many contemporary designers are not confined to a client-base but are self-generating design images influenced by contemporary practitioners. As well as confirming some aspects of more conventional design processes, the researcher found that accidental discoveries and the designer’s interaction with technology plays a significant part in the design process.

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4

Léveillé, Gauvin Hubert Gauvin. "On popular music and media: Analyzing changes in compositional practices and music listening choice behavior using attention economy principles." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523284232353463.

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5

KHALAFALLA, MUBARAK SIRELKHATIM. "FROST TOLERANCE STUDIES ON JOJOBA-SIMMONDSIA CHINENSIS (LINK) SCHNEIDER: CLONAL VARIATION, COMPOSITIONAL RELATIONSHIP AND EFFECT OF CULTURAL PRACTICES (ARIZONA)." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184072.

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In 1984 and 1985 visual differences in frost damage were observed among 40 jojoba clones growing in a field in Tucson, Arizona. More detailed data were collected on the clone with the least damage (Clone-1) and the one with the most damage (Clone-2). On 10-ten terminal branch samples, Clone-1 showed an average of 12% leaf damage compared to 35% for Clone-2. Leaf freezing under controlled conditions on a monthly schedule showed that leaves of Clone-1 consistently froze at a lower temperature than Clone-2. Also, a second exotherm occurred in 50% of the samples for Clone-1 whereas a second exotherm occurred in only 15% of the samples of Clone-2. Soil moisture content and plant water potential were measured biweekly. Neither seemed to relate to the differences in freezing tolerance of the two clones. Total nonstructural carbohydrates (TNC), total soluble sugars, sucrose and proline were determined monthly. Accumulation patterns of TNC were similar for the two clones, however, Clone-1 generally accumulated more soluble sugars, sucrose and proline which might have contributed to its freezing tolerance. Growth measurements were recorded monthly to determine whether differences occurred between the two clones. Growth of both clones peaked in the spring, showed minor peaks in summer and ceased in winter. Under greenhouse conditions, pot grown cuttings from Clone-1 and Clone-2 were given zero, six or 12 gm of Osmocote fertilizer and watered at 35 or 70% field capacity to determine the effect of irrigation and fertilization on leaf freezing point. Fertilization significantly increased leaf concentrations of N and P and produced more growth. In the greenhouse study, no differences were found in leaf freezing point due to clones, irrigation or fertilization treatment. Leaves of Clone-1 froze at a higher temperature compared to field grown plants.

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6

Marvin, Clara Kelly. "Two practices, three styles, the evolution of typologies of compositional genre in sixteenth- and seventeenth-century Italian writings on music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0034/NQ41472.pdf.

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7

Rader, Aaron Christian. "Jean-michel Defaye’s Á La Maniére De Debussy Pour Trombone Et Piano: A Compositional Comparison To Claude Debussy’s Harmonic, Melodic, And Rhythmic Practices." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103379/.

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Jean-Michel Defaye composed Á La Maniére de Debussy in 2001 as part of a series of trombone solos written to emulate the compositional styles of significant predecessors. This study compares Á La Maniére de Debussy to the harmonic, melodic, and rhythmic practices of Claude Debussy (1862–1918), an innovative French composer and recognized figure of musical Impressionism. At present, there is limited scholarship on Defaye’s Á La Maniére de Debussy and its compositionally imitative nature. The first section of this document presents a survey of historical information, current literature, and methods of examination. The second section provides biographical information on composers Jean-Michel Defaye and Claude Debussy. The third section exhibits a compositional comparison of Á La Maniére de Debussy to Debussy’s use of harmony, melody, and rhythm. The final section draws a conclusion to the piece’s importance to the trombone solo repertoire and includes an interview with French trombonist Jacques Mauger who collaborated with Defaye on Á La Maniére de Debussy. Although this document is not a performance guide, an informed performance of Á La Maniére de Debussy requires a trombonist to understand Debussy’s unique treatment of harmony, melody, and rhythm.

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8

Roth, Robert Ray. "A survey of form and compositional practices of Ralph Vaughan Williams, Igor Stravinsky, Paul Hindemith, and Robert Roth in Kyrie of the mass ordinary." Kansas State University, 2014. http://hdl.handle.net/2097/17599.

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Master of Music
Department of Music, Theater, and Dance
Craig Weston
Ralph Vaughan Williams, Igor Stravinsky, and Paul Hindemith, three prolific composers of the 20th century, wrote for the medium of the mass ordinary in different ways. This report comprises a survey of those composers’ styles using the Kyrie movement of the mass ordinary as the main vehicle of compositional exploration. The results of this compositional survey examine the form and various techniques the composers employ to garner the same emotional response from the listeners of the Kyrie text. The final portion of the report explores the author’s personal compositional contribution to the mass ordinary.

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9

Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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10

Norman, Paul. "Unprotected practice : including process as compositional material." Thesis, Birmingham City University, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.753300.

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Composition as an art form often struggles with effectively communicating the initial idea that triggered the creation of the work via performance. The works included in this PhD submission and the reflection of my approach to composition included in this commentary, outline the various ways that I have attempted to address this issue by engaging with the main research question: How can the concept and composition process of the artistic work be communicated to the audience and what creative compositional opportunities does this offer? This PhD contains 13 works that share an expanded view of composition that considers not only sound but also visual and performative elements, where the whole process from initial idea to the performance forms the artistic work. This suggests a more holistic approach to composition where the audience members are given access to the whole artistic work via the performance. The works produced are extremely diverse, due to the direct relation of the whole composition process to a concept. By considering how I make decisions and what those decisions communicate, I have found that when all decisions in the composition process are informed by the concept, the concept becomes embodied in the performance and thus communicates the idea that triggered the creation of the work to the audience. Communicating the idea thus becomes a compositional concern and forms additional material for the work. Composing the communication of the idea and making it inherent in the performance offers huge artistic potential. It need not be restricted by traditional formats, such as programme notes or pre-concert talks, but can be much more playful, directly relevant and integrated within the artistic work.

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Lee, Chie Tsang Isaiah. "'Inbetweenness' : transcultural thinking in my compositional practice." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34636/.

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This thesis explores the notion of ‘in-betweenness’ through transcultural thinking in my compositional practice as a commentary to my portfolio of compositions. My thinking has been inspired by Tim Ingold’s philosophical idea of ‘wayfaring’ as a way to navigate processes by which insights emerge from collaborative investigations. My portfolio makes an original contribution to music by engaging with Malaysian Chinese and Indigenous cultural materials in fresh ways with a focus on music and dance collaborations with Indigenous Malaysian references, aural/oral traditions in Hakka poetry, and traditions of pattern making related to Borneo bead work. These projects have enabled me to deepen my experience and understanding of notions of entanglement and of how highly diverse elements can be unified through collaboration, presenting a series of case studies that also vary in style and the modality of discussion used. The discussion focuses around four main aspects related to intercultural exchange and collaboration: the value of negotiation, the meaning of ambiguity, strategies for navigating cultural meanings, and processes of cultural and musical transmission. Through these, I gain insights into the perception and practice of cultural exchange to find a new creative threshold for opening up new cultural dialogues in my compositional work.

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12

Weber, Valerie R. "The Compositional Style of Francesco Geminiani: a Reflection of Theory and Practice in His Music and Guida Armonica Treatise." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001224.

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13

Papapetrou, Andreas. "Acts of making and receiving : a compositional practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/16933/.

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This is a commentary on seven pieces I have created to explore the idea of music as the social activity of performance – including the rituals around it – instead of as abstract works. The pieces explore the relationship between performers and audience and the effects performance space has on that relationship, by addressing the function of the fourth wall as part of musical performance. Focusing on the inherent theatricality of musical performance, the pieces were created by experimenting with the non-sonic constituents of performance – i.e. the space that hosts performance and the rules that govern it, the distance between performers and audience and their behaviour towards each other. In short, my intention was to challenge performance conventions found in the performing tradition of Classical music by composing new music with an emphasis on the non-sonic constituents of performance. The commentary investigates various concepts about musical performance, which provided the ideas behind the pieces in my portfolio. The portfolio of pieces includes video documentation, descriptions of the pieces, scores and programme notes on each of the pieces. The videos and programme notes can be found in the accompanying DVD and in the following website: http://artefactsofperformance.blogspot.co.uk.

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14

Wells, Robert. "Musical composition : creative social and educational practices." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.

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This commentary documents the changes in my compositional practice. It explores the rationale for my move towards collaborative compositional approaches, and the variety of processes that I have used. The work occurs in a range of environments, and involves diverse participants, highlighting the relevance of this work for people of all backgrounds, ages and skill levels. By altering the nature of the composition process and its context new arenas for educational and social practices have emerged. This commentary describes some of the benefits and challenges that arise from working in these new ways.

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15

Luebbers, Johannes. "Cheek to cheek: Transforming a compositional practice through collaboration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2445.

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Throughout the history of art music there are few examples of collaborations between composers resulting in multi-authored works. Collaboration in music performance and other artistic endeavours however is well established, as is the benefit of collaboration in other fields of study. This research investigates collaborative precedents throughout the history of art music and builds on these, exploring what happens when composers collaborate. Specifically, through a practice-led methodology, 10 compositional projects are developed through collaboration with different groups and individuals. Specific methods emerge through practice, with insight gained from each project shaping the next, leading to a reiterative, reflexive research process. This culminates in a series of collaborative models for composers resulting in 10 distinct artistic projects, demonstrating the creative potential of collaborative composition. These results suggest that collaboration between composers is under-explored and has the potential to contribute new and novel approaches to composition. Both the resulting creative work and collaborative models may serve as frameworks for composers to increase collaborative work in their own practice.

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16

Makhanlall, David Paschal Narendra. "English Composition 100: Best Practices for Online Instruction." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/619.

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The objective of this dissertation is to explore the process of teaching English Composition in the asynchronous online format and to make recommendations for the best possible approach for continued student success. The teaching of English Composition is a complex subject and no two teachers will have the same approach. This matter is further complicated when online instruction is explored. An instructor cannot transplant an in-class course into the online format and expect the same results. This dissertation explores the best possible approach to teaching English Composition in an online environment with the use of multimedia applications. This exploration will address current methods of teaching English Composition online, will evaluate what seems to work well, will explore the concerns highlighted by educators and practitioners involved with English Composition online, and will highlight additional recommended advancements, both in methods of approach and technological innovations, that can bring to light instructional practices for further evaluation. This study will lead to an understanding of what these new emerging technologies are and the specifics of their use by both instructors and students alike online, and it will identify best practices in teaching English Composition online for the immediate future.

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17

Bacino, Meghan E. "Genre, practice, and the composition classroom what students learn about language and community discourse practices through a pedagogy of genre awareness /." Diss., Connect to online resource - MSU authorized users, 2008.

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18

Portelli, Daniel. "Mapping the dynamic life of lines in a multimodal compositional practice." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/32048/.

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This thesis tracks my journey through eight creative works which employ a broad range of methodologies to map the dynamic life of lines and that focus on concepts of ephemerality, gestural tracing, grains and swarms of sound, and temporal independence. My original contribution to knowledge in composition is led by my personal relationship to sound as mediated through physical gesture in performance. Drawing upon the work of anthropologist Tim Ingold, I have worked with video as a medium for my own sketch processes and as a scoring platform. Video is used to capture and document qualities of motion that bring choreographic and multimodal thinking into my music, propagating divergent approaches to structuring and determining parameters. Through this I have developed ways of thinking compositionally through the visual medium and worked with micro and macro qualities in timbre and movement to achieve effects that I term 'dynamic stasis'. Central to my thinking is an expanded concept of the line as gestalts of sound, video, bodily and mechanical movement, with form arising from a meshwork of such lines. The line as represented in video and musical action contributes to the tendencies and behaviours of precisely notated sound and physical movements in my music, that are reflected in irregular divisions of time and frequent fluctuations of sound characteristics. My discussion of the visual and choreographic perspectives of my notation and multimodal ways of thinking about composition is contextualised with examples from composers such as Jennifer Walshe, Simon Steen- Andersen and Stefan Prins, and the video scoring systems of Cat Hope.

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Sherven, Keva N. "WORLDS COLLIDE: INTEGRATING WRITING CENTER BEST PRACTICES INTO A FIRST YEAR COMPOSITION CLASSROOM." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2232.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 29, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Stephen L. Fox, Susan C. Shepherd, Teresa Molinder Hogue. Includes vitae. Includes bibliographical references (leaves 68-70).

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20

Lenz, Kent Alan. "The Semiotics, Practical Application, and Assessment of the Modalities." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1398773919.

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21

Cen, Wei. "International students' digital literacy practices and the implications for college ESOL composition classes." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1605279455193093.

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22

Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.

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23

Mouzahem, Mayssoun. "Theory and practice of teaching composition in Syrian universities." Thesis, University of Strathclyde, 1991. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21934.

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This thesis argues that there is an urgent need to reform current methods of teaching English composition to Syrian university students. It shows how current teaching methods relating to writing skills in English, especially methods seeking to develop strategies for organising information beyond the sentence level, are ineffective. Having identified shortcomings in current approaches to writing skills - and since composition is almost a neglected area in English classes in Syrian universities - this study proposes a set of detailed practical proposals for teaching English composition to Syrian university students. In doing so, it takes its directions from analysis, within the thesis, of writing problems faced by Syrian students of English. Generally, the principle underlying current methods of teaching English as a foreign language in Syria is that of a focus on providing students with knowledge of English grammar. Syrian educationalists believe this by itself is enough to produce students who are competent in writing. To find out how efficient such methods actually are, or whether they produce the results aspired to, an examination of grammatical errors in the performance of a group of Syrian students is carried out. Besides the question of the effectiveness of current methods of grammar teaching, however, this research also explores other issues, especially issues concerning strategies used for organising information at both the sentence and paragraph level. The second objective of the study, then, is to assess whether current teaching methods are successful in producing generally competent writers in English. To meet this second aim, a corpus of data is collected and analysed on the 'basis' of arguments put forward by Kintsch (1974) and Sanford and Garrod (1981). As well as investigating issues of information structure in students' writing, this analysis makes it possible to confirm or disconfirm Kaplan's Contrastive Rhetorical Hypothesis (1966), and so reflects on the broad question of crosscultural difficulties in composition that EFL students routinely face. In the light of the above findings, two types of proposal are made: recommendations regarding directions for future studies in contrastive rhetoric and error analysis, and for the teaching of writing in Syria in particular. It is suggested at the beginning of the thesis that there is an urgent need for a change in emphasis in the writing practices carried out in Syrian university classes. The thesis concludes that, instead of concentrating primarily on the teaching of grammatical rules, the communicative functions of writing need to be given more attention. Since ways of teaching writing depend on appropriate modes of assessing writing, the thesis ends with a proposed new schedule of assessment to suit the change in teaching focus outlined in the thesis. Presentation of this new model of assessment is linked to critical description of the ways in which writing is currently assessed in Syrian university classes; and suggestions for future research in assessment are offered.

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Siebert, Bradley Gene. "Freshman rhetorics: Composition studies research and theory into practice." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185142.

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In this study, the author analyzes a sample of eleven freshman rhetorics to trace influences of the recent scholarship that has marked the emergence of composition studies as a scholarly discipline. The author classifies the textbooks according to the divisions of Berlin's taxonomy of the rhetorical epistemologies and the rhetorical schools that have influenced composition studies. The interactions of each textbook's treatment of invention and of each one's description or implicit working model of composing as a process are analyzed to support the classifications and to discuss how different concepts of invention and composition orient students toward the nature of knowledge. Although conclusions in this study should be limited to the sample, the author found significant innovation in most of the textbooks. While two current-traditional rhetorics were among those studied and traditional features play significant roles in several others, most of the texts are informed primarily by recent research and theory. The author found only one of the textbooks to be strictly traditional; the other traditional textbook includes small adaptations of recent scholarship. The innovative textbooks are distinguished by some degree of primary focus on invention, either the discovery of latent knowledge or the making of new knowledge through composing processes. All also develop one or another of the models of the general composing process, although most emphasize the recursive model. The two traditional textbooks exhibit the expected objective epistemology. Of the others, one develops a subjective epistemology (and represents the expressive school of rhetoric) and eight develop transactional epistemologies (one of these is of the classical school, four are cognitivist, and three are epistemic). The author also found interaction between rhetorical schools in most of the textbooks, which indicates that authors are not responding only to current-traditional rhetoric but also to the other rhetorical schools developing in the discipline, indicating further that composition studies is developing as a discourse community.

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Titus, Megan L. "Surfacing Teacher and Student Voices: The Implications of Teaching Practices for Student Attitudes Toward Revision." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273596481.

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26

Brown, Andrew Robert. "Music composition and the computer : an examination of the work practices of five experienced composers /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17079.pdf.

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Hocking, Catherine. "Cantus firmus procedures in the Eton Choirbook." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389848.

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Mytych, Abigail Rose. "Integrative Somatic Practice| Mindfulness Through Movement for Dancers." Thesis, Mills College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635116.

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Developing awareness of the inseparable link between mind and body and their mutually informing relationship is critical to contemporary dancers who want to enhance creativity and somatic intelligence. While there are multiple, if not numerous, approaches to somatic learning and mindful practices, I propose a mindfulness-based dance practicum to achieve a self-reflective and inquiry-based relationship of mind to body. My study was devised over a semester-long exploration in the studio, following six years of studying modalities such as yoga, Bartenieff Fundamentals and mindfulness. Mindfulness can be used as a way to generate and activate movement through the practice of Bartenieff fundamentals, breath work and sensing. The dancer can engage in more profound awareness of bodily sensations and begin to develop a deeper and more exploratory connection to their own body. Through different practices, exercises, and activities to engage students, students are able to let go of the product mentality and dive into the process, encouraging exploration of movement pathways and ‘saying no’ to the voices that are filled with judgment and fear. Creating this self-practice, students can grow as movers and individuals who interact with the outside world and whose heightened emotional self- awareness encourages greater creativity. Ultimately, a dancer can experience changes in perception of both self and environment that lead to the opening of new vistas of experiences. The goal of this practicum is to provide tools for students to develop and/or heighten their somatic intelligence ultimately discovering their own somatic practice. This not only creates a smarter body but enhances understanding and acceptance of our individual bodies while deepening reflexive practice as a dance artist.

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Allen, Laura L. "Hospitable Literacies: The Writing and Rhetorical Practices of Black Family Reunions Online and Offline." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588612065779209.

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Morris, Janine. "Contexts of Digital Reading: How Genres Affect Reading Practices." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459243445.

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Crawford, James E. "Writing Center Practices in Tennessee Community Colleges." Digital Commons @ East Tennessee State University, 1998. https://dc.etsu.edu/etd/2899.

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The objective of this study was to develop a profile of writing centers in twelve community colleges governed by the Tennessee Board of Regents. This profile included how they were established, how they are funded and staffed, what services are provided and to whom, how training is provided for staff, and how technology is incorporated. More important than the profile itself, however, was an analysis of successful and unsuccessful practices, especially those related to governance, structure, and training of staff, as revealed through the perceptions and experiences of writing center directors. Because electronic technology has transformed the craft of writing, and its teaching, the analysis extended to the ways in which this technology should be integrated into writing center programs. To construct a profile of current writing center structure and practice, a survey instrument was created and administered by telephone during the spring of 1998. The survey was followed by on-site interviews with four writing center directors which focused on strategies for improving campus support for services, recruiting and training tutors, and providing services electronically. Tennessee community college writing centers vary in their primary clientele with almost half providing comprehensive services to all writers on campus and half serving primarily developmental writers. Perhaps because of this developmental orientation there continues to be a stigma attached to writing centers. Community colleges in Tennessee could enhance the stature of their writing centers by conferring faculty and full-time status on the director, offering more comprehensive services, especially tutorial services, to writers of all levels of ability and from all departments. While a substantial body of literature on writing center philosophy and practice has developed during the last twenty years, much of it failed to address the limitations inherent in community colleges pertaining to admissions policies, non-residential and part-time students, and length of time required to complete a degree. This study identified assumptions, practices, and goals which are universal as well as those which are unique among community college writing centers within the Tennessee Board of Regents system and attempted to anticipate future needs as these centers continue to evolve into the new millennium.

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Compton, Callie Elise. "What Do You Mean, "Practice"? Theorizing the Writing-Music Connection." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1608.

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Researchers in the field of composition studies have frequently made allusions to musicians when they’ve discussed the role of practice in gaining skill. In doing so, however, they’ve risked making speculative rather than testable claims and separating composition studies from recent insights on practice from other disciplines such as education and music psychology. These fields, I argue, offer testable frameworks with which composition instructors and scholars can teach and study writing practice. Such frameworks are necessary because composition researchers need to supplement qualitative studies of writers and writing with quantitative data to generate replicable tests of teaching methods that may benefit practicing writers. This thesis draws on prior research in composition studies to illustrate the context of its central argument. It then breaks down some of the key assertions about practice that support this context before introducing frameworks from other disciplines that will allow composition researchers to replicate studies of effective writing practice instruction in the first-year college writing classroom. These frameworks or models of practice instruction include self-regulated strategy development and practice sessions conceived as stages of error and mistake management. Supplementing these models are descriptions of a few key activities built on these frameworks for students to practice writing in and outside the classroom. Students need more than instruction in crafting better writing products to become more effective revisers and more expert writers. They also need explicit instruction that teaches them how to engage effectively in repeated, structured practice that imparts the tools they learn to solve writing problems with staying power and flexibility. This instruction is about more than handy tips or exercises; it’s about changing students’ and teachers’ assumptions about writing’s purpose outside the classroom.

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Alvim, Diogo. "Music through architecture : contributions to an expanded practice in composition." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.

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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.

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Williams, Sean Barry Kelly. "Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7890.

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This thesis examines the practices and techniques involved with particular electronic instruments and proposes an archaeological approach to reconsider the ways in which noise can communicate various details of instrument design and practice to the listener. I present two case studies concerning electronic music practice using repurposed devices - stepped filters - and by combining a detailed material analysis of the instruments with interviews, video and other evidence, I document the practices involved with their use. By rebuilding these instruments, and designing and building other devices, I test my hypotheses through my own practice, and by doing so I refine my results and extend my composition, performance practice and technical design skills to include valuable lessons learned through this research. The portfolio engages with the three archaeological levels (Listening Situation, Reproduction Stage, Production Environment) and the three areas of the production continuum (Composition, Performance Practice, Technical Design) and through sound installations, crafted media, recorded performances, and the documentation of devices designed for these pieces, it supports the thesis through experimentation and incorporation of results through reflective practice.

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Mahle-Grisez, Lisa M. "Vexing Discourse Practices: The Position of Writing Instruction in the Two-Year College." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1354051248.

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Dogani, Konstantina. "Teaching composing in the primary classroom : understanding teachers' framing of their practice." Thesis, University of Exeter, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272973.

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Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.

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‘avant garde’ and ‘Avant Garde’: one term denotes artistic progression, the other describes a fixed concept. These terms are easily and often confused, and this contributes to blurring the boundaries between being progressive and adhering to a style. Unknowingly adhering to the Avant-Garde style, under the false guise of being ‘new’, perpetuates a Sisyphean nature in Avant-Garde practice today. Such practice has become inward-looking, separated from the majority of society, and therefore fails to be the ‘advance post’ it proclaims. In Camus’s terms, this is absurd. Rather than proving and accepting this absurdity, I explore the unfolding of such absurdity through compositional practice, and attempt to avoid it. This involves recognising the absurdity (and maintaining an awareness of it) as well as examining and comparing the mechanics behind the formation of the Avant-Garde style with being avant garde by way of an introspective examination of my compositional process. This practice-led method is supported by theoretical, musicological, and analytical research into existing practice. My research is supplemented by the following topics: Meno’s paradox; Heidegger’s hermeneutic framework as a development of Meno’s paradox; Adorno’s notion of naïveté; détournement as a means of recognising absurdity through practice. Examining my own compositional process, in relation to existing practice, allows me to propose that the Avant-Garde style is based on two interacting hermeneutic frameworks between ‘unfamiliarity’ and ‘familiarity’, and creative ‘freedom’ and ‘restriction’. If one is to overcome these frameworks and be genuinely avant garde, subversion of technique cannot be an end in itself but should support the truth content of a musical work; this is because a musical work is defined by its context more than its constituent musical characteristics. Subversion must happen in relation to the context of a composition, not the composition itself. Adherence to an Avant-Garde context, perpetuated by the expectations of practitioners with a knowledge of that context, prevents compositional practice from moving beyond that context and being genuinely avant garde. All one can do now is recognise this absurdity. This is not a solution, but should pave the way for future developments in this area. For now, ‘there is no longer any art that has remained inviolable.’

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Brooks, Jonathan. "Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6132.

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George, Barbara E. "Literate Practices: Public Deliberations about Energy and Environmental Risks." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent151862509603715.

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Kirchoff, Jeffrey S. J. "Writing Centers as Literacy Sponsors in the 21st Century: Investigating Multiliteracy Center Theory and Practice." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352215261.

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Herissone, Rebecca. "The theory and practice of composition in the English Restoration period." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/244809.

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The second half of the seventeenth century was a period of considerable upheaval in English music, not only because the political instability of the time altered the way musicians were employed, but also because the era saw fundamental changes in the construction and perception of music. The most important of these was a transition between music conceived primarily according to horizontal (imitative) principles and that founded on vertical (tonal) principles, which in turn allowed for vastly expanded formal dimensions. The seventeenth century also witnessed the gradual replacement of the remaining elements of mensural notation and proportional metrical relationships in favour of free tempo with contrasts between duple and triple units, again influencing the way in which works were structured. These elements are examined from the viewpoint of the music theorist, by analysing the thirty-seven treatises which were in circulation in manuscript or printed form during the century. However, the greater part of the dissertation seeks to assess the impact of such profound alterations on the composer himself, through detailed analysis of the music's notation and its development- --in response to the changing styles and techniques; in order to be as certain as possible that such developments were genuine attempts to communicate new attitudes to music and its construction rather than simply the results of mistakes or misunderstandings by copyists, the analysis is restricted to the ninety-four extant autograph manuscripts of composers' own music copied during the period. These primary sources include several previously unidentified sketches and working drafts of pieces which reveal elements of the processes used by composers in the conception of new pieces, as well as finished copies from which has been drawn information on the status of metre, tonality and structure during the period.

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Maxwell, Anna Rebecca. "The composition and characteristics of teacher self-efficacy for inclusive practice." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24325.

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In a time when education and inclusion, are very much on the political agenda, what makes some teachers confident and competent teachers of special educational needs (SEN) and others less so? This thesis aimed to explore a variety of factors; attitude to inclusion; school climate; burnout and general teaching self-efficacy as they relate to self-efficacy for inclusive teaching. It also aimed to explore the teaching practices of teachers who report high self-efficacy for inclusive teaching scores. 66 participants, selected from seven primary schools took park in the first phase of the research. From this sample, five participants were selected for their high self-efficacy for inclusive teaching scores and were interviewed about their inclusive teaching practice. A mixed methods approach was used; utilising questionnaires in the first phase to explore the six factors and the correlations between them. Interviews were employed in the second phase to explore the inclusive practices of participants. Initial statistical analysis from the questionnaires indicated that years teaching experience, as well as aspects of attitude to inclusion, school climate, burnout and general teaching efficacy are predictive of self-efficacy for inclusive teaching scores. Regression analysis indicated that attitude to inclusion; school climate and general teaching self-efficacy were together the best predictors of self-efficacy for inclusive teaching. Thematic analysis from the interviews suggested that stress was a major factor for the participants. It also identified that participants who were good at including children with SEN were those who got to know their children well, and who were engaged, motivated members of staff. The study concluded with a consideration of how the above results are relevant to educational psychologists by suggesting that their role is vital in supporting teachers to get to know children holistically and in supporting staff with stress management through supervision or staff clinics.

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Athon, Amanda Gail. "Fostering Language Diversity through Classroom-Based Writing Assessment Practices." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1384269484.

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Vie, Stephanie Ellen. "Engaging Others in Online Social Networking Sites: Rhetorical Practices in MySpace and Facebook." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195055.

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While computers and composition researchers are concerned with the theoretical and pedagogical impacts of new technologies in our field, these researchers have only recently begun to consider the ramifications of the growing use of online social networking sites like MySpace and Facebook in academia. This dissertation fills a much-needed space in the field in its consideration of the pedagogical implications of social networking sites. Online social networking sites can provide teachable moments to talk with students about audience, discourse communities, intellectual property, and the tensions between public and private writing. Thus, if writing instructors ignore the growing conversation regarding online social networking sites, they may potentially miss out on familiar and accessible spaces for teaching rhetorical analysis.In this dissertation, through a qualitative analysis of undergraduate students and university writing instructors, I trace common threads in these individuals' attitudes and perceived beliefs about MySpace and Facebook. In chapters 1 and 2 I draw on Michel Foucault's theories of bio-power and confession to raise questions and concerns regarding pedagogical uses and abuses of online social networking sites, focusing specifically on issues of privacy and surveillance. In chapter 3, I outline the methods and methodologies that guided the qualitative portion of my study; the results of this study are reported in chapters 4 (students' views of social networking) and 5 (instructors' views), respectively. In chapter 5, I use technological literacy as a framework to argue that the immense popularity of online social networking sites coupled with the sheer amount of writing produced by students in these sites provides a compelling reason for rhetoric and composition instructors to begin paying attention to online social networking sites. To conclude chapter 5, I provide specific classroom activities that focus on MySpace and Facebook for instructors interested in bringing social networking back to the classroom. These classroom materials can be adapted to multiple classroom settings and can be modified based on a particular instructor's pedagogical needs.

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Butler, Thomas. "Composition as the creation of a performance, music as a vehicle for non-musical thought : six new works." Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9896.

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This thesis comprises six new musical works composed between 2008 and 2015: ‘Struction (how I attempted to get the thoughts in my head into your head using only five instruments, five instrumentalists, metronome sound and MIDI') for amplified ensemble and pre-recorded soundtrack (2011); ‘My Life in Ventriloquism' for solo clarinet and pre-recorded soundtrack (2012); ‘Nightmusic' for solo violin (2012); ‘Replaceable Parts for the Irreplaceable You' for ensemble, pre-recorded soundtrack and video (2013); ‘Espial', a video work featuring string quartet (2014); and ‘Elbow Room' for amplified ensemble, pre-recorded soundtrack and video (2014). The works are presented in this thesis as musical scores (and other performance materials), accompanied by audio-visual documentation of performances. As a whole, these compositions reflect a period of practice-as-research into the role of metapraxis in musical performance and how it can be used to help convey non-musical thought through instrumental music. A commentary on this portfolio of new compositions begins by discussing two influential works — Mauricio Kagel's ‘Match' (1964) and ‘Failing: A Difficult Piece for Solo String Bass' (1975) by Tom Johnson — before examining each new work in detail in order to explicate the research and creative processes that led to their composition, to exteriorize a personal working practice and to document the reflection-on-practice which has furthered this research. The commentary details how I was able to write music on a variety of topics, including authority, technology and place, and concludes with some ideas for further research.

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Caswell, Nicole I. "RECONSIDER EMOTION: UNDERSTANDING THE RELATIONSHIP BETWEEN TEACHERS’ EMOTIONS AND TEACHERS’ RESPONSE PRACTICES." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1340319622.

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Moseley, Rowland. "The Art of Gigue: Perspectives on Genre and Formula in J. S. Bach's Compositional Practice." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064937.

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The objects of this study are the thirty-four gigues of J. S. Bach. This corpus of pieces represents one musician's encounter with the most engrossing dance genre of his time, and by coming to terms with this repertory I develop analytical perspectives with wide relevance to music of Europe in the early eighteenth century. The dissertation has a clear analytical focus but it also speaks to methodological issues of the relationship between theory and analysis, and the problem of reading a creative practice out of fixed works. Its main theoretical commitment is to middle-out perspectives on musical process. The dissertation's main themes are form, hypermeter, and schema. Its primary contribution to music theory lies in setting out an original position on the analysis of hypermeter, and advancing approaches to form and schema that are consistent with that position. "Form" and "schema" refer to compositional formulas that associate with hypermeter on the larger and smaller scales respectively, with observational windows as wide as the first half of a binary movement and as narrow as a couple of bars. Chapter 2 addresses the form of Bach's cello gigues. I arrive at a complete model of formal functions and phrase rhythm by first considering the turning points in the rhetoric of Fortspinnung. Chapter 4 addresses the chain of fifths sequence in Bach's harpsichord gigues. I analyze over fifty sequence passages, develop a typology of their contrapuntal frameworks, and consider the connections from sequence passages to subsequent events. These substantive analytical case studies flank the discussion of hypermeter. Chapter 3 includes analyses of Bach's orchestral gigue and two chamber-sonata gigues but is the most purely theoretical chapter. Its arguments are relevant to the study of meter and hypermeter across the whole "common practice" period. Since Chapters 2-4 address subsets of the corpus, a comprehensive overview is entrusted to Chapter 1, which also introduces the dissertation. Chapter 1's overview anchors the more specialized chapters in a wider reflection on the ability of compositional technique to inflect different styles, idioms, genres, and affects.
Music

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Papageorgiou, Dimitris. "Towards a comprovisation practice : a portfolio of compositions and notations for improvisations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25817.

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This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.

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Glen, Nicole J. "Writing in elementary school science : factors that influence teacher beliefs and practices." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available, full text:, 2008. http://wwwlib.umi.com/cr/syr/main.

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Hoegberg, Elisabeth Honn. "From theory to practice : composition and analysis in Marin Mersenne's Harmonie universelle /." Electronic version Electronic version, 2005. http://proquest.umi.com/pqdweb?did=885688441&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Indiana University, 2005.
Computer printout. Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0404. Chair: Frank Samarotto. Includes bibliographical references (leaves 407-419), abstract, and vita.

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