Journal articles: 'Compositional practices'

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Hurley, David Ross. "Handel’s Transformative Compositional Practices." Journal of Musicology 38, no. 4 (2021): 479–502. http://dx.doi.org/10.1525/jm.2021.38.4.479.

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In recent decades singers of Handel’s music have made great strides in recapturing the art of embellishing his music, thus breathing new life into forms such as the da capo aria. Yet Handel’s own “variations”—his development and transformation of musical material in his vocal music, important for understanding his compositional practice with borrowed as well as (presumably) original music—are not yet fully explored or appreciated. Admittedly, scholars have discussed musical procedures such as inserting, deleting, and reordering musical materials, as well as other Baroque combinatorial practices in Handel’s arias, but the musical transformations I discuss here are closer to a specifically Handelian brand of developing variation. To my knowledge, the concept of developing variation has never before been applied to early eighteenth-century music. I explore the relation of developing variation to drama (also rarely done) in two of Handel’s arias, providing a close examination of “Ombre, piante” from the opera Rodelinda and new thoughts about “Lament not thus,” originally intended for the oratorio Belshazzar. Although these arias belong to different genres and different stages of Handel’s career, they both exhibit material that undergoes a kind of progressive variation process that has tangible musical and dramatic ramifications, of interest to opera specialists and performers. Furthermore, both arias have a complicated compositional history; I offer fresh insights into the aesthetic qualities of each version, thereby throwing light on Handel’s possible compositional intentions. This article also discloses for the first time some recurring musical passages shared between “Lament not thus” and other pieces that could influence the listener’s interpretation of certain musico-dramatic gestures.

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Crisostomo, C. Jay. "Writing Sumerian, Creating Texts: Reflections on Text-building Practices in Old Babylonian Schools." Journal of Ancient Near Eastern Religions 15, no. 2 (March 18, 2016): 121–42. http://dx.doi.org/10.1163/15692124-12341271.

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Sumerian lexical and literary compositions both emerged from the same social sphere, namely scribal education. The complexities of inter-compositional dependence in these two corpora have not been thoroughly explored, particularly as relevant to questions of text-building during the Old Babylonian period (c. 1800–1600 bce). Copying practices evident in lexical texts indicate that students and scholars adopted various methods of replication, including visual copying, copying from memory, and ad hoc innovation. They were not confined to reproducing a received text. Such practices extend to copying literary compositions. A study of compositions from Advanced Lexical Education in comparison with several literary compositions shows a complex inter-dialectic between the corpora, in which lexical compositions demonstrate dependence on literary compositions and vice versa. Thus, Old Babylonian students and scholars could experiment with multiple text-building practices, drawing on their knowledge of the lexical and the literary, regularly creating new versions of familiar compositions.

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Barker. "Ancient Compositional Practices and the Gospels: A Reassessment." Journal of Biblical Literature 135, no. 1 (2016): 109. http://dx.doi.org/10.15699/jbl.1351.2016.2922.

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Barker, James W. "Ancient Compositional Practices and the Gospels: A Reassessment." Journal of Biblical Literature 135, no. 1 (2016): 109–21. http://dx.doi.org/10.1353/jbl.2016.0012.

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Mirás-Avalos, José M., Ignacio Buesa, Antonio Yeves, Diego Pérez, David Risco, Juan R. Castel, and Diego S. Intrigliolo. "Unravelling the effects of berry size on ‘Tempranillo’ grapes under different field practices." Ciência e Técnica Vitivinícola 34, no. 1 (2019): 1–14. http://dx.doi.org/10.1051/ctv/20193401001.

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Small berries are considered to produce the best red wines as berry size determines the skin to pulp ratio and may affect wine composition. However, contrasting results have been reported about this postulate. In this context, the aim of this work was to assess the influence of berry size on grape compositional attributes in ‘Tempranillo’ grapevines under different irrigation, crop load and defoliation regimes. Grapes were collected from different experiments performed during three years in a ‘Tempranillo’ vineyard (Valencia, Spain). Grape size distribution was assessed and several traits were measured for each size category: number of seeds, seed and skin weight, total soluble solids, titratable acidity, pH, total phenolic index and anthocyanin concentration. Berry size exerted a significant effect on grape composition; smaller berries having higher sugars and anthocyanins concentrations. However, irrigation, crop load and defoliation also affected these compositional traits, producing greater berries with similar traits than those smaller, but coming from rain-fed and not defoliated treatments. Depending on the field practices applied, grape compositional attributes can be modulated for a given berry size. Therefore, wineries can use berry size classification for selecting those from a given size for making different wine styles.

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McCartney, Andra. "Gender, Genre and Electroacoustic Soundmaking Practices." Articles 26, no. 2 (December 7, 2012): 20–48. http://dx.doi.org/10.7202/1013224ar.

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This article is an exploration of how genres and practices of electroacoustic soundmaking are gendered, examining processes of gendering in language used in the early dichotomous categorization betweenmusique concrèteandelektronische Musik,then thinking about related arguments concerning abstraction, context, and compositional control in the writings of electroacoustic soundmakers including Pierre Schaeffer, Pierre Boulez, Daphne Oram, Pauline Oliveros, and several participants of the In and Out of the Sound Studio project. Analysis of their practices and ideas suggests different ways of conceptualising electroacoustic genres, their related practices, and roles of contemporary electroacoustic soundmakers (composers, artists, producers, mixers, audiences...), by examining the potentials of the concepts ofempathetic knowledgeandecologicalthinkingadvanced by feminist epistemologist Lorraine Code.

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Thulin, Samuel. "Situated Composition in Emerging Mobile Sound Production Technologies and Practices." Organised Sound 22, no. 1 (March 7, 2017): 73–82. http://dx.doi.org/10.1017/s1355771816000352.

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This article introduces the concept of ‘situated composition’, examining it in relation to developments in mobile sound production technologies and practices. Situated composition draws attention to the specific circumstances in which sound production and compositional activity take place. With mobile devices and apps offering heightened mobility and ease-of-use, ways of working with sound increasingly may be undertaken in a wide range of contexts outside of controlled environments specifically designed for sound work such as studios. Situated composition emphasises the interconnections between the situation in which composition unfolds and the process of composition, approaching composition as inherently distributed and collaborative in multiple ways. This article begins by considering how to situate mobile audio production apps, then moves on to elaborate the concept of situated composition and investigate specific practices. Drawing primarily on interviews carried out with fourteen composers, sound artists, musicians and producers who use mobile devices and apps in their sound work, as well as on podcasts, forums and my own work as a sound artist, I identify seven approaches to using mobile interfaces, focusing particularly on practitioners’ relationships with the surroundings where compositional activity unfolds.

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Goodman, Jessica. "The Mask of Collectivity: Compositional Practices at the Comédie-Italienne." MLN 126, no. 4 (2011): 812–24. http://dx.doi.org/10.1353/mln.2011.0081.

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Blackburn, Manuella. "Instruments INDIA: A sound archive for educational and compositional use." Organised Sound 19, no. 2 (June 30, 2014): 146–53. http://dx.doi.org/10.1017/s1355771814000089.

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This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's leading Indian Arts Development Trust) regarding the participating musicians and their sound contributions posed further considerations for the representative quality of each instrument showcased on the archive. Gathering appropriate material for users of the archive (young learners, audience members and interested laypeople) while capturing sounds suitable for compositional purposes presented new challenges within the recording environment. Further complexities surfaced when this challenge was coupled with a lesser degree of familiarity with instrument capabilities, playing styles and cultural traditions. This unique collaboration with cultural sounds and performance practices raised questions about my compositional intentions, cross-cultural borrowing, respectful practice, and the unavoidable undertones of cultural appropriation and colonial attitude.

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WILLIAMS, ALASTAIR. "Mixing with Mozart: Aesthetics and Tradition in Helmut Lachenmann's Accanto." Twentieth-Century Music 8, no. 1 (March 2011): 71–97. http://dx.doi.org/10.1017/s1478572211000284.

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AbstractAccanto (1975–6), for clarinettist and orchestra, constitutes a turn towards historical reflection in the work of the distinguished German composer Helmut Lachenmann, providing a meeting point for the practitioner and the theorist. This article examines how Accanto's dialogue with Mozart's Clarinet Concerto relates to topics such as recording conventions, performance practices, and compositional trends, particularly in the 1970s. It also demonstrates how Lachenmann's conception of musical material is rooted in an understanding of the Western art music tradition, especially with regard to the issue of the ‘language-character’ of music. In doing so, it investigates Lachenmann's aesthetics of beauty in connection with performance practices, sociological models of musical subjectivity, and Adorno's understanding of tradition. In general, the article argues that compositional practice in Accanto is shaped in response to the situation of classical music, especially in the 1970s.

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Stone, Susan, Timothy Brown, and Stephen Hinshaw. "ADHD-Related School Compositional Effects: An Exploration." Teachers College Record: The Voice of Scholarship in Education 112, no. 5 (May 2010): 1275–99. http://dx.doi.org/10.1177/016146811011200502.

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Background/ Context Children with attention-deficit/hyperactivity disorder (ADHD) provide a test case through which to investigate psychosocial school compositional effects. Characterized by developmentally atypical levels of inattention, activity, and impulsivity, the condition often manifests itself, and is identified, in school settings and is associated with deficits in academic and social functioning. Research on school practices related to children with ADHD and regional variation in diagnosis and psychostimulant treatment rates supported the expectation that such compositional effects would be observed. Purpose/Objective/Research Question/Focus of Study This study examines variation in ADHD compositional effects as a function of key school factors derived from school effects research and the education production function literature, including student body and teacher characteristics, structural features, and specific school process and practices. It also tested for the presence of ADHD compositional effects on three key student-level outcomes: reading achievement, mathematics achievement, and teacher-reported levels of externalizing behavior. It was hypothesized that there would be negative effects on all three outcomes, such that children in schools with higher proportions of children with ADHD would show lower achievement in reading and math, and higher levels of externalizing symptoms (that is, aggressive and disruptive behaviors). Population/Participants/Subjects Approximately 14,000 students in more 1,000 schools participating in the Early Childhood Longitudinal Study–Kindergarten Cohort (ECLS-K) constituted the analytic samples. The ECLS-K collected a rich set of child background, mental health, and behavioral characteristics, as well as school achievement indicators. School administrators reported on school characteristics and practices. Research Design Because the ECLS-K follows groups of students nested within schools, it allowed for particularly robust tests for the presence and correlates of within-school aggregations of children with ADHD using student- and school-level fixed-effects models. In addition, several steps were taken to address the potential conflation of the ADHD compositional effect with ECLS-K sampling dynamics and methods. Findings Results generated from student-level fixed-effects regression models indicate that ADHD clustering effects predict lower reading achievement scores in schools as compared with schools without this characteristic, but comparable levels of mathematics achievement and externalizing symptoms. These ADHD-related school effects were larger in schools serving minority students, schools with higher retention rates, and schools with a strong emphasis on order. For both children and schools, the patterning of ADHD-related effects differed by region. Conclusions Findings are discussed in light of research criticizing the aggregation of children with disruptive behavioral characteristics and/or low academic performance within classrooms and schools, as well as larger school resegregation trends.>

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Charles, Brigitte. "Boys' and girls' constructions of gender through musical composition in the primary school." British Journal of Music Education 21, no. 3 (November 2004): 265–77. http://dx.doi.org/10.1017/s0265051704005820.

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The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered musical meaning and experience. One outcome of the analysis is the development of a concept of ‘female musical subculture’ to interpret girls' and women's participation in the compositional world. Secondly, the findings strongly suggest that in their musical practice, the children in the research are not reproducing ideological assumptions about gendered musical practices, which contradicts how they operate discursively, for their discourse lies within the bounds of gendered musical ideology. Thirdly, the findings also indicate that the teachers are strongly affected by gendered musical ideologies, and have concomitant expectations about the music girls and boys produce.

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Thurley, Oliver. "DISAPPEARING SOUNDS: FRAGILITY IN THE MUSIC OF JAKOB ULLMANN." Tempo 69, no. 274 (September 7, 2015): 5–21. http://dx.doi.org/10.1017/s0040298215000339.

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AbstractThe music of Jakob Ullmann (b. 1958) is notable for its protracted structural stasis and delicacy; its fusion of rigorously engineered notational systems, abstract graphical elements and Byzantine iconography; and – above all – its unrelenting quietness. This article offers a rare view into Ullmann's compositional practices, with a specific focus upon the role of fragility in the work. Exploring this concept of fragility as a musical feature, this article considers a number of Ullmann's works from the perspectives of the compositions and their scores, the performance and the agency of performers and, finally, how audiences may listen to this fragility. The article concludes with a consideration of the importance of fragility to Ullmann's oeuvre, and of how it might help us to further understand his music.

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Tuckett, C. "Ancient Compositional Practices and the Synoptic Problem. By R. A. DERRENBACKER, JR." Journal of Theological Studies 58, no. 1 (November 18, 2005): 187–90. http://dx.doi.org/10.1093/jts/fll043.

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Radosavljević, Duška, and George Rodosthenous. "Reversing the Process: Investigating Multidisciplinary Compositional Practices in The Fall of Icarus." Theatre Topics 26, no. 1 (2016): 105–16. http://dx.doi.org/10.1353/tt.2016.0018.

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Dobson, Elizabeth, and Karen Littleton. "Digital technologies and the mediation of undergraduate students’ collaborative music compositional practices." Learning, Media and Technology 41, no. 2 (June 4, 2015): 330–50. http://dx.doi.org/10.1080/17439884.2015.1047850.

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Peters, Nils, Georgios Marentakis, and Stephen McAdams. "Current Technologies and Compositional Practices for Spatialization: A Qualitative and Quantitative Analysis." Computer Music Journal 35, no. 1 (March 2011): 10–27. http://dx.doi.org/10.1162/comj_a_00037.

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Ponce de León, Jennifer, and Gabriel Rockhill. "Towards a Compositional Model of Ideology." Philosophy Today 64, no. 1 (2020): 95–116. http://dx.doi.org/10.5840/philtoday202044322.

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This article sets forth a compositional model of ideology by drawing on the tradition of historical materialism and further developing its insights into the aesthetic composition of reality. It demonstrates how ideology is not simply a set of false beliefs but is rather the process by which social agents are composed over time in every dimension of their existence, including their thoughts, practices, perceptions, representations, values, affects, desires, and unconscious drives. By working through a number of diverse debates and authors—ranging from Karl Marx and Friedrich Engels to Louis Althusser, Eduardo Galeano, Rosaura Sánchez, and Paulo Freire—it thereby elucidates how ideology is best understood as an aesthetic process that includes aspect of sense and sense-making, and that therefore requires a collective, cultural revolution as its antidote.

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Barker, Naomi J. "The Italian Keyboard Toccata c.1615–1650: A Repository for Oral Compositional Practices." Royal Musical Association Research Chronicle 50 (2019): 1–28. http://dx.doi.org/10.1080/14723808.2018.1513973.

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This research uses statistical analysis of a sample of keyboard toccatas including pieces by Frescobaldi, Rossi, Froberger and the anonymous composer of the manuscript R-Vat Mus Chigi Q.IV.25 to investigate the extent to which surviving written examples of the genre contain indicators of their unwritten compositional processes. The results of the analysis indicate that within the measurably formulaic textural disposition, there are clearly defined motivic patterns and melodic shapes that are present in the work of all three composers. The intertextuality thus implied is indicative of common unwritten procedures used in the process of composing toccatas at the keyboard and undermines common assumptions about the use of concordances between sources as indicative of authorship.

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Alessandrini, Patricia. "FIVE SUGGESTIONS FOR AN ASPIRING COMPOSITION TEACHER: TOWARDS AN INCLUSIVE COMPOSITIONAL PEDAGOGY." Tempo 76, no. 302 (September 29, 2022): 42–51. http://dx.doi.org/10.1017/s004029822200033x.

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AbstractThis article takes a recent interview with Chaya Czernowin, ‘5 Things Harvard's Chaya Czernowin Suggests You Do as an Aspiring Composer’, as a point of departure for a series of reflections on compositional pedagogy focusing specifically on inclusion. It proposes a less restrictive definition of a ‘composer’ and a decentring of career expectations in favour of embracing a range of creative sound-making practices. It goes on to underline the importance of transnational and transcultural perspectives, of experimentation and the risk of failure, and of listening skills that transcend style and culture. In these latter two sections, specific classroom techniques are cited: Maria Chavez's creative workshop on failure, and Thea Musgrave's ‘critique’ sessions, in which students listen critically to compositions without prior knowledge of their title or author. The final section addresses the question of evaluation, positing that lowering the stakes of individual assessments encourages students to branch out and take risks. It also calls into question the weight given to forms of evaluation, such as recommendation letters, that may pose particular problems of bias. In the conclusion, it looks to recent decolonisation movements in music for models of structural changes that could help to enact the essay's propositions.

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Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).

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Jeffers, Joshua. "Neo-Assyrian Scribal Practices: The Editorial History of Ashurbanipal’s Prism F Inscription." Zeitschrift für Assyriologie und vorderasiatische Archäologie 108, no. 2 (November 27, 2018): 209–25. http://dx.doi.org/10.1515/za-2018-0016.

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Abstract Ashurbanipal’s Prism F inscription contains numerous variant traditions among its individual exemplars. In an article published in 1977, M. Cogan classified the more significant variants as independent recensions of the inscription. However, a reexamination of his seven recensional classes shows that there is in fact only one major recension of this inscription besides the main version of the text, with a few exemplars preserving two additional variant traditions in one episode. Furthermore, with respect to Prism F’s compositional history, an examination of this major recension suggests that it may have been the first version of the Prism F inscription that was then edited to become the main version of the text.

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Balmer, Yves, Thomas Lacôte, and Christopher Brent Murray. "Messiaen the Borrower: Recomposing Debussy through the Deforming Prism." Journal of the American Musicological Society 69, no. 3 (2016): 699–791. http://dx.doi.org/10.1525/jams.2016.69.3.699.

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This article shows, through a new reading of Messiaen's Technique de mon langage musical and examples of his composing with elements found in the music of Debussy, that borrowing plays a more central role in his compositional practices than has previously been recognized. Messiaen's conscious reuse of Debussy's music spans his entire career, and primarily involves passages from Pelléas et Mélisande and a handful of piano works. Using his descriptions of Debussy's influence, his analyses of Debussy, and his own theoretical writings, we examine examples of Messiaen's musical borrowing in terms of compositional strategy. Four groups of case studies show how he transforms borrowed harmonic material, creates meaning, borrows gesture, and composes texture and form by combining different types of borrowed material.

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Martin, Jeffrey. "Toward authentic electronic music in the curriculum: Connecting teaching to current compositional practices." International Journal of Music Education 30, no. 2 (April 12, 2012): 120–32. http://dx.doi.org/10.1177/0255761412439924.

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Fisher, Joshua A., and Arnau Gifreu Castells. "The Ethics of Realism as a New Media Language in Immersive Media." Revista FAMECOS 29, no. 1 (July 13, 2022): e43375. http://dx.doi.org/10.15448/1980-3729.2022.1.43375.

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This work explores the ethical and moral limits of practicing realism in immersive nonfiction. To establish these practices, the nonfiction media ecosystem is analyzed from traditional to emerging immersive forms. Four significant forms of nonfiction works are discussed that reflect different ethics of realism: documentary, journalism, education, and cultural heritage. Through the description and presentation of each form, a provisional set of elements, variables, indicators and parameters that impact practices and ethics of realism are presented. These compositional elements can be implemented in the design, development and production of experiences for audiences that respect social, cultural, political, physical, and material realities.

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Magnusson, Thor. "ERGODYNAMICS AND A SEMIOTICS OF INSTRUMENTAL COMPOSITION." Tempo 73, no. 287 (December 24, 2018): 41–51. http://dx.doi.org/10.1017/s0040298218000633.

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AbstractThis article examines the techno-philosophical aspects of how we create and understand musical systems in twenty-first century computational media. Arguing that processor-based media have exploded the compositional language of new music, the article proposes a set of concepts that might help us navigate this new space of instrumental possibilities. The term ‘ergodynamics’ – and related concepts – is proposed as a useful concept when describing the phenomenological, historical and aesthetic aspects of musical instruments, as well as a lens for looking at new compositional practices that can be defined as being either ‘idiomatic’ or ‘supra-instrumental’. The article explores the difference in composing for acoustic, electronic and digital instruments, and suggests that new musical practice can be characterised by a move from composing work to inventing systems.

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J.M.N. Marikkar. "Principal Component Analysis of Fatty Acid Data to Detect Virgin Coconut Oil Adulteration by Palm Olein." CORD 34, no. 1 (October 1, 2018): 9. http://dx.doi.org/10.37833/cord.v34i1.24.

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Authentication of virgin coconut oil (VCO) is important to safeguard customers from adulteration practices. A study was carried out to distinguish VCO from VCO adulterated with palm olein (PO) using principal component analysis (PCA) of fatty acid (FA) compositional data. Six samples of VCO, and six samples of palm olein were obtained from oil producers’ companies in Malaysia. Six samples of adulterated VCO were prepared by mixing with palm olein in 5% increment of adulteration. Fatty acid compositions of all oil samples were determined individually and the data were analyzed statistically. PCA analysis showed that lauric, palmitic and oleic acids were the most influencing parameters to discriminate VCO from adulterated VCO. Out of the thirteen FA variables investigated, ten were found to display high correlation with increasing adulteration. Predictive models showing higher coefficient of determination (R2) and good confidence limits were useful for quantification purposes.

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Diergarten, Felix. "Paolucci Reading Caldara and Handel: Music Analysis in Eighteenth-Century Italy." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 240–85. http://dx.doi.org/10.11116/mta.7.1.5.

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Giuseppe Paolucci's Arte pratica di contrappunto (1765–72) is a collection of analyses of forty-two compositions from the sixteenth to the eighteenth century. It offers insights into eighteenth-century practices of music analysis as well as into historical concepts of counterpoint and fugue. Two analytical readings by Paolucci are translated and commented upon in this essay. Paolucci's analysis of Antonio Caldara's motet Peccavi super numerum is valuable for its references to rhetoric and the visual arts. The analysis of Handel's fugue "Then shall I teach thy ways" (from the Chandos Anthem HWV 248) exemplifies the high esteem in which contemporary writers and composers held Handel's compositional techniques, which Paolucci describes meticulously, bar by bar. Paolucci's reading of Handel's fugue, which is similar to Italian partimento fugues of that time, also provides material for the still-unwritten history of eighteenth-century Italian fugal theory.

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Muller, Stephanus. "MICHAEL BLAKE'S STRING QUARTETS AND THE IDEA OF AFRICAN ART MUSIC." Tempo 76, no. 300 (April 2022): 6–17. http://dx.doi.org/10.1017/s0040298221000887.

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AbstractThis article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.

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ČIERNA, ALENA. "ELECTROACOUSTIC MUSIC AND THE SLOVAK MUSICAL AVANT-GARDE IN THE 1960S." AD ALTA: 11/01 11, no. 1 (June 30, 2021): 59–64. http://dx.doi.org/10.33543/11015964.

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In the 1960s, the development of music in Slovakia was marked by prominent generational and stylistic confrontations of the compositional poetries of the previous generations of composers and the just emerging one. In the composers’ community, an initiative was gaining a foothold that reassessed the practices, norms, and achievements of the previous developmental stages of Slovak music and looked for new points of departure. In certain stages of the given period, the first graduates of the Academy of Performing Arts (Ilja Zeljenka, Juraj Pospíšil, Pavol Šimai, Ladislav Kupkovič, Peter Kolman, Roman Berger, Jozef Malovec, Miroslav Bázlik, Ivan Parík, Tadeáš Salva, and others) entered the musical scene. The genesis and the formation of the Slovak musical avant-garde in the 1960s was determined by their quest for the novel possibilities of expression and the compositional techniques of the so-called New Music of Western Europe. They included experimenting with previously unknown electrogenic compositional materials and techniques of electroacoustic music. Slovak electroacoustic music, which achieved success in Slovakia and abroad already in the 1960s, emerged first on a private basis, later in the Sound Studio of the Czechoslovak Television, and, primarily, in the Experimental Studio of the Czechoslovak Radio.

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Long, Stephen. "Magnus Lindberg's Recent Orchestral Music." Tempo, no. 208 (April 1999): 2–8. http://dx.doi.org/10.1017/s0040298200006963.

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The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, in the process, to avoid imitating composers who had used them earlier. In countries not dominated by any particular compositional doctrine – most notably the United States, Great Britain and the Nordic countries – important composers emerged as consolidators who combined and synthesized these resources in a fresh and individual manner. One who has responded most successfully to this challenge is Finland's Magnus Lindberg.

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Findlay-Walsh, Iain. "Sonic Autoethnographies: Personal listening as compositional context." Organised Sound 23, no. 1 (December 26, 2017): 121–30. http://dx.doi.org/10.1017/s1355771817000371.

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This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given tosoundscape composition as self-narrative(exploring the representation of the recordist in soundscape works) and toproducing the hyperreal and the liminal(considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work.

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LOPATIN, MIKHAIL. "Canonic techniques in the caccia: compositional strategies and historical development." Plainsong and Medieval Music 23, no. 2 (September 3, 2014): 179–200. http://dx.doi.org/10.1017/s0961137114000035.

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ABSTRACTCanonic techniques in the Trecento caccia reveal a wide spectrum of ostinato procedures ranging from brief cadence patterns to large-scale harmonic and/or melodic repetition schemes. The ostinato phenomenon is thus an important structural component of canonic technique in the caccia. This article examines these ostinato patterns in terms of a putative historical and structural transformation of the genre at the intersection of unwritten and written practices. Special emphasis is placed on the definition of the caccia from the anonymous Trecento treatise, Capitulum de vocibus applicatis verbis, and its correlation with the early layer of the caccia repertoire.

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Najman, Hindy, and Konrad Schmid. "Reading the Blood Plague (Exodus 7:14–25): The Hermeneutics of a Composite Text." Journal of Biblical Literature 141, no. 1 (March 15, 2022): 23–42. http://dx.doi.org/10.15699/jbl.1411.2022.2.

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Abstract This essay presents a methodological commitment to rethink the presuppositions about compositional practices with respect to the assembly and production of what we have come to call the Pentateuch. Throughout the article the authors present an account of the ancient biblical writers and readers as committed to producing difference—not to produce an overall seamless linear narrative. The textual example focuses on the blood plague but considers the composition of the Pentateuch and biblical composition more generally.

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Kondratenko, Yurii A., and Elena N. Antipkina. "Actualization of traditional art practices in contemporary art of Mordovia (in the context of creating choreographic suites)." Finno-Ugric World 12, no. 3 (October 26, 2020): 314–24. http://dx.doi.org/10.15507/2076-2577.012.2020.03.314-324.

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Introduction. Among the processes that are clearly traced in the modern artistic practices of Mordovia, there is one that draws particular attention – the desire to comprehend folk art in a new way, to actualize the traditional layers of culture within the framework of neo-traditional forms of contemporary art. A folk dance is an example of one of the directions of modern choreography. The purpose of the article is to review the experience of creating choreographic suites in modern dance in Mordovia, based on traditional folklore. This allows studying the techniques of citing traditional forms of folk art in contemporary art and the ways of their actualization. Materials and Methods. As the main material for studying, this study analyzed the performances of choreographers of Mordovia, working with such modern dance as choreographic suites «Girl-birch» and «Eight Mordovian songs». It was possible to formulate answers to the research tasks as a result of the application of a systematic analysis of sources on this topic, as well as carrying out a comparative analysis of the compositional structures of these choreographic suites, the specific features of the construction of their choreographic texts and work with musical material. Results and Discussion. The actualization of traditional artistic practices in contemporary art is an experiment and constant search for new ways of expression. Within the framework of one of the neo-traditionalist trends in contemporary art, folk dance, one can observe the way how traditional values are rethought and considered as relevant now, thereby the past becomes part of the modern way of life. In this context, the analysis of the search for a new way of expression within the framework of the suite form is of particular interest. As a result of the analysis of the compositional forms of modern choreographic performances in Mordovia, it revealed two trends in the development of the form of a choreographic suite: a movement along the path of creating a production with non-classical content on the basis of the classical suite structure and an appeal to traditional compositional forms of folk art and filling them with relevant content. Conclusion. The neo-traditional trend in art is based on the idea that tradition is not only the past of the people, it also exists here and now, our actual present. With the advent of the folk direction in modern choreography, the search for such an actual true tradition has become a unique feature of modern dance in Mordovia. Within the framework of this article, some ways of the development of folk direction were noted, associated with experiments in relation to the form of a choreographic suite and the main trends in the search for the development of the dance form were outlined.

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Monaghan, Christopher John. "The Synoptic Problem: Where to from here?" Pacifica: Australasian Theological Studies 30, no. 1 (February 2017): 72–87. http://dx.doi.org/10.1177/1030570x17731796.

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The study of the Synoptic Problem continues with a wide range of hypotheses proposed to explain the relationship of Mark, Matthew and Luke to the early Jesus tradition, and to each other. This article reviews recent developments in synoptic studies highlighting the recognition of the ongoing role of the oral tradition, the ways in which scribal compositional practices in the first century have been used to test the major hypotheses, and the methodological constraints that accompany research in this area.

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Orozco, Renzo Filinich. "TA [P] CHAS: References to Indigenous Traditions in Peruvian Electroacoustic Composition of the 1960s." Leonardo Music Journal 27 (December 2017): 93–97. http://dx.doi.org/10.1162/lmj_a_01026.

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This article reviews the compositional practice of Peruvian electroacoustic music in the 1960s, to investigate the methods and sources of influence on music and new technologies of that time. It therefore explores local expressions and national and regional identities through elements of folk and traditional music used in these practices. The analysis of this repertoire, from a cross-cultural perspective, sheds new light on the history and originality of experimental art and music in Peru, as well as on Peruvian ethnomusicology.

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Ogborn, David. "Composing for a Networked, Pulse-Based, Laptop Orchestra." Organised Sound 17, no. 1 (February 14, 2012): 56–61. http://dx.doi.org/10.1017/s1355771811000513.

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Guided by the idea of participatory culture, networked pulse synchronisation and live coding have been core approaches in the activity of the Cybernetic Orchestra, an electronic performance ensemble at McMaster University in Hamilton, Canada. Following general discussion of the way in which networked pulse-based music and live coding work within this orchestra, there is specific discussion of a number of compositional models and practices that have been found effective, including code-sharing, instruction-scores, code as material, and physical performance.

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Ray, Angela G. "Learning Leadership: Lincoln at the Lyceum, 1838." Rhetoric and Public Affairs 13, no. 3 (September 1, 2010): 349–87. http://dx.doi.org/10.2307/41936458.

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Abstract Re-creating a history of the Young Men’s Lyceum of Springfield, Illinois, in the late 1830s, this essay situates Lincolns 1838 Lyceum Address within the immediate context of its delivery. Then, by comparing the published text of Lincolns lecture with lectures delivered by two other Springfield lawyers at the same venue in 1838 and 1839, the essay argues for a revised understanding of Lincolns Lyceum Address as it relates to his political development, his psychological state, and his compositional practices.

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Byrne, Corinna M. P., Michael H. B. Hayes, Rajeev Kumar, Etelvino H. Novotny, Gary Lanigan, Karl G. Richards, Deirdre Fay, and Andre J. Simpson. "Compositional changes in the hydrophobic acids fraction of drainage water from different land management practices." Water Research 44, no. 15 (August 2010): 4379–90. http://dx.doi.org/10.1016/j.watres.2010.05.055.

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Quist, Casper W., Maarten Schrama, Janjo J. de Haan, Geert Smant, Jaap Bakker, Wim H. van der Putten, and Johannes Helder. "Organic farming practices result in compositional shifts in nematode communities that exceed crop-related changes." Applied Soil Ecology 98 (February 2016): 254–60. http://dx.doi.org/10.1016/j.apsoil.2015.10.022.

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Gunasena, G. D. D. K., and B. A. M. P. Siriwardhana. "Evaluation of Microbiological and Compositional Quality of Raw Cow’s Milk (Household and Bulk) in Lankapura, Polonnaruwa, Sri Lanka." European Journal of Agriculture and Food Sciences 3, no. 1 (February 25, 2021): 166–75. http://dx.doi.org/10.24018/ejfood.2021.3.1.249.

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Purpose: At present, in Lankapura, there is a tremendous development in dairy sector. But milk quality issues were raised by the milk consumers and producers who collected milk from Lankapura. Although, measures have been taken to increase the milk production, the quality of milk has not been thoroughly evaluated in area. Research methodology: This study was carried out to evaluate the microbiological, compositional quality of cow’s milk collected from small scale farmers (25) and bulk milk tanks (25 samples) in the study area and to collect data about knowledge of farmers on clean milk production practices. Findings: According to the study, acidity, and average level of bacterial count of household milk production were 0.229±0.029%, 6.193±0.311 log10 CFU/ml respectively and for bulk milk production were 0.294± 0.020%, 6.6427±0.322 log10 CFU/ml respectively. The mean percentage of specific gravity, protein, fat, lactose and SNF for bulk milk samples were 1.029g/ml, 2.740%±0.0866, 4.120%±0.8065, 4.040%±0.1581, 7.6476%±0.34219 respectively and for household’s milk samples were 1.028g/ml, 2.792% ±0.1706, 4.360%±0.7314, 4.032%±0.1973, 7.5716%±0.33726 respectively. When considering management practices of farmers, only 38% farmers cleaned the milking place. Only 28% of farmers maintained proper records. The results indicated that microbiological and compositional quality (except milk fat) were not in acceptable level for both household and bulk milk samples. For microbiological quality, there was a high statistical significance of bulk milk samples than the households. Limitations: The quality of the milk was poor due to unhygienic practices and poor knowledge. Sample numbers were limited in this study, due to limited time period for this study. Larger individual coliform count could not be conducted due to limited manpower and laboratory resources. Originality/ value: As long term solutions such as farmer education programmes, incentive based milk quality systems can be recommended.

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Bouriako, I. A., H. Shihab, V. Kuri, and J. K. Margerison. "Influence of wilting time on silage compositional quality and microbiology." Proceedings of the British Society of Animal Science 2001 (2001): 88. http://dx.doi.org/10.1017/s1752756200004701.

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Wilting grass before ensiling has become a firmly established practice, since it provides economic advantages due to the increment of the dry matter content of the forage before ensiling. Most forage crops contain less than 20 per cent of dry matter when they are cut thus reduction of the weight of crop to be transported provides advantages (Gordon et al., 1999). Also, research has shown that such practices yield improved and reduced effluent loss from the silo and higher feeding value of the silage. Wilting of grass prior to ensiling has been widely adopted as a means of reducing effluents produced and improving the fermentation quality of silage. The aim of this research was to assess the effect of differing wilting periods and silage moisture levels of silage quality and microbial growth levels.

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Nogueira, Aurelio Antonio Mendes, Maria da Graça Lima, Katia Correia Gorini, and Ana Cecília Matos Mac Dowell. "A.R.T.E.² threads interwoven in the sea of tales." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 22 (July 19, 2021): 297–314. http://dx.doi.org/10.35699/2237-5864.2021.25211.

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In activities developed in the projects Mar de Histórias and A.R.T.E. 2 , the perception of the line is viewed/analyzed in its poetic possibilities, as a compositional element and in different supports. The experimentation started in regular undergraduate classes, in the discipline Creation of Shape, generated proposals for practices with the Creativity Workshop on Shape, by dealing with the use of the line by different artists, throughout the history of art, applied in the Center for Mathematical and Nature Sciences (CCMN) of the Federal University of Rio de Janeiro (UFRJ).

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Volans, Kevin. "WHAT IS FELDMAN?" Tempo 68, no. 270 (September 4, 2014): 7–14. http://dx.doi.org/10.1017/s0040298214000321.

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AbstractThis article is a reflection on aspects of the compositional practice and aesthetics of the American composer Morton Feldman (1926–1987) as viewed from the perspective of a fellow composer. Writing as a colleague immersed in Feldman's work for more than three decades, Kevin Volans discusses Feldman's concepts of time and form; his approach to touch on the piano, and to instrumentation and tone colour generally; his relationship with the visual arts; his notational practices with regard to pitch and rhythm; his anti-conceptualist standpoint, and much else.

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Judd, Fiona, Anne-Marie Cooper, Caitlin Fraser, and Julian Davis. "Rural Suicide—People or Place Effects?" Australian & New Zealand Journal of Psychiatry 40, no. 3 (March 2006): 208–16. http://dx.doi.org/10.1080/j.1440-1614.2006.01776.x.

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Objective: To examine factors that may contribute to elevated rates of suicide among rural communities in Australia. Method: A wide-ranging literature search reviewed possible factors that may contribute to the geographical variation in suicide. Literature was organized to enable examination of compositional and contextual explanations, as well as collective social functioning and social practices. Results: A variety of factors may contribute to elevated rates of suicide in rural compared with urban areas. Collective and contextual (place) factors seem to be of particular importance as possible contributors to the elevated rate of suicide among rural males. These include rural socioeconomic decline; facilitators and barriers to service utilization such as service availability and accessibility, rural culture, community attitudes to mental illness and help seeking; and exposure to firearms. Conclusions: Compositional, contextual and collective factors are hypothesized to influence the elevated rate of suicide in rural compared with urban areas. These factors need to be tested in empirical studies that consider both individual and community-based risk factors, and are designed to enable exploration of likely within-rural differences.

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Trafí-Prats, Laura. "Aesthetic Post-Phenomenological Inquiry: A Compositional Approach to the Invention of Worlds." Qualitative Inquiry 26, no. 5 (June 21, 2019): 432–39. http://dx.doi.org/10.1177/1077800419857454.

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In this article, I think retrospectively with art and passages of writing produced in connection to a study on aesthetic activity and urban nature with two classes of fifth graders attending school in a city of the American Midwest. For this, I take on the art philosophy of Deleuze, Deleuze and Guattari and Deleuzian scholars to discuss how aesthetics and processes of art-making can inform empirical gestures based on distance from and invention of worlds. Art extracts sensations from chaotic forces that function in excess, variation, and proliferation, offering valuable practices to attune toward the affectivity of post-phenomenological life worlds.

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Khan, MS, MK Bashar, MA Akbar, and KS Huque. "Feeding practices and compositional verification of the constituents of growth promoters for cattle fattening in Bangladesh." Bangladesh Journal of Animal Science 43, no. 2 (September 30, 2014): 142–46. http://dx.doi.org/10.3329/bjas.v43i2.20716.

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A survey was carried out among 50 cattle fattening farmers covering 11 Upazillas' under 7 districts of Bangladesh and a total of 14 growth promoters (GP) from 9 pharmaceutical companies engaged with marketing GP were collected for the compositional verification of the constituents from their specification. For cattle fattening, about 78% respondents used their own labors, 16% dependent on hired labor and only 6% used both the sources. Majority of the farmers (48%) used a diet of straw, green grass and concentrate, 40% of them used straw and concentrate and the rest 4.0% used green grass and concentrate. Most of the (60%) farmers used only straw for fattening cattle and rest of them (40%) used urea-molasses-straw (UMS) and urea treated straw (UTS), of them 28% used UMS and 12% used UTS. In all the locations, 90% farmers used GP for fattening their cattle, of them 78% used vitamin-mineral premixes, 8% used vitamin-mineral and enzyme premixes and the rest 4% used antibiotic, vitamin-mineral and enzyme premixes. Only 10% farmers dont have any experience to use GP for cattle fattening. The presence of Ca and P in GP were found all most similar in all the companies but in some cases the values were found higher or lower than the specification. Availability of amino acids, Methionene and lysine were found very close to their product specification but one company failed to maintain their product quality according to their specification. Farmers are still using traditional feeding system but they are concerned to use GP for fattening cattle. Although, companies have maintained product quality but quality control of GP marketed and used by the farmers should be strictly followed on routine basis.DOI: http://dx.doi.org/10.3329/bjas.v43i2.20716 Bang. J. Anim. Sci. 2014. 43 (2): 142-146

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Assimiou, Adou Rahim Alimi, and Léon E. Parent. "Compositional Nutrient Diagnosis of the P Status in Potato Crops." HortScience 30, no. 4 (July 1995): 863D—863. http://dx.doi.org/10.21273/hortsci.30.4.863d.

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In Quebec, potato crops are largely grown on light acid soils altered by podzolization. In the plow layer, abundance of sesquioxides, low pH and low organic matter content produce high P-fixing capacity. Liming to pH not exceeding 5.6, organic matter additions and banding of P fertilizers are practices to improve the P status in the soil–plant system. Plant response to treatments could be diagnosed by yield evaluation and foliar analysis. Agricultural lime, dolomitic limestone and basalt were applied to an acid soil (pH 4.6). Ordinary superphosphate, biosuperphosphate, triple superphosphate, and diammonium phosphate impregnated with humic peat were banded at two rates. Highest tuber yield was 40 t·ha–1. There was no response to liming materials as pH did not exceed 4.9. There was a significant response to P fertilizers. Nutrient balance assessment of the foliage by Compositional Nutrient Diagnosis indicated a critical “d” value of 1.5 and a critical P index of 0.8.

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Bengochea, Alain, Sabrina F. Sembiante, and Mileidis Gort. "Exploring the object-sourced transmodal practices of an emergent bilingual child in sociodramatic play." Journal of Early Childhood Research 18, no. 4 (August 2, 2020): 371–86. http://dx.doi.org/10.1177/1476718x20938078.

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This case study explores how an emergent bilingual preschooler used transmodal practices to engage with objects and compose narratives in sociodramatic play. Video recordings and field notes were collected in a dual language preschool classroom in the United States to examine the actional, verbal, and visual modes used by the focal child during his engagement with objects. An action-oriented analysis using multimodal discourse and mediated action frameworks revealed how he transmodally engaged with play artifacts to embody imagined roles and extend objects’ functionality. The child engaged with objects in three particular ways by (a) resourcing objects to advertise play to peers, (b) extending objects’ meaning potential, and (c) recruiting physical and imagined objects to elaborate on storyline. His translanguaging served as an additional compositional resource to provide contextualization for play narratives; showcase personalized meanings and underscore his multimodal intent during play; and endorse and co-opt others’ play ideas. Findings have implications for ways that early childhood teachers can use objects to promote and augment multimodal sociodramatic play scenarios.

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Journal articles on the topic 'Compositional practices'

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