Relevant bibliographies by topics / Creative composition

Contents

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

Academic literature on the topic 'Creative composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Creative composition"

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Folkestad, Göran, David J. Hargreaves, and Berner Lindström. "Compositional Strategies in Computer-Based Music-Making." British Journal of Music Education 15, no. 1 (March 1998): 83–97. http://dx.doi.org/10.1017/s0265051700003788.

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Recent technological developments and the increasing impact of the media mean that listening to music and creative music making constitutes a major and integrated part of many young people's lives.The aim of the present article is to describe the process of computer-based composition, and how this is perceived by young composers. This paper describes a three-year empirical study of 129 computer-based compositions by 15 to 16-year-olds. Computer MIDI-fti.es were system- atically collected covering the sequence of the creation processes step by step; interviews were carried out with each of the participants; and observations were made of their work.All the participants succeeded in creating music, and in the subsequent analysis, six qualitatively different ways of creating music were identified which could be divided into two main categories: HORIZONTAL and VERTICAL. These categories, devised by the authors in this context, refer to compositional strategies, not to structures in the music itself. In the horizontal categories composition and arranging are separate processes, whereas in the vertical categories composition and arranging are one integrated process.
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Rohmatullah, Mohamad. "Musical Composition of Introverts dan Ekstroverts’ Extramusical Idea." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 125–33. http://dx.doi.org/10.31091/jomsti.v3i2.1152.

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Purpose: Humans have different personalities, namely introverts and extroverts. Program music is one of the compositional techniques whose purpose is to describe something in the creation of music through the analogy of meaning. Research methods: This creation research uses the Practice-Led Research method. Data obtained through a literature study approach, then the data is associated with music through an analogy process. Results and discussion: The creative process in creating music is very diverse, one of which is through extra-musical ideas. In the realm of music creation other disciplines can be used as music creation ideas. Psychology and music can be related through listening and feeling. The musical works created are vocal and piano works about introverts and extroverts. Implication: The implications of this research creation are expected to trigger the idea of creating music more broadly, especially across scientific disciplines.
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Borisenko, T. S. "Compositional and production competence of the head of the choreographic team." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 117–24. http://dx.doi.org/10.30725/2619-0303-2020-3-117-117-124.

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The professional competence of the head of the choreographic collective is a single complex of interdependent and inextricably linked individual types of competencies, each of which requires a meaningful approach to the process of their formation, formation and development. The presented results of the analysis of modern research in the fi eld of improving the professional training of future leaders of the choreographic collective for professional pedagogical activity prove that the implementation of the ideas of a competencybased approach in modern choreographic education is the standard of high-quality training of a specialist whose main goal is the formation of professional competent leader of the choreographic team. The artistic and creative competence of the leader of the choreographic collective is an important component of his holistic professional competence, which is characterized by the totality of the former special competencies and the qualities of his personality necessary for solving professional and creative tasks. The study of the specifics of artistic and creative activity, the stages of the work of the baletmeister on the creation and formulation of the dance composition is among the objectives of the study. According to the results of the study, revealing the multifacetedness of the creative processes of creating a choreographic work «from concept to implementation» and characterized by insuffi cient development of the artistic and creative competence of the head of the choreographic collective, the main compositional and production competencies were identified: actual signifi cant structural components and essential characteristics are disclosed. It is concluded that the field of learning to create a dance composition and its staging has been studied a little, and the formation of compositional and production competencies is one of the main tasks facing teachers of special disciplines of universities of culture and art. The presented research results within the framework of this article are intended to use the relevant data as for the professional pedagogical work of the teaching staff : determining the principles for the formation of structural components; identifi cation and implementation of the necessary pedagogical conditions; development of criteria and indicators for diagnosing the formation of compositional and stagesetting competencies, as well as for educational activities of students – future specialists in the process of creating compositions and staging the dance.
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Applebaum, Mark. "Existential Crises in Composition Mentorship and the Creation of Creative Agency." Contemporary Music Review 31, no. 4 (August 2012): 257–68. http://dx.doi.org/10.1080/07494467.2012.725809.

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Rhoades, Michael. "Exploring the Nexus of Holography and Holophony in Visual Music Composition." Leonardo Music Journal 30 (December 2020): 61–67. http://dx.doi.org/10.1162/lmj_a_01093.

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In this article the author explores the idea that, owing to their shared three-dimensional nature, holophons and virtual holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is within reach. Here, one methodological pipeline is delineated that employs the convergence of holophony, virtual holography and supercomputing toward the creation of visual music compositions intended for head-mounted displays or large-scale 3D/360-degree projection screens and high-density loudspeaker arrays.
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Smith, Sophy. "The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines." Organised Sound 12, no. 1 (April 2007): 79–87. http://dx.doi.org/10.1017/s1355771807001677.

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AbstractThis article looks at the compositional processes of hip-hop teams based in the UK, focusing on those that have emerged from the practice of creating team ‘routines’. Turntable teams, such as the Scratch Perverts, the Mixologists and the DMU Crew, do not create their original compositions from within the Western art tradition of an independent artist creating work in isolation, which is then communicated to performers through staff notation. Instead, turntable teams compose and perform as a collective to create original compositions from existing records, and in doing so have developed innovative compositional strategies.To be able to analyse and discuss the creative processes of hip-hop turntable teams it has been necessary to construct my own model framework to enable me to identify similar patterns in the creative processes of the teams discussed. In the article, I discuss and analyse one routine from each of the three teams using this framework, focusing on the emergent process of ‘collective creation’. The article concludes by establishing a number of characteristics of the compositional processes used by UK turntable teams. Until now, scholarship has neglected the music of hip-hop. Previous work on hip-hop music has been concerned with either sociological or cultural and historical aspects. This article offers a new approach to hip-hop scholarship because it focuses on the actual music of turntable teams and the emergent processes that have developed to create it.
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Bishop, Wendy. "Suddenly Sexy: Creative Nonfiction Rear-Ends Composition." College English 65, no. 3 (January 2003): 257. http://dx.doi.org/10.2307/3594257.

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Snider, Zachary. "Creative Social Commentary in the Composition Classroom." Changing English 20, no. 1 (March 2013): 87–97. http://dx.doi.org/10.1080/1358684x.2012.757053.

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TAGGAR, SIMON. "Group Composition, Creative Synergy, and Group Performance." Journal of Creative Behavior 35, no. 4 (December 2001): 261–86. http://dx.doi.org/10.1002/j.2162-6057.2001.tb01050.x.

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Lardner, Ted. "Locating the Boundaries of Composition and Creative Writing." College Composition and Communication 51, no. 1 (September 1999): 72. http://dx.doi.org/10.2307/358962.

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Dissertations / Theses on the topic "Creative composition"

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Morrison, John David. "Group composition and creative performance /." Access abstract and link to full text, 1993. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9315956.

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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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Anderson, Jonathan Douglas. "The Creative Process in Cross-Influential Composition." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.

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This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
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Berg, Danita. "Re-Composition: Considering the Intersections of Composition and Creative Writing Theories and Pedagogies." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1573.

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Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline. Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.
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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.

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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
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Marsh, Meredith. "Good Writing: Integrating Creative Writing Elements in Undergraduate Composition." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1469050437.

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Evans, Kelley E. "Body Composition." View abstract, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3319029.

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Fodrey, Crystal N. "Teaching Undergraduate Creative Nonfiction Writing: A Rhetorical Enterprise." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/319904.

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This project presents the results of a case study of creative nonfiction (CNF) pedagogical practices in undergraduate composition studies and creative writing courses at The University of Arizona, exploring how those who teach CNF at this top-ranked school for the study of the genre are shaping knowledge about it. This project analyzes within a rhetorical framework the various subject positions CNF teachers assume in relation to their writing and teaching as well as the teaching methodologies they utilize. I do this to articulate a theory of CNF pedagogy for the twenty-first century, one that represents the merging of individualist and public intellectual ideologies that I have observed in teacher interviews, course documents, and pedagogical publications about the genre. For students new to the genre, so much depends on how CNF is first introduced through class discussion, representative assigned prose models, and invention activities when it comes to creating knowledge about exactly what contemporary CNF is/can be and how writers might best generate prose that fits the genre's wide-ranging conventions in form, content, and rhetorical situation. Understanding how and why instructors promote certain ideologies in relation to CNF becomes increasingly important as this mode of personally situated, fact-based, narrative-privileging, literarily stylized discourse continues to gain popularity within and beyond the academy.
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Bridgewater, Gillian, and n/a. "Saving Alicia." University of Canberra. Creative Communication & Culture Studies, 1999. http://erl.canberra.edu.au./public/adt-AUC20060609.155229.

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Saving Alicia is a creative thesis written to explore the possibility of incorporating some non-fictional concepts of neurophysiology into a work of fiction. The initial component presents the historical and contemporary context in which such a work is written along with an analysis of the writing techniques employed by other writers in the field. It sets out the aim of the subsequent creative composition. The second, and major, component of this thesis is a work of fiction. A story is developed in which the protagonist, a young woman, revives her deceased mother's neurophysiological research work in the hope that it will help her brain-damaged niece, Alicia, recover. For this she is dependent on two men who were her mother's colleagues. As they compete for her attention, while pursuing their own conflicting goals, the protagonist maintains her determination to keep her mother's work going. She has no prior knowledge of neurophysiology and, so that she can understand the research, she is keen to learn some of its basic concepts. Woven through the story of Saving Alicia are descriptions of neurons and their physiology. This is presented to the protagonist through the mouths of the two researchers. In this way, the non-fiction is interspersed with the fiction.
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Sharp, Leta McGaffey. "CREATIVE NONFICTION ILLUMINATED: CROSS-DISCIPLINARY SPOTLIGHTS." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194720.

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Creative nonfiction is abundant and popular. There are many names and definitions for this fluid, multimodal genre, which has played a role in its marginality in academia. This dissertation examines creative nonfiction in composition, creative writing, and journalism. I argue that distinct beliefs and values of each discipline have led to compartmentalized, disciplinary-specific definitions and uses of creative nonfiction. To understand why this is, and to develop and a cross-disciplinary understanding, I use Amy Devitt's rhetorical genre theory to illuminate cultural beliefs and values that influence the names, definitions, subgenres, and views of the genre in each field. A rhetorical understanding of genre reveals the purpose of creative nonfiction, the themes it conveys, and perhaps why it is so persuasive and powerful. In examining composition I analyze the historical development of creative nonfiction, its definitions, and current beliefs and values about teaching composition. I argue composition limits its view of creative nonfiction by too often equating it with the personal essay. A personal-expressive pedagogy would help teach creative nonfiction. In creative writing I analyze the definitions of creative nonfiction and the AWP's statements about creative writing education. I argue creative writing has inclusive definitions, if not rhetorical, but the culture of literature limits the genre for students. A strength of creative writing is the teaching of craft that I argue is beneficial for teaching creative nonfiction. In journalism I analyze the culture of objectivism from which literary journalism emerged. I argue literary journalists have developed definitions that identify the purpose of literary journalism and narrative form. I express concerns about the separation of journalism from composition and creative writing that has limited discussions about creative nonfiction and literary journalism. Finally, I argue each discipline should value one another's views and agree on dissensus instead of focusing on denying one another or trying to find a single name and definition. I suggest narrative nonfiction as a subset of creative nonfiction that would benefit students in composition. Creative nonfiction engages students in writing and examining the sociopolitical world from a personal perspective, which aids them in becoming writers for life.
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Books on the topic "Creative composition"

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Berg, Danita, and Lori A. May, eds. Creative Composition. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649.

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Composition: The creative response. Belmont, Calif: Wadsworth Pub. Co., 1985.

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Creative control: Creative writing prompts for the composition class. Dubuque, IA: Kendall Hunt, 2010.

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Creative music composition: The young composer's voice. New York: Routledge, 2006.

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The creative photographer. New York: Pixiq, 2011.

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Creative composition: Digital photography tips & techniques. Indianapolis, IN: Wiley, 2010.

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On creative writing. Bristol, UK: Multilingual Matters, 2010.

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Rand, Phyllis. Creative writing. 2nd ed. Pensacola, Fla: A Beka Book Publications, 1993.

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Creative composition: Inspiration and techniques for writing instruction. Bristol: Multilingual Matters, 2015.

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Creative writing for lawyers. Secaucus, N.J: Carol Pub. Group, 1991.

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Book chapters on the topic "Creative composition"

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Mayers, Tim, and Stephanie Vanderslice. "Foreword." In Creative Composition, edited by Danita Berg and Lori A. May, xi—xiv. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-002.

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Berg, Danita, and Lori A. May. "Introduction." In Creative Composition, edited by Danita Berg and Lori A. May, xv—xxi. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-003.

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Landrum-Geyer, Denise. "1. On Essaying." In Creative Composition, edited by Danita Berg and Lori A. May, 1–9. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-004.

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Burnett, Sara. "2. Eat Your Spinach! Why a Blend of Personal and Academic Discourses Matter." In Creative Composition, edited by Danita Berg and Lori A. May, 10–15. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-005.

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Harper, Graeme. "3. Writing by Creation, with Response, in Experience." In Creative Composition, edited by Danita Berg and Lori A. May, 16–23. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-006.

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Scheg, Abigail G. "4. Give it a Taste: Serving Creative Writing in Small Doses." In Creative Composition, edited by Danita Berg and Lori A. May, 24–29. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-007.

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Michael, Dustin. "5. Wiggling Between the Forms: A Cross-Genre Approach to Writing." In Creative Composition, edited by Danita Berg and Lori A. May, 30–34. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-008.

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Bourelle, Andrew. "6. Writing to Discover: Creative Nonfiction and Writing Across the Curriculum." In Creative Composition, edited by Danita Berg and Lori A. May, 35–46. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-009.

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Bradley, Jonathan, and Sarah Gray-Panesi. "7. Creative Writing’s Five Stages of Development: The Mind of the Creative Writer in the Composition Classroom." In Creative Composition, edited by Danita Berg and Lori A. May, 47–58. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-010.

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Harris, Rochelle L., and Christine Stewart-Nuñez. "8. Sought-After Sophistications: Crafting a Curatorial Stance in the Creative Writing and Composition Classrooms." In Creative Composition, edited by Danita Berg and Lori A. May, 59–76. Bristol, Blue Ridge Summit: Multilingual Matters, 2015. http://dx.doi.org/10.21832/9781783093649-011.

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Conference papers on the topic "Creative composition"

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Hugill, Andrew. "Creative Computing Processes: Musical Composition." In 2014 IEEE 8th International Symposium on Service Oriented System Engineering (SOSE). IEEE, 2014. http://dx.doi.org/10.1109/sose.2014.80.

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WATANABE, TOYOHIDE, and KEI KATO. "DOCUMENT COMPOSITION SUPPORT AS CREATIVE WORK." In Proceedings of the 2008 International Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812837578_0025.

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Davenport, Jack, Mark Lochrie, and John Law. "Supporting Creative Confidence in a Musical Composition Workshop." In CHI PLAY '17: The annual symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3130859.3131307.

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Fadillah, Citra, and RR Ratna Amalia Rahayu. "Sound Visualization Using Typography Composition Based GIF." In 2019 International Conference on Sustainable Engineering and Creative Computing (ICSECC). IEEE, 2019. http://dx.doi.org/10.1109/icsecc.2019.8907207.

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Jingchen Xie and Ruilin Lin. "Notice of Retraction: Study on creative design in composition." In 2010 IEEE International Conference on Advanced Management Science (ICAMS). IEEE, 2010. http://dx.doi.org/10.1109/icams.2010.5553021.

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Schiphorst, T., T. Calvert, C. Lee, C. Welman, and S. Gaudet. "Tools for interaction with the creative process of composition." In the SIGCHI conference. New York, New York, USA: ACM Press, 1990. http://dx.doi.org/10.1145/97243.97270.

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Choi, Yejin. "Sketch-to-Text Generation: Toward Contextual, Creative, and Coherent Composition." In Proceedings of the 9th International Natural Language Generation conference. Stroudsburg, PA, USA: Association for Computational Linguistics, 2016. http://dx.doi.org/10.18653/v1/w16-6607.

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Gonçalo Oliveira, Hugo, Tiago Mendes, and Ana Boavida. "Co-PoeTryMe: a Co-Creative Interface for the Composition of Poetry." In Proceedings of the 10th International Conference on Natural Language Generation. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-3508.

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Smith, P., and V. Hardman. "Fine-grained scalable sound representations for collaborative composition and performance." In IEE Colloquium on Audio and Music Technology: the Challenge of Creative DSP. IEE, 1998. http://dx.doi.org/10.1049/ic:19980828.

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Pawestri, Titi Ayu, and Debri Haryndia Putri. "Study of The Malangan Batik through Motifs Composition with Shape Grammar Technique and Color Composition Selection (Case Study: The Druju Batik)." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.22.

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Reports on the topic "Creative composition"

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Moultrie, Kay. "An approach to creative design" relation of composition to expression with a particular emphasis on color relationships. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.326.

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Ruff, Grigory, and Tatyana Sidorina. THE DEVELOPMENT MODEL OF ENGINEERING CREATIVITY IN STUDENTS OF MILITARY INSTITUTIONS. Science and Innovation Center Publishing House, December 2020. http://dx.doi.org/10.12731/model_of_engineering_creativity.

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The troops of the national guard of the Russian Federation are equipped with modern models of weapons, special equipment, Informatization tools, engineering weapons that have artificial intelligence in their composition are being developed, " etc., which causes an increase in the requirements for the quality of professional training of future officers. The increasing complexity of military professional activities, the avalanche-like increase in information, the need to develop the ability to quickly and accurately make and implement well-known and own engineering solutions in an unpredictable military environment demonstrates that the most important tasks of modern higher education are not only providing graduates with a system of fundamental and special knowledge and skills, but also developing their professional independence, and this led to the concept of engineering and creative potential in the list of professionally important qualities of an officer. To expedite a special mechanism system compact intense clarity through cognitive visualization of the educational material, thickening of educational knowledge through encoding, consolidation and structuring Principle of cognitive visualization stems from the psychological laws in accordance with which the efficiency of absorption is increased if visibility in training does not only illustrative, but also cognitive function, which leads to active inclusion, along with the left and right hemispheres of the student in the process of assimilation of information, based on the use of logical and semantic modeling, which contributes to the development of engineering and creative potential.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Adams, MA, and G. L. Williams. Tidal marshes of the Fraser River estuary: composition, structure, and a history of marsh creation efforts to 1997. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2004. http://dx.doi.org/10.4095/215805.

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5

Martin, William R., John C. Lee, Alan baxter, and Chuck Wemple. Creation of a Full-Core HTR Benchmark with the Fort St. Vrain Initial Core and Assessment of Uncertainties in the FSV Fuel Composition and Geometry. Office of Scientific and Technical Information (OSTI), March 2012. http://dx.doi.org/10.2172/1047488.

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6

Leis, Sherry. Vegetation community monitoring at Lincoln Boyhood National Memorial: 2011–2019. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2284711.

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Lincoln Boyhood National Memorial celebrates the lives of the Lincoln family including the final resting place of Abraham’s mother, Nancy Hanks Lincoln. Lincoln’s childhood in Indiana was a formative time in the life our 16th president. When the Lincoln family arrived in Indiana, the property was covered in the oak-hickory forest type. They cleared land to create their homestead and farm. Later, designers of the memorial felt that it was important to restore woodlands to the site. The woodlands would help visitors visualize the challenges the Lincoln family faced in establishing and maintaining their homestead. Some stands of woodland may have remained, but significant restoration efforts included extensive tree planting. The Heartland Inventory and Monitoring Network began monitoring the woodland in 2011 with repeat visits every four years. These monitoring efforts provide a window into the composition and structure of the wood-lands. We measure both overstory trees and the ground flora within four permanently located plots. At these permanent plots, we record each species, foliar cover estimates of ground flora, diameter at breast height of midstory and overstory trees, and tree regeneration frequency (tree seedlings and saplings). The forest species composition was relatively consistent over the three monitoring events. Climatic conditions measured by the Palmer Drought Severity Index indicated mild to wet conditions over the monitoring record. Canopy closure continued to indicate a forest structure with a closed canopy. Large trees (>45 cm DBH) comprised the greatest amount of tree basal area. Sugar maple was observed to have the greatest basal area and density of the 23 tree species observed. The oaks characteristic of the early woodlands were present, but less dominant. Although one hickory species was present, it was in very low abundance. Of the 17 tree species recorded in the regeneration layer, three species were most abundant through time: sugar maple (Acer saccharum), red bud (Cercis canadensis), and ash (Fraxinus sp.). Ash recruitment seemed to increase over prior years and maple saplings transitioned to larger size classes. Ground flora diversity was similar through time, but alpha and gamma diversity were slightly greater in 2019. Percent cover by plant guild varied through time with native woody plants and forbs having the greatest abundance. Nonnative plants were also an important part of the ground flora composition. Common periwinkle (Vinca minor) and Japanese honeysuckle (Lonicera japonica) continued to be the most abundant nonnative species, but these two species were less abundant in 2019 than 2011. Unvegetated ground cover was high (mean = 95%) and increased by 17% since 2011. Bare ground increased from less than 1% in 2011 to 9% in 2019, but other ground cover elements were similar to prior years. In 2019, we quantified observer error by double sampling two plots within three of the monitoring sites. We found total pseudoturnover to be about 29% (i.e., 29% of the species records differed between observers due to observer error). This 29% pseudoturnover rate was almost 50% greater than our goal of 20% pseudoturnover. The majority of the error was attributed to observers overlooking species. Plot frame relocation error likely contributed as well but we were unable to separate it from overlooking error with our design.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Wright, Kirsten. Collecting Plant Phenology Data In Imperiled Oregon White Oak Ecosystems: Analysis and Recommendations for Metro. Portland State University, March 2020. http://dx.doi.org/10.15760/mem.64.

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Highly imperiled Oregon white oak ecosystems are a regional conservation priority of numerous organizations, including Oregon Metro, a regional government serving over one million people in the Portland area. Previously dominant systems in the Pacific Northwest, upland prairie and oak woodlands are now experiencing significant threat, with only 2% remaining in the Willamette Valley in small fragments (Hulse et al. 2002). These fragments are of high conservation value because of the rich biodiversity they support, including rare and endemic species, such as Delphinium leucophaeum (Oregon Department of Agriculture, 2020). Since 2010, Metro scientists and volunteers have collected phenology data on approximately 140 species of forbs and graminoids in regional oak prairie and woodlands. Phenology is the study of life-stage events in plants and animals, such as budbreak and senescence in flowering plants, and widely acknowledged as a sensitive indicator of environmental change (Parmesan 2007). Indeed, shifts in plant phenology have been observed over the last few decades as a result of climate change (Parmesan 2006). In oak systems, these changes have profound implications for plant community composition and diversity, as well as trophic interactions and general ecosystem function (Willis 2008). While the original intent of Metro’s phenology data-collection was to track long-term phenology trends, limitations in data collection methods have made such analysis difficult. Rather, these data are currently used to inform seasonal management decisions on Metro properties, such as when to collect seed for propagation and when to spray herbicide to control invasive species. Metro is now interested in fine-tuning their data-collection methods to better capture long-term phenology trends to guide future conservation strategies. Addressing the regional and global conservation issues of our time will require unprecedented collaboration. Phenology data collected on Metro properties is not only an important asset for Metro’s conservation plan, but holds potential to support broader research on a larger scale. As a leader in urban conservation, Metro is poised to make a meaningful scientific contribution by sharing phenology data with regional and national organizations. Data-sharing will benefit the common goal of conservation and create avenues for collaboration with other scientists and conservation practitioners (Rosemartin 2013). In order to support Metro’s ongoing conservation efforts in Oregon white oak systems, I have implemented a three-part master’s project. Part one of the project examines Metro’s previously collected phenology data, providing descriptive statistics and assessing the strengths and weaknesses of the methods by which the data were collected. Part two makes recommendations for improving future phenology data-collection methods, and includes recommendations for datasharing with regional and national organizations. Part three is a collection of scientific vouchers documenting key plant species in varying phases of phenology for Metro’s teaching herbarium. The purpose of these vouchers is to provide a visual tool for Metro staff and volunteers who rely on plant identification to carry out aspects of their job in plant conservation. Each component of this project addresses specific aspects of Metro’s conservation program, from day-to-day management concerns to long-term scientific inquiry.
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