Journal articles: 'Teaching composition'

1

Gordon, Jay L. "Teaching Hypertext Composition." Technical Communication Quarterly 14, no. 1 (January 2005): 49–72. http://dx.doi.org/10.1207/s15427625tcq1401_5.

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Allen, William. "Teaching Composition Digitally." Visual Resources 15, no. 1 (January 1999): 65–74. http://dx.doi.org/10.1080/01973762.1999.9658487.

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Ran, Shulamit. "On Teaching Composition." Contemporary Music Review 31, no. 4 (August 2012): 305–12. http://dx.doi.org/10.1080/07494467.2012.725813.

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Lerdahl, Fred. "On Teaching Composition." Contemporary Music Review 31, no. 4 (August 2012): 291–96. http://dx.doi.org/10.1080/07494467.2012.725814.

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Lynch-Biniek, Amy. "Who Is Teaching Composition?" Open Words: Access and English Studies 6, no. 1 (2012): 54–71. http://dx.doi.org/10.37514/opw-j.2012.6.1.05.

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Trueman, Dan. "‘Teaching’ Composition at Princeton." Contemporary Music Review 31, no. 4 (August 2012): 323–29. http://dx.doi.org/10.1080/07494467.2012.725811.

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Godfrey, John. "WHO ARE WE TEACHING AND WHY ARE WE TEACHING THEM? THOUGHTS ON MUSICAL DIVERSITY IN UNIVERSITY COMPOSITION TEACHING." Tempo 76, no. 302 (September 29, 2022): 52–60. http://dx.doi.org/10.1017/s0040298222000341.

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AbstractMusical composition has traditionally been taught with the assumption that students share musical backgrounds and have similar aims. In today's highly diverse musical world, however, composition students are exposed to a multiplicity of musical languages. They develop their personal creative styles from an internal conceptual ‘melting pot’ and must also develop compositional methodologies for a potentially large array of disparate usages. This article argues that the teaching of composition should recognise both the rich global diversity of musics and the plethora of uses to which compositional techniques might be applied, and that such teaching might most productively be focused on imparting a broad selection of technical concepts from many musics, coupled with an interrogation of the underlying purposes of techniques taught. All musics must be treated as equally worthy of study and students’ embodied experiences respected. Curricula need to be designed with such a catholic view in mind, encouraging students to embrace the growing profusion of genres, techniques and resources available and develop a flexible, broadly informed and resourceful outlook.

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Epstein, Bonnie W. "Teaching Freshman Composition: Getting Started." WAC Journal 1, no. 1 (1989): 88–91. http://dx.doi.org/10.37514/wac-j.1989.1.1.15.

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Biró, Dániel. "The Practice of Teaching Composition." Revista Vórtex 8, no. 1 (September 10, 2020): 1–11. http://dx.doi.org/10.33871/23179937.2020.8.1.1-11.

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Sullivan, James D. "Poetry, Scholarship, and Teaching Composition." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 888. http://dx.doi.org/10.1632/s0030812900168075.

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11

Wiggins, Jacqueline H. "Composition as a Teaching Tool." Music Educators Journal 75, no. 8 (April 1989): 35–38. http://dx.doi.org/10.2307/3400295.

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BERNHARDT, STEPHEN A., PENNY EDWARDS, and PATTI WOJAHN. "Teaching College Composition with Computers." Written Communication 6, no. 1 (January 1989): 108–33. http://dx.doi.org/10.1177/0741088389006001007.

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BERNHARDT, STEPHEN A., PATRICIA G. WOJAHN, and PENNY R. EDWARDS. "Teaching College Composition with Computers." Written Communication 7, no. 3 (July 1990): 342–74. http://dx.doi.org/10.1177/0741088390007003003.

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14

Randles, Clint, and Mark Sullivan. "How Composers Approach Teaching Composition." Music Educators Journal 99, no. 3 (March 2013): 51–57. http://dx.doi.org/10.1177/0027432112471398.

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15

Bloom, Lynn Z., and Gary Tate. "Teaching Composition: Twelve Bibliographical Essays." College Composition and Communication 39, no. 3 (October 1988): 361. http://dx.doi.org/10.2307/357478.

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16

Salaman, William. "Objectives and the Teaching of Composition." British Journal of Music Education 5, no. 1 (March 1988): 3–20. http://dx.doi.org/10.1017/s026505170000629x.

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The application of objectives to the teaching of music can be easy enough when the results expected are clearly understood in advance. However, when some of the responsibility for the outcome is placed in the hands of pupils, the formulation of objectives becomes more difficult. This article explores the problem and makes suggestions for the framing of objectives in relation to children's compositional work. In support of the argument, the findings of a short course in composing undertaken with two pupils are described with scores and taped examples serving as evidence. The article ends with suggestions for the assessment of pupils' compositions.

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17

Epstein, Bonnie W. "Teaching Freshman Composition: Getting Started (1989)." WAC Journal 8, no. 1 (1997): 90–95. http://dx.doi.org/10.37514/wac-j.1997.8.1.11.

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18

Iddon, Martin, and Scott McLaughlin. "TEACHING COMPOSITION IN A FLIPPED CLASSROOM." Tempo 76, no. 302 (September 29, 2022): 71–81. http://dx.doi.org/10.1017/s0040298222000365.

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In 2019 the present authors, along with our colleague Mic Spencer, began work on a project funded by the Leeds Institute for Teaching Excellence, designed to look at the ways in which we taught composition at the University of Leeds and how we might change them. Mic has focused on postgraduate teaching, and we have considered the earliest parts of the undergraduate curriculum, particularly the first two years of study, when the largest numbers of students with the least experience of the study of composition at tertiary level might be in a classroom (50 or so, in our case).

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19

Smith, Bruce R. "Poetry, Scholarship, and Teaching Composition - Reply." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 888–89. http://dx.doi.org/10.1632/s0030812900168087.

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20

M. Jamil, Dr Adil. "Teaching of English Composition into Perspective." International Journal of English Literature and Social Sciences 6, no. 2 (2021): 291–99. http://dx.doi.org/10.22161/ijels.62.41.

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21

Shen, Fan A. "Teaching Critical Thinking in Freshman Composition." Inquiry: Critical Thinking Across the Disciplines 11, no. 4 (1993): 14–16. http://dx.doi.org/10.5840/inquiryctnews199311425.

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Jenseth, Richard, Katherine H. Adams, and John L. Adams. "Teaching Advanced Composition: Why and How." College Composition and Communication 43, no. 1 (February 1992): 103. http://dx.doi.org/10.2307/357374.

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George, Diana, and Bruce McComiskey. "Teaching Composition as a Social Process." College Composition and Communication 52, no. 4 (June 2001): 666. http://dx.doi.org/10.2307/358705.

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Cooper, Marilyn M., and Joseph Harris. "A Teaching Subject: Composition since 1966." College Composition and Communication 51, no. 3 (February 2000): 503. http://dx.doi.org/10.2307/358754.

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25

Harris, Joseph. "A Teaching Subject: Composition since 1966." College Composition and Communication 48, no. 1 (February 1997): 129. http://dx.doi.org/10.2307/358780.

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26

Davis, Marjorie T. "Personality and the Teaching of Composition." Journal of Higher Education 62, no. 6 (November 1991): 724–26. http://dx.doi.org/10.1080/00221546.1991.11774167.

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27

Faunce, R. "Teaching Querelle in the Composition Classroom." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 12, no. 2 (January 1, 2012): 343–52. http://dx.doi.org/10.1215/15314200-1425047.

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Troyka, Lynn Quitman, George H. Jensen, and John K. DiTiberio. "Personality and the Teaching of Composition." College Composition and Communication 42, no. 2 (May 1991): 248. http://dx.doi.org/10.2307/358208.

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Davenport, Donna. "Expanding Thinking on Teaching Dance Composition." Journal of Dance Education 6, no. 1 (January 2006): 4–5. http://dx.doi.org/10.1080/15290824.2006.10387305.

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30

Socha, Kim. "Teaching the Body in Composition Class." Radical Teacher 84, no. 1 (2009): 72–74. http://dx.doi.org/10.1353/rdt.0.0031.

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31

Davis, Marjorie T., George H. Jensen, and John K. DiTiberio. "Personality and the Teaching of Composition." Journal of Higher Education 62, no. 6 (November 1991): 724. http://dx.doi.org/10.2307/1982201.

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32

TYTENKO, O. M. "COMPOSITION AS A FUNDAMENTAL DISCIPLINE IN THE PROCESS OF PAINTERS TEACHING." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (December 30, 2021): 206–12. http://dx.doi.org/10.31494/2412-9208-2021-1-3-206-212.

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The author in the article considers some aspects of creating a composition in painting, explores the changes in the composition of the picture throughout the history of art. Proves that creativity and creativity are important factors for creating a composition, which can be defined as a person's ability to constructive, non-standard thinking. This topic is very relevant for future artists. The rules, constructions of the composition defined in this article will help to make work (a photo, a collage, drawing, a picture) harmonious and balanced. The author emphasizes that it is not enough to have natural talent and taste to harmoniously combine objects in the chosen format. You need to know certain rules to succeed. For example, the rule of the golden ratio. The author draws attention to the fact that the composition is built according to certain laws. Its rules and techniques are interconnected and apply at all times of work on the composition. Everything is aimed at achieving the expressiveness and integrity of the work of art. To create an emotional and figurative composition, the artist must learn to use interesting events, characters, motives, angles and states. Emphasizes that the constant execution of sketches, sketches and sketches from nature develops not only the eye and hand, but also compositional thinking. The author reminds that the means of composition can be a variety of techniques and rules. And also that the search for an original compositional solution, the use of means of artistic expression, the most suitable for the implementation of the artist's idea, are the basis of the expressiveness of the composition. It is important that the subject «Composition» is closely related to the content of subjects «Drawing», «Painting», «Easel Composition», which set general goals and objectives according to the basic laws of compositional construction, graphic and pictorial performance. An important role in this process is given to mastering the knowledge of theory in the field of art history. The subject «Composition» is aimed at acquiring deep knowledge, skills and abilities in the learning process, obtaining art education, as well as the aesthetic education of students. Key words: composition, art, artists, artists, canon, age, creativity, means, color, contrast.

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33

Nurnazarov, Khudoyberdi D., and Juramurot O. Soliev. "TEACHING STUDENTS TO WORK IN LANDSCAPE COMPOSITION IN THE IMPRESSIONIST WAY." European International Journal of Multidisciplinary Research and Management Studies 02, no. 05 (May 1, 2022): 105–8. http://dx.doi.org/10.55640/eijmrms-02-05-23.

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This article discusses the specific methods of teaching students to work with landscape composition in the style of impressionism, the origins of the method of impressionism and the peculiarities of this method, the features of teaching students to work.

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34

D., Gasva. "Factors That Affect the Teaching of English Composition at Ordinary Level: Case of Hwange District in Zimbabwe." Sumerianz Journal of Education, Linguistics and Literature, no. 51 (January 23, 2022): 1–9. http://dx.doi.org/10.47752/sjell.51.1.9.

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This study sought to establish factors that affect the teaching of English composition at Ordinary (O) level in Zimbabwe. The participants (n=10) were O level English teachers from Hwange District in Matabeleland North Province, Zimbabwe. The teachers were selected through purposive sampling. Interviews were used to generate data that were presented in percentages and analysed through content analysis, while being guided by research objectives. The major findings of the study were that the teaching of English composition at O level is largely affected by teachers’competencies, teaching methods used by the teachers, a language-rich learning environment and teacher motivation and morale, among other factors. Other school related factors such as the amount of time allocated to the teaching of English composition on the school timetable, provision of timely and meaningful feedback to learners on written compositions as well as teachers’ attendance of staff development workshops; were also noted to be influential. Accordingly, the researcher concluded that the teaching of O level English composition in the area under study is largely affected by a combination of teacher and other school related factors. It is recommended that for improvement and effectiveness in the teaching of English composition, teachers need to be motivated, boost their teaching competencies, use learner-centred teaching methods and provide a language-rich and conducive learning environment to O level English students.

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35

Goldberg, Marilyn K. "Overfamiliarity: A Cognitive Barrier in Teaching Composition." Journal of Basic Writing 4, no. 1 (1985): 34–43. http://dx.doi.org/10.37514/jbw-j.1985.4.1.03.

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36

Douglas, Philip A., Dana Ferris, and John S. Hedgcock. "Teaching ESL Composition: Purpose, Process, and Practice." TESOL Quarterly 35, no. 1 (2001): 199. http://dx.doi.org/10.2307/3587869.

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37

Morgenroth, Joyce. "Contemporary Choreographers as Models for Teaching Composition." Journal of Dance Education 6, no. 1 (January 2006): 19–24. http://dx.doi.org/10.1080/15290824.2006.10387308.

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38

Hale, Michael. "Teaching the Immigration Debate in Freshman Composition." Radical Teacher 84, no. 1 (2009): 18–30. http://dx.doi.org/10.1353/rdt.0.0028.

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39

Bernhardt, Stephen A. "Designing a microcomputer classroom for teaching composition." Computers and Composition 7, no. 1 (November 1989): 93–110. http://dx.doi.org/10.1016/s8755-4615(89)80009-x.

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40

Claffey, Susann. "Teaching ESL Composition, Purpose, Process, and Practice." System 28, no. 2 (June 2000): 323–24. http://dx.doi.org/10.1016/s0346-251x(00)00002-6.

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41

Schmidt-Shilling, Cynthia, and Tania Smith. "Teaching ESL Composition: Purpose, Process, and Practice." English for Specific Purposes 20, no. 1 (January 2001): 106–9. http://dx.doi.org/10.1016/s0889-4906(00)00006-5.

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42

Jaffe, Miriam. "Case and Frame: Teaching Case Study Composition." Clinical Social Work Journal 45, no. 3 (February 2, 2017): 285–92. http://dx.doi.org/10.1007/s10615-017-0619-4.

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43

Park, Eunjeong. "Teaching L2 Composition: Purpose, Process, and Practice." English for Specific Purposes 40 (October 2015): 57–58. http://dx.doi.org/10.1016/j.esp.2015.05.003.

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44

Davies, Norman F., and Margaret Omberg. "Peer group teaching and the composition class." System 15, no. 3 (January 1987): 313–23. http://dx.doi.org/10.1016/0346-251x(87)90005-4.

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45

Otondo, Felipe. "Music technology, composition teaching and employability skills." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 229–40. http://dx.doi.org/10.1386/jmte.9.3.229_1.

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This article explores the relationship between the creative skills taught as part of the music technology BA course at Lancaster University and the skills valued by graduates and employers in the creative industries. The study investigated ways of enhancing specific and generic employability skills intrinsic to music technology teaching while working in close collaboration with industry partners and Lancaster University graduates. A survey of students, graduates and industry experts showed that generic and discipline-based skills linked to music technology composition teaching, such as communication, planning and organizing and critical listening, are highly valued by both recruiting professionals and students. These results are in line with findings from an earlier project that showed the importance of non-disciplinary knowledge shared among students from different backgrounds for the design and implementation of successful interdisciplinary collaborations. Future developments of the project will investigate ways of enhancing generic and specific employability skills within interdisciplinary learning environments for art and science students.

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46

Khatri, Dipendra Kumar. "Effectiveness of Guided Writing in Teaching Composition." Journal of NELTA Surkhet 4 (July 4, 2015): 18–25. http://dx.doi.org/10.3126/jns.v4i0.12856.

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This article summarizes the study conducted to find out the effectiveness of guided writing in teaching composition. Fifty-two students of grade nine studying at Khelnechour Secondary School, Surkhet were the sample population of this research. The researcher requested one of the teachers to involve in the practical teaching for carrying out the research. The tests (pre-test and post test) were the major tools for data collection. The students were ranked from the first to the fifty-second position based on the results of the pre-test. They were divided into two groups based on odd-even ranking of the individual scores. Then, experimental group was taught through guided writing activities whereas controlled group was taught without guided writing activities. Each groups attended thirty lessons. Then the post-test was administered. The results of these two tests (Pre and Post) were compared and found that guided writing activities were more effective in teaching composition. Journal of NELTA Surkhet Vol.4 2014: 18-25

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47

Yuan, Jiu Gen, and Zhi Guo Li. "Application and Composition of Virtual Reality in Teaching." Applied Mechanics and Materials 644-650 (September 2014): 5594–97. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.5594.

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The rapid development of information technology makes education technology having a new type of teaching media--Virtual Reality. In this paper, the virtual reality technology as a new type of education technology, studying from the view of Educational Technology, put forward a new research field of the education technology--Virtual teaching. It analysis several application forms of virtual teaching: teaching courseware, the network virtual teaching and virtual experiment. And it focuses on analyzing the PC virtual teaching environment platform’s structure and several big composition module. Virtual teaching must take the popular way as it supposes to popularize in the practical teaching, and the Pc platform conform to this requirement, which is the direction of virtual reality technology development in the future.

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48

Ремізова, О. І., and Н. В. Новак. "ІСТОРИКО-ГЕНЕТИЧНИЙ МЕТОД НАВЧАННЯ АРХІТЕКТОРА КОМПОЗИЦІЙНОЇ ТВОРЧОСТІ." SCIENTIFIC BULLETIN OF CIVIL ENGINEERING 108, no. 2 (2022): 4–11. http://dx.doi.org/10.29295/2311-7257-2022-108-2-4-11.

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The subject of the article is compositional pedagogy. It examines methods of teaching composition, various techniques of compositional activity, and the process of creating an artistic work. The historical process of the development of methods of teaching the compositional creativity of an architect is analyzed. It is shown that the formal theory of composition, which now dominates, has lost its historical meaning, and the diversity of views on compositional mastery accumulated in the course of the historical development of architecture did not have any affect on the content of the modern educational subject of both Soviet and Ukrainian schools during the time of Ukraine's independence. Attention is focused on the formation of new methods of design and composition education. The methodological strategy is based on the historical-genetic method of mastering the past experience of the architectural profession. The composition is considered as a specific artistic system of the architect's thinking and activity. The composition is also interpreted as the language of modern architecture that develops over time. The logical connection of ideas about composition presented in the process of evolution becomes the main principle of a new pedagogical approach.

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49

Horvatovikj, Vesna. "REALISATION OF AESTHETIC-COGNITIVE FUNCTION OF THE READINGS IN MACEDONIAN LANGUAGE TEACHING FROM FIRST TO THIRD GRADE." International Journal of Cognitive Research in Science, Engineering and Education 3, no. 2 (December 20, 2015): 91–95. http://dx.doi.org/10.23947/2334-8496-2015-3-2-91-95.

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Literary-artistic compositions, first of all, have an aesthetic function but when the same are used in the teaching they as well fulfill the cognitive function. The best “angle of view” of one literary-artistic composition in the teaching is through the balanced relation of “dolce” and “utile”. The instructiveness of literary-artistic compositions in the teaching is not ultimate and should not be considered as a task that is to be performed. For the purpose of realization of these basic functions of literary-artistic compositions envisaged in the teaching, the main precondition is their appropriate selection pursuant to the age of the reading audience (the students).

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Alharbi, Lafi. "Local and ENS Rating of EFL Composition." ITL - International Journal of Applied Linguistics 123-124 (January 1, 1999): 79–124. http://dx.doi.org/10.1075/itl.123-124.04alh.

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Abstract This paper reports on an empirical examination of the effect of instructors' formal training, professional experience, culturo-linguistic background, and exposure to the local context on the evaluation of EFL composition. A total of 106 English-native and Arabic-native instructors, with varying academic training, teaching experience, and exposure to the local context of EFL instruction, evaluated the language, the contents, and the rhetorical structures of two EFL compositions - written by Arabic-native speakers - using 10-point scales. Findings show that instructor's culturo-linguistic background was evidently the most influential factor on the evaluation of EFL composition. Instructor 's exposure to the local Arabic context of EFL instruction testified to confirm this effect. With respect to the effect of instructor's teaching experience on the evaluation of EFL composition, the findings reveal that expe-rienced instructors appear to be more rigid in their evaluation of EFL composition than their less experienced counterparts. The effect of instructor's formal training on the evaluation of EFL composition is generally inconsistent.

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Journal articles on the topic 'Teaching composition'

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