Готові списки джерел за темами / Compositional devices in recitative

Добірка наукової літератури з теми "Compositional devices in recitative"

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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Статті в журналах з теми "Compositional devices in recitative"

Dill, Charles. "Rameau reading Lully: Meaning and system in Rameau's recitative tradition." Cambridge Opera Journal 6, no. 1 (March 1994): 1–17. http://dx.doi.org/10.1017/s0954586700004109.

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While Jean-Philippe Rameau left behind copious evidence of his changing beliefs as a music theorist, he remained silent about his most deeply held beliefs as a composer of opera. His occasional protestations of admiration for Lully, and his petulant responses to criticism, have formed a small basis for the large amount of commentary on his compositional career. The possibility remains, however, that Rameau's theoretical writings could offer some clues about his compositions and, more generally, about his career as a composer. I am thinking of a brief, but well-known moment in his career when theoretical remarks and compositional attitudes worked together in the performance of what we today would consider an analytical act: his commentary on Lolly's monologue, ‘Enfin it est en ma puissance’, from Act II scene 5 of Armide.Rameau published this commentary in 1754 in his Observations sur notre instinct pour la musique, as a response to Rousseau's criticism of Lolly's monologue in the Lettre sur la musique française of 1753. The commentary is well known in modern scholarship and has been the subject of a number of studies, the most thorough being Cynthia Verba's work on the evolution of implied chromaticism in Rameau's theories. Here we will be concerned less with its purely theoretical content than with how Rameau's discourse can be said to betray his compositional beliefs about setting texts to music.

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ZEISS, LAUREL ELIZABETH. "Permeable boundaries in Mozart's Don Giovanni." Cambridge Opera Journal 13, no. 2 (July 2001): 115–39. http://dx.doi.org/10.1017/s095458670100115x.

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Permeable boundaries form the musical ‘thread’ of Don Giovanni– a compositional strategy fundamental to the opera's character. Customary cadential borders get omitted or blurred; material heard early in the opera prominently returns; and all the accompanied recitative-set piece pairs act as ‘composite pieces’ – scenes in which musical material as well as dramatic function bind the accompanied recitative and aria or duet together and fuse them into one entity. ‘Permeability’ is heightened in Don Giovanni due to the supernatural elements of the plot, the title character's refusal to to submit to society's strictures, Gluck's association with the story, and Mozart's propensity for musical one-upmanship. Yet it is by no means unique to that work. Studying the relationships between accompanied recitatives and adjacent numbers reveals a ‘middleground’ of musical continuity that lies between long-range tonal plans and the motivic and tonal unities of individual numbers. Hence these passages challenge, as well as complement, some of our underlying assumptions about operatic form, and urge us to expand our definition of a ‘number’.

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Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.

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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

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Cabrini, Michele. "Breaking Form through Sound: Instrumental Aesthetics, Tempêête, and Temporality in the French Baroque Cantata." Journal of Musicology 26, no. 3 (2009): 327–78. http://dx.doi.org/10.1525/jm.2009.26.3.327.

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Abstract Between Lully's death (1687) and Rameau's operatic debut (1733), composers of the tragéédie en musique experimented with instrumental effects, greatly expanding the dramatic role of the orchestra. The profusion of these effects coincides with a new aesthetic reappraisal of instrumental music in France, as can be observed in the writings of Du Bos. The tempêête constitutes one of the most remarkable examples. Its sonic violence was too strong to end with the instrumental movement that depicted it; indeed, composers often prolonged the storm scene into a series of movements all connected by thematic material and key to produce a verisimilar effect of the storm's momentum, thereby creating what I term ““the domino effect.”” By the early eighteenth century, the tempêête had become such a well established and popular topos that it began migrating to non-staged genres like the cantata. The transference of the tempest topos from the tragéédie lyrique to the French baroque cantata entailed the breaking of formal frames. Unlike the supple dramatic structure of French opera, the cantata adopted the more rigid mold of the Italian opera seria——the recitative-aria unit——which separated the flow of time into active and static moments. Three case studies——Bernier's Hipolite et Aricie (1703), Jacquet de la Guerre's Jonas (1708), and Morin's Le naufrage d'Ulisse (1712)——demonstrate how composers manipulated this mold to satisfy a French aesthetic that valued temporal continuity for the sake of verisimilitude. All three composers employ key and instrumental music to portray the storm's forward momentum across recitatives and arias, relying primarily on rhythmic energy and melodic activity to create continuity. Although each composer's musical response varies according to personal style, what emerges is a shared aesthetic and compositional strategy employed to portray an event whose relentless power transcends the temporal boundaries between recitative and aria. This aesthetic of continuity and linearity shown by French baroque composers influenced the treatment of the tempest topos in the later eighteenth-century repertory, vocal and instrumental alike, including opera, the concerto, the overture-suite, and the characteristic symphony.

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Long, Stephen. "DRONES, TRANSFORMATION AND POLARITY IN ANNA THORVALDSDÓTTIR'S ORCHESTRAL MUSIC." Tempo 69, no. 274 (September 7, 2015): 33–49. http://dx.doi.org/10.1017/s0040298215000352.

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AbstractThe music of Icelandic composer Anna Thorvaldsdóttir has been inspired by nature, not in a manner that results in specific pictorial evocation, but in the sense that her reflections on natural phenomenon are catalysts for explorations of a range of compositional polarities, including flow and stasis, stability and volatility, transparency and opacity, and expansion and contraction. Her observation of droning as a natural state has led to a dynamic creative use of drones that challenges and expands commonly held notions of their compositional potential. The article discusses their use, along with other compositional devices and processes, in the delineation of these polarities and the resulting formal structure of selected works for orchestra and chamber orchestra. These resources include disruption devices and morphing techniques that facilitate overlapping and transformation of layers of material. The particular compositional focus of each piece has led to fresh applications of these resources, imparting a distinct character to each piece and contributing to an ongoing renewal of the composer's compositional palette.

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Gershon, Talia, Kasra Sardashti, Yun Seog Lee, Oki Gunawan, Saurabh Singh, Douglas Bishop, Andrew C. Kummel, and Richard Haight. "Compositional effects in Ag2ZnSnSe4 thin films and photovoltaic devices." Acta Materialia 126 (March 2017): 383–88. http://dx.doi.org/10.1016/j.actamat.2017.01.003.

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Edwards, Brent Hayes. "The Literary Ellington." Representations 77, no. 1 (2002): 1–29. http://dx.doi.org/10.1525/rep.2002.77.1.1.

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The literary plays an indispensable role in the creative process and compositional technique of the great jazz composer and orchestra leader Duke Ellington. It is well known that he based a number of his pieces on literary sources and that many of his larger works in particular rely on narrative written by Ellington and/or his collaborator Billy Strayhorn, whether it was programmatic, recitative, or lyric. In all his music, Ellington was concerned with ''telling tales'' in language, not only in sounds - or more precisely, in both: composing in ways that combined words and music. This imperative is evidenced in the pieces Ellington called ''parallels,'' a word he chose in particular to highlight the formal relationship between music and literature. In some, such as the ''Shakespearean Suite'' known as ''Such Sweet Thunder,'' he used various structural approaches and instrumental techniques to achieve portraiture through the interrelationship between the musical and the literary. In other pieces, such as ''My People'' and especially ''Black, Brown and Beige,'' Ellington attempted to integrate literary texts into his music in a manner that is not programmatic. The longer pieces demonstrate that for Ellington's aesthetic, the representation of African American history necessitated a mixed, multimedia form.

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Batty, Mark. "Compositional relaxed concurrency." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 375, no. 2104 (September 4, 2017): 20150406. http://dx.doi.org/10.1098/rsta.2015.0406.

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There is a broad design space for concurrent computer processors: they can be optimized for low power, low latency or high throughput. This freedom to tune each processor design to its niche has led to an increasing diversity of machines, from powerful pocketable devices to those responsible for complex and critical tasks, such as car guidance systems. Given this context, academic concurrency research sounds notes of both caution and optimism. Caution because recent work has uncovered flaws in the way we explain the subtle memory behaviour of concurrent systems: specifications have been shown to be incorrect, leading to bugs throughout the many layers of the system. And optimism because our tools and methods for verifying the correctness of concurrent code—although built above an idealized model of concurrency—are becoming more mature. This paper looks at the way we specify the memory behaviour of concurrent systems and suggests a new direction. Currently, there is a siloed approach, with each processor and programming language specified separately in an incomparable way. But this does not match the structure of our programs, which may use multiple processors and languages together. Instead we propose a compositional approach, where program components carry with them a description of the sort of concurrency they rely on, and there is a mechanism for composing these. This will support not only components written for the multiple varied processors found in a modern system but also those that use idealized models of concurrency, providing a sound footing for mature verification techniques. This article is part of the themed issue ‘Verified trustworthy software systems’.

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Gribelyuk, Michael A., Sanjay Mehta, Jeffrey B. Johnson, and Lee Kimball. "Two-dimensional dopant potential mapping in a fin field effect transistor by off-axis electron holography." Journal of Applied Physics 132, no. 4 (July 28, 2022): 045702. http://dx.doi.org/10.1063/5.0091586.

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Progress in the development of nanometer scaled Fin Field Effect Transistor (FinFET) devices is affected by a lack of understanding of relevant dopant diffusion phenomena due to limited experimental data. In particular, 2D dopant potential mapping by electron holography in 3D FinFET devices has been challenged by the overlap of electrically active fins, metal films, and dielectric films in the electron beam direction. This paper presents methodology on how to map dopant potential in modern FinFET devices. A custom-device structure was developed, which preserved all essential features of the device manufacturing process. The dopant reconstruction method is suggested to account for the presence of materials other than silicon fin between fins. A comparison of lateral dopant potential profiles with device simulations offers agreement within 0.32 V. Compositional non-uniformity of materials between fin devices is identified as the main limiting factor. A further reduction of compositional non-uniformity should allow for quantitative 2D dopant potential mapping with high sensitivity to probe the effects of dopant segregation, deactivation, and diffusion kinetics in 3D FinFET devices at the nanometer scale.

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Pandey, Manish, Gaurav Kapil, Kazuhiko Sakamoto, Daisuke Hirotani, Muhammad Akmal Kamrudin, Zhen Wang, Kengo Hamada, et al. "Efficient, hysteresis free, inverted planar flexible perovskite solar cells via perovskite engineering and stability in cylindrical encapsulation." Sustainable Energy & Fuels 3, no. 7 (2019): 1739–48. http://dx.doi.org/10.1039/c9se00153k.

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Дисертації з теми "Compositional devices in recitative"

Huntley, Alec Villars. "The Guaraldi Sound: The Musical Devices that Characterize Vince Guaraldi's Improvisational and Compositional Idiom." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752365/.

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Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.

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Lancaster, Rodney Allen. "Transcription and Analysis of Selected Trombone Solos from J. J. Johnson's 1964 Recording Proof Positive." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/332.

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The purposes of the essay are to transcribe and analyze selected solos from the 1964 J. J. Johnson recording, Proof Positive as well as to increase the amount of analytical literature on J. J. Johnson presently obtainable for study by jazz trombonists. J. J. Johnson will further be affirmed as a jazz musician worthy of doctoral level study. Selected solos from the 1964 J. J. Johnson recording Proof Positive will be transcribed and analyzed in depth using a method of analysis incorporating improvisational devices identified by the author. A brief biography of J. J. Johnson is presented along with a review of jazz trombone history in order to provide perspective. A review of related literature will be provided as well. The study will be limited to those solos that meet a selection criterion. The specific solos that were selected met the standard of containing a substantial number of Johnson's characteristic improvisational devices. Melody, harmony, rhythm, and stylistic inflection within each solo are discussed in detail and musical examples from the improvisations are cited to provide emphasis. The 1964 J. J. Johnson recording, Proof Positive was chosen for transcription and analysis due to its historical significance as a seminal recording and for the fact that only "Stella by Starlight" has been published. The remaining trombone solos have not yet been readily made available for study.

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Paúl, Abel. "Doubles and duplication : a study of their application as musical materials and compositional devices : mirrors, still lifes, echoes, displacements." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34444/.

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The submitted portfolio and accompanying thesis focus on the subject of doubles and duplication and their application as musical materials and compositional devices in my own work and, to a lesser extent, throughout the history of music and other artistic disciplines. In this study I look at the acoustic, structural, perceptual and aesthetic implications derived from the duplication of sonic materials, instruments, objects, setups, gestures and performers. From a general perspective, the use of duplication raises a number of issues of identical sounds by two or more sonic sources, the importance of synchronicity or asynchronicity in the suggestion of aural and visual analogies, the role of distance in the establishment of auditory correspondences, the degree of similarity required by specific materials to be identified as doubles, the role of the performer in creating a sense of gestural and performative duplication, the relationship between acoustic and acousmatic sources in the delineation of sonic parallels, etc. In this thesis, the subject of duplication is chiefly regarded from spatial, performative and sonic perspectives. The sections focusing on spatial issues examine the function of duplicated setups of objects and instruments in the space of performance. The analysis of performative elements addresses the role of gestural duplication and doppelgangers as musical and scenic resources. Finally, the sections on sound investigate the perceptual and aesthetic effects of duplicated sonic sources, echoic interactions and sonic displacements. This thesis is structured into two main parts. The first part (chapters 1 & 2) examines the different possible categories and models of duplication and their usage throughout music history. The second part (chapters 3 & 4) focuses on the application and different roles of duplication in my own music. The issue of duplication has been explored in the works composed throughout the research process. A total of six pieces (approximately 105 minutes of music) have been written over the course of this PhD. The issues present in these compositions have been thoroughly examined in my thesis, becoming the main object of study. Each of these works approaches duplication in a different manner, highlighting the versatility and potential compositional applications of this phenomenon.

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Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.

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Mays, Lawrence John. "An investigation of the creation of drama in recitative through comparative analysis: La Serva Padrona set by Pergolesi (1733) and Paisiello (1781)." Master's thesis, 2012. http://hdl.handle.net/1885/9861.

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The subtlety of eighteenth-century opera recitative, especially recitativo semplice, may escape most twenty-first century listeners and performers. Composers in late seventeenth-century Italy conceived of recitative as a music style that was flexible enough to accommodate the quick changes in characters' emotions and intents that the text of a continuously unfolding drama required. Essential elements of the style included preservation of the natural rhythm of speech and the free use of dissonance to heighten the impact of words. Although it underwent a number of changes in the following two centuries, recitative remained a significant vehicle for the dramatic action of character exposition, emotion, intent and physical interaction in opera. Composers developed an armamentarium of well-understood compositional devices for setting recitative text to music. We are remote from the period when recitative was a fresh, innovative and imaginative vehicle for the communication of drama through a synergetic combination of words and music. We cannot know definitively how recitative sounded or was performed, and we are in a vastly different social and cultural milieu. Moreover, we have heard several subsequent genres that involve a combination of music and words, as well as very different harmonic and melodic vocabularies. We need to make an informed search for subtle dramatic values in recitative in order to fully understand its potential. During the seventeenth and eighteenth centuries, it was relatively common for more than one composer to set a libretto into an operatic work. This raises the question of whether, by a differential application of the compositional devices forming the musical language of recitative, composers could imply different dramatic parameters from the same text. In this study the recitatives in two settings of Gennaro Antonio Federico's short comic libretto: La Serva Padrona are chosen for comparison. The settings are by Giovanni Battista Pergolesi (1733) and Gio vanni Paisiello (1781). A central tenet of the study is that it is valid to examine the creation of drama which is immanent in the written music as a separate issue from how drama is created in performance. The study provides a detailed taxonomy of compositional devices used for setting recitative, derived from eclectic sources in relevant literature. These come under the broad headings of rhythmic, melodic, harmonic and key-related devices. The application of compositional devices in several excerpts of recitative from the two works is analysed and compared. The analysis strongly suggests that the composers have implied different characters, with contrasting emotions and intents, through their settings of the recitative texts. A different relationship between the two principal characters is also implied. The methodology developed for this study may be of interest to those wishing to better appreciate the musical language and dramatic function of recitative in eighteenth-century opera. It may be a useful addition to the available information on performance practice and may help persons who listen to these works, or who are involved in their performance, to understand the composers' interpretations of characters and of their actions more fully.

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Lin, Yun. "Design and Development of Intricate Nanomedical Devices through Compositional, Dimensional and Structural Control." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-05-10923.

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Nanomedicine, the medical application of nanotechnology, uses nanoscale objects that exist at the interface between small molecule and the macroscopic world for medical diagnosis and treatment. One of the healthcare applications of nanomedicine is drug delivery: the development of nanoscale objects to improve therapeutics' bioavailability and pharmacokinetics. Shell crosslinked knedel-like nanoparticles (SCKs), that are self assembled from amphiphilic block copolymers into polymeric micelles and then further stabilized with crosslinkers isolated throughout the peripheral shell layer, have been investigated for drug delivery applications that take advantage of their core-shell morphology and tunable surface chemistry. SCKs are attractive nanocarriers because the cores of the SCKs are used for sequestering and protecting guests. The readily adjustable shell crosslinking density allows for gating of the guest transport into and out of the core domain, while retaining the structural integrity of the SCKs. Moreover, the highly functionalizable shell surface provides opportunity for incorporation of targeting ligands for enhanced therapeutic delivery. The optimization of nanoparticle size, surface chemistry, composition, structure, and morphology has been pursued towards maximization of the SCKs' therapeutic efficacy. With distinctively different dimensions, compositions and structures of the core and shell domains of SCKs, and an ability to modify each independently, probing the effects of each is one of the major foci of this dissertation. Utilization of a living radical polymerization technique, reversible addition-fragmentation chain transfer (RAFT) polymerization, has allowed for facile manipulation of the block lengths of the polymer precursors and thus resulted in various dimensions of the nanoparticles. SCKs constructed from poly(acrylic acid)-b-polystyrene (PAA-b-PS) with various chain lengths, have been investigated on the loading and release of doxorubicin (DOX). The effect of PEGylation on paclitaxel (PTX) loaded SCKs on the cell internalization and killing was investigated. Apart from chemotherapies, the SCKs were explored as antimicrobial agents by incorporating silver species. Conjugation of the SCK surface with a protein adhesin through amidation chemistry to promote epithelial cell targeting and internalization was developed. Nanoscale assemblies with complex morphologies constructed from a linear triblock copolymer was investigated. Furthermore, a highly multifunctional nanodevice for imaging and drug delivery functionalized with a chelator for radio-labeling, polyethylene glycol (PEG) for improved biodistribution, targeting ligands, a chromophore and a therapeutic agent was evaluated in vivo as active-targeted delivery of therapeutics.

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Книги з теми "Compositional devices in recitative"

Barkalov, Alexander, and Larysa Titarenko. Logic Synthesis for Compositional Microprogram Control Units. Springer London, Limited, 2008.

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Logic Synthesis For Compositional Microprogram Control Units. Springer, 2008.

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Barkalov, Alexander, and Larysa Titarenko. Logic Synthesis for Compositional Microprogram Control Units. Springer, 2010.

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Shrock, Dennis. George Frideric Handel – Messiah. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0004.

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Messiah is discussed in reference to Handel’s operas, other choral works in general, and other oratorios in specific, with focus on the librettos. Additional historic information covers the premiere of Messiah, audience reactions, and subsequent performances, including the beginning of its popularity after performances in the Foundling Hospital Chapel and large-scale and re-orchestrated festival performances in the 1780s. Musical topics address Handel’s compositional process (e.g., speed of writing, parody of previously composed works, and revision of works from performance to performance) and factors of musical organization. Performance practices issues include vocal and instrumental timbre, pitch, vibrato, metric accentuation, rhythmic alteration, recitative, and ornamentation.

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Shrock, Dennis. Choral Monuments. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.001.0001.

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This book provides extensive and in-depth material about eleven epoch-making choral masterworks that span the history of Western culture from the Renaissance to the modern era. Included are Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony no. 9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections—history, analysis, and performance practice. Discussions of history include biographical information about composers related to the work at hand, historical perspectives, and text sources. Analyses are focused on formal and musical structures, salient compositional techniques, and elements of music particular to the work being discussed, including parody and motivic organization. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, rhythmic alteration, recitative, fermatas, and ornamentation. Musical examples and primary source quotes illuminate the material.

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Parsons, Laurel, and Brenda Ravenscroft. Marianna Martines, Sonata in A Major, I (1765). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0006.

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Marianna Martines, a Viennese contemporary of Haydn and Mozart, combined the fruits of instruction in the strict style with the devices and schemata of the new galant style. She was an excellent harpsichordist and singer as well as composer, and her compositional craft is amply displayed in the opening movement of her Sonata in A Major for Keyboard, written around 1765. This movement skillfully handles various layouts, schemata, and compositional devices that were standard at the time. Furthermore, it cleverly manipulates these features with rhythmic and formal devices—some of which are quite daring—in an expressive and dramatic fashion.

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Sammons, Benjamin. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190614843.003.0008.

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The conclusions include a brief reconstruction of each cyclic epic, with emphasis on points suggested by the arguments in each chapter. Comparison of the cyclic epics among themselves shows that catalogues and doublets were especially important compositional elements. Two-fold structure in particular seems to have been highly characteristic of poems of medium length, with smaller elements such as the aristeia being used to reinforce large-scale structure. Character roles, divine activity, and thematic correlations were used to bring unity to the more compendious poems. Comparison of cyclic epics with the Homeric poems shows that the crucial difference lies in the function of shared compositional devices relative to the overall scale of poems. Devices that are used to structure relatively small parts of the Homeric poems could be used to construct very large portions of shorter epics, if not entire poems.

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Sammons, Benjamin. Device and Composition in the Greek Epic Cycle. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190614843.001.0001.

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From a corpus of Greek epics known in antiquity as the “Epic Cycle,” six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. This study shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. It demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construction of these later works. Yet while the “cyclic” poets constructed their works using the same traditional devices as Homer, they used these to different ends and with different results. The essential difference between cyclic and Homeric epics lies not in the fundamental building blocks from which they are constructed, but in the scale of these components relative to the overall construction of poems. This sheds important light on the early history of epic as a genre, since it is likely that these devices originally developed to provide large-scale structure to shorter poems and have been put to quite different use in the composition of the monumental Homeric epics. This study includes many new suggestions about the overall form of lost cyclic epics and about the meaning and context of the few surviving verse fragments.

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Частини книг з теми "Compositional devices in recitative"

Barkalov, Alexander, Larysa Titarenko, Jacek Bieganowski, and Alexander Miroshkin. "8 Synthesis of Compositional Microprogram Control Unit with Dedicated Area of Inputs." In Design of Digital Systems and Devices, 193–214. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-17545-9_8.

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Roberts, T. A., J. M. Grace, D. B. McDonald, K. E. Gray, and R. P. H. Chang. "In Situ Compositional Analysis of Multielement Thin Films." In Multicomponent and Multilayered Thin Films for Advanced Microtechnologies: Techniques, Fundamentals and Devices, 395–99. Dordrecht: Springer Netherlands, 1993. http://dx.doi.org/10.1007/978-94-011-1727-2_23.

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Aliee, Hananeh, Michael Glaß, Faramarz Khosravi, and Jürgen Teich. "Uncertainty-Aware Compositional System-Level Reliability Analysis." In Dependable Embedded Systems, 457–77. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52017-5_19.

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AbstractContinuous technology scaling has increased the susceptibility of today’s electronic devices to manufacturing tolerances and environmental changes. The resulting uncertainty in component reliability can be only approximated or estimated at design time and might propagate to system level. Therefore, uncertainty must be considered to enable the design of robust systems. In this chapter, we propose a methodology for cross-level reliability analysis to tame the ever increasing analysis complexity of contemporary systems under the influence of uncertainties. The presented methodology combines various reliability analysis techniques across different levels of abstraction while providing an explicit modeling of uncertainties. It introduces mechanisms for (a) the composition and decomposition of the system during analysis and (b) converting analysis data between different levels of abstraction through adapters. The developed analysis techniques are integrated in an automatic electronic system-level reliability analysis tool to allow for the evaluation of reliability-increasing techniques and for DSE!. The tool thereby uses meta-heuristic algorithms for optimization and enables the comparison of system implementation candidates with objectives represented by uncertainty distributions.

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Grosu, Radu, Elizabeth Cherry, Edmund M. Clarke, Rance Cleaveland, Sanjay Dixit, Flavio H. Fenton, Sicun Gao, et al. "Compositional, Approximate, and Quantitative Reasoning for Medical Cyber-Physical Systems with Application to Patient-Specific Cardiac Dynamics and Devices." In Leveraging Applications of Formal Methods, Verification and Validation. Specialized Techniques and Applications, 356–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-45231-8_26.

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"Compositional and Narrative Devices of the Rāmāyaṇa Panels on the Amṛteśvara." In Epic Narratives in the Hoysaḷa Temples, 105–11. BRILL, 1997. http://dx.doi.org/10.1163/9789004378964_012.

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"Compositional and Narrative Devices of the Mahābhārata Panels on the Amṛteśvara." In Epic Narratives in the Hoysaḷa Temples, 163–70. BRILL, 1997. http://dx.doi.org/10.1163/9789004378964_015.

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Armstrong, Alison. "Ableton Overture (Intermediate)." In The Music Technology Cookbook, 119–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0019.

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In this music technology-meets-classical composition activity, students will learn how to combine tried and tested compositional techniques (sequence, inversion, augmentation, diminution, and imitation) with many possibilities in Ableton Live’s session view. This composition task was designed for students ages 12 to 16 who are new to composing. The aims of the activity include: 1) inputting melodic and rhythmic information into a DAW and exploring composition devices; 2) reviewing melodic and rhythmic compositional devices, exploring simple accompaniment patterns, and combining a theme with an accompaniment pattern; 3) exploring sounds, octave ranges, and tempi in Ableton Live; 4) exploring combinations of themes with other students through sharing MIDI loops, making an arrangement, and justifying choices; and 5) presenting an arrangement to a fictional client.

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Gui, Ning, Vincenzo De Florio, and Chris Blondia. "Run-Time Compositional Software Platform for Autonomous NXT Robots." In Rapid Automation, 649–62. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8060-7.ch029.

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Autonomous Robots normally perform tasks in unstructured environments, with little or no continuous human guidance. This calls for context-aware, self-adaptive software systems. This paper aims at providing a flexible adaptive middleware platform to seamlessly integrate multiple adaptation logics during the run-time. To support such an approach, a reconfigurable middleware system “ACCADA” was designed to provide compositional adaptation. During the run-time, context knowledge is used to select the most appropriate adaptation modules so as to compose an adaptive system best-matching the current exogenous and endogenous conditions. Together with a structure modeler, this allows robotic applications' structure to be autonomously (re)-constructed and (re)-configured. This paper applies this model on a Lego NXT robot system. A remote NXT model is designed to wrap and expose native NXT devices into service components that can be managed during the run-time. A dynamic UI is implemented which can be changed and customized according to system conditions. Results show that the framework changes robot adaptation behavior during the run-time.

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Kumar, Sunil, Ravi Prakash, and Pralay Maiti. "Advanced Batteries and Charge Storage Devices based on Nanowires." In Current and Future Developments in Nanomaterials and Carbon Nanotubes, 159–75. BENTHAM SCIENCE PUBLISHERS, 2022. http://dx.doi.org/10.2174/9789815050714122030012.

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Compositional designed electrodes exhibiting high specific capacities are of great interest towards align="center"high performance charge storage devices. Electrode surface can store charge or guest ions due to structural confinement effect. Ion storage capacity depends on the structural integrity of electrode (anode) materials of batteries. Electrolyte selection also decides the storage capacity of batteries and other charge storage devices. Volume expansion or variation can be minimized through structural variation of the electrode. align="center"The charging phenomenon proceeds through the continuous ion destruction process of adsorbed ions into semipermeable align="center"pores. Dimension controlled electrode materials possess superior ion storage capacity. The contemporary design is an effective way to improve the charge storage capacity of electrodes. Low dimension materials exhibit better charge storage capacity due to high surface density (surface to volume ratio) and efficient charge confinement. The confined dimensions (quantum confinement) play important roles in orienting the desired kinetic properties of nanomaterials, such as charge transport and diffusion. This chapter emphasizes critical overviews of the state-of-the-art nanowires based align="center"electrodes for energy storage devices, such as lithium-ion batteries, lithium-ion capacitors, sodium-ion batteries, and supercapacitors. Ions or charges can be percolated easily through nanowire networks due to fast adsorption and diffusion. High-rate capability is intensified align="center"over large electroactive surface in align="center"an ordered nanowire electrode.

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Seeley, William P. "Seeking Salience." In Attentional Engines, 29–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190662158.003.0002.

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Chapter 1 evaluates the role played by aesthetics in the arts, argues that the shortcomings of neuroaesthetics emerge from conflating aesthetics with art, and introduces an alternative cognitivist model for understanding art. Artworks are communicative devices. They are artifacts designed to direct attention to formal-compositional features diagnostic for their point, purpose, or meaning. The communicative exchange between artists and consumers is, in turn, governed by a familiar set of Gricean conditions operative in communication and interpretation more generally. Artworks can therefore be understood as communicative events structured by a shared understanding of genre and stylistic categories.

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Тези доповідей конференцій з теми "Compositional devices in recitative"

Zavattaro, Gianluigi, Theodore E. Simos, and George Maroulis. "Compositional vs. Monolithical Modeling of Nano Devices." In COMPUTATIONAL METHODS IN SCIENCE AND ENGINEERING: Theory and Computation: Old Problems and New Challenges. Lectures Presented at the International Conference on Computational Methods in Science and Engineering 2007 (ICCMSE 2007): VOLUME 1. AIP, 2007. http://dx.doi.org/10.1063/1.2836176.

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Sale, Terry E., Konstanze Hild, T. J. Hosea, Masumi Hirotani, and Y. Kato. "Reflectivity fitting for accurate thickness and compositional determination in RCLEDs." In Integrated Optoelectronic Devices 2004, edited by Steve A. Stockman, H. Walter Yao, and E. Fred Schubert. SPIE, 2004. http://dx.doi.org/10.1117/12.529654.

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Lee, Eric T. Y., and Elizabeth R. M. Taylor. "Compositional effects on the thermo-optic coefficients of barium borophosphate glasses." In Integrated Optoelectronic Devices 2004. SPIE, 2004. http://dx.doi.org/10.1117/12.529199.

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Karim, A., A. Elfving, M. Larsson, W. X. Ni, and G. V. Hansson. "Compositional analysis of Si/SiGe quantum dots using STEM and EDX." In Integrated Optoelectronic Devices 2006, edited by Kurt G. Eyink and Diana L. Huffaker. SPIE, 2006. http://dx.doi.org/10.1117/12.647318.

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Watanabe, Heiji. "Ultrathin Zr Silicate Gate Dielectrics with Compositional Gradation." In 2002 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 2002. http://dx.doi.org/10.7567/ssdm.2002.c-2-2.

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Nishimura, T., D. Starodub, T. Gustafsson та E. Garfunkel. "High-Resolution Compositional Profiling of High-к Gate Stack Structures". У 2002 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 2002. http://dx.doi.org/10.7567/ssdm.2002.c-2-1.

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Ma, Yuanzhi, Jonathan Goodwill, and Marek Skowronski. "Quantification of Compositional Runaway during Electroformation in TaOx Resistive Switching Devices." In 2019 IEEE 11th International Memory Workshop (IMW). IEEE, 2019. http://dx.doi.org/10.1109/imw.2019.8739727.

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Yamaguchi, T., T. Sasaki, M. Takahasi, T. Araki, T. Onuma, T. Honda, and Y. Nanishi. "Compositional Pulling Effect in Epitaxial Growth of GaInN by RF-MBE." In 2017 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 2017. http://dx.doi.org/10.7567/ssdm.2017.ps-8-07.

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Tsang, J. S., C. P. Lee, J. C. Fan, K. L. Tsai, and H. R. Chen. "Compositional Disordering of AlGaAs/GaAs Superlattices by Low Temperature Grown GaAs." In 1994 International Conference on Solid State Devices and Materials. The Japan Society of Applied Physics, 1994. http://dx.doi.org/10.7567/ssdm.1994.pb-1-7.

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Tripathi, D. K., H. Mao, K. K. M. B. D. Silva, and L. Faraone. "Compositional and mechanical properties of PECVD silicon for thin-film optical applications." In 2012 Conference on Optoelectronic and Microelectronic Materials & Devices (COMMAD). IEEE, 2012. http://dx.doi.org/10.1109/commad.2012.6472422.

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