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| the process of composition: The Process of Composition Joy M. Reid, 편집부, 2001 This Teacher's Manual (TM) to the third edition of The Process of Composition (POC3) is designed to provide teacher support with decriptions of classroom procedures and approaches, with teaching suggestions for the textbook material, and with answers to some of the more challenging exercise questions. p. 1. |
| the process of composition: Teaching Music Through Composition Barbara Freedman, 2013-04-11 Teaching Music through Composition offers a practical, fully multimedia curriculum designed to teach basic musical concepts through the creative process of music composition. Author and award-winning music educator Barbara Freedman presents classroom-tested ways of teaching composition with technology as a tool with which students can create, edit, save, and reproduce music. As Freedman demonstrates, technology allows a musical experience for all skill levels in opportunities never before available to compose manipulate, instantly listen to music electronically and even print standard Western music notation for others to play without having to know much about traditional music theory or notation. All students can have meaningful hands-on applied learning experiences that will impact not only their music experience and learning but also their understanding and comfort with 21st century technology. Whether the primary focus of your class is to use technology to create music or to explore using technology in a unit or two, this book will show you how it can be done with practical, tried-and-true lesson plans and student activities. |
| the process of composition: Toward a Composition Made Whole Jody L. Shipka, 2011-04-30 To many academics, composition still represents typewritten texts on 8.5 x 11 pages that follow rote argumentative guidelines. In Toward a Composition Made Whole, Jody Shipka views composition as an act of communication that can be expressed through any number of media and as a path to meaning-making. Her study offers an in-depth examination of multimodality via the processes, values, structures, and semiotic practices people employ every day to compose and communicate their thoughts. Shipka counters current associations that equate multimodality only with computer, digitized, or screen-mediated texts, which are often self-limiting. She stretches the boundaries of composition to include a hybridization of aural, visual, and written forms. Shipka analyzes the work of current scholars in multimodality and combines this with recent writing theory to create her own teaching framework. Among her methods, Shipka employs process-oriented reflection and a statement of goals and choices to prepare students to compose using various media in ways that spur their rhetorical and material awareness. They are encouraged to produce unusual text forms while also learning to understand the composition process as a whole. Shipka presents several case studies of students working in multimodal composition and explains the strategies, tools, and spaces they employ. She then offers methods to critically assess multimodal writing projects. Toward a Composition Made Whole challenges theorists and compositionists to further investigate communication practices and broaden the scope of writing to include all composing methods. While Shipka views writing as crucial to discourse, she challenges us to always consider the various purposes that writing serves. |
| the process of composition: The Process of Composition Joy M. Reid, 1988 Written by Joy Reid, the foremost authority on teaching composition to ESL students, this series takes students from beginning-level instruction on basic sentence structure through the development and production of advanced academic papers. Writing examples, opportunities to learn about and produce academic prose, and sequenced assignments that increase in complexity help students build their ability to fulfill academic assignments as high as the university and graduate school levels. Examples of good (and poor) student compositions, written by native and non-native speakers of English, enrich all three books. The Reid hallmark of peer interaction with partners, small groups, and entire classes is an important feature of the books. This new edition focuses on the techniques and formats essential to academic writing. It prepares students for college-level work by taking them from the pre-writing process through a finished paper. Not only does it show how to construct solid, rigorous academic prose, but also how to critique, edit, and revise work; how to write summaries, conduct interviews, and construct surveys; and what is expected by instructors in major fields of study. Important features in the Third Edition include: -- Instruction in the use of the World Wide Web for research, including search engines, URLs, keywords, and the citation of online sources. -- Tips for differentiating between paraphrasing and plagiarism. -- Updated writing assignments in each chapter. -- Detailed instruction in locating resources in modern academic libraries. |
| the process of composition: Composition In The University Sharon Crowley, 1998-05-15 Composition in the University examines the required introductory course in composition within American colleges and universities. According to Sharon Crowley, the required composition course has never been conceived in the way that other introductory courses have been—as an introduction to the principles and practices of a field of study. Rather it has been constructed throughout much of its history as a site from which larger educational and ideological agendas could be advanced, and such agendas have not always served the interests of students or teachers, even though they are usually touted as programs of study that students need. If there is a master narrative of the history of composition, it is told in the institutional attitude that has governed administration, design, and staffing of the course from its beginnings—the attitude that the universal requirement is in place in order to construct docile academic subjects. Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. She examines historical attempts to reconfigure the required course in nonhumanist terms, such as the advent of communications studies during the 1940s. Crowley devotes two essays to this phenomenon, concentrating on the furor caused by the adoption of a communications program at the University of Iowa. Composition in the University concludes with a pair of essays that argue against maintenance of the universal requirement. In the last of these, Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place. Crowley presents her findings in a series of essays because she feels the history of the required composition course cannot easily be understood as a coherent narrative since understandings of the purpose of the required course have altered rapidly from decade to decade, sometimes in shockingly sudden and erratic fashion. The essays in this book are informed by Crowley's long career of teaching composition, administering a composition program, and training teachers of the required introductory course. The book also draw on experience she gained while working with committees formed by the Conference on College Composition and Communication toward implementation of the Wyoming Resolution, an attempt to better the working conditions of post-secondary teachers of writing. |
| the process of composition: Composition, Chromaticism and the Developmental Process Henry Burnett, 2017-07-05 Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing |
| the process of composition: Making the Writing Process Work Karen R. Harris, Steve Graham, 1996 Helps make the writind process clearer and helps students organize their thoughts about the writing task. |
| the process of composition: Photographic Composition Albrecht Rissler, 2014-10-09 All fine artists share a common goal: to combine individual elements into a convincing, cohesive whole that tells a story or expresses an intention. Photography is especially suited to this pursuit because the photographer can create multiple, distinct images of a single subject using a variety of design techniques. The display on a digital camera instantly shows the arrangement of elements in an image, allowing the photographer to make changes and refine their creation as they work. Albrecht Rissler believes that a firm understanding of image design is as important as having an observant eye or having the technical knowledge to operate a camera. Photographic Composition presents the most important concepts of image design and offers 250 beautiful photographs to illustrate these concepts. By applying these concepts to your own work, you will greatly improve your photographic eye and your ability to compose an ideal image. This book's impressive images are in black-and-white, intentionally removing the distraction of color and making it easy to focus on compositional elements and form. With this book, photographers as well as all visual artists will learn how to infuse their own images with excitement, develop and hone their visual language, and express their personal artistic aesthetic. Topics include: The effect of various aspect ratios Perspective and composition Form and contrast Proportion and harmony Symmetry and asymmetry Brightness and darkness Structures and textures The perfect moment |
| the process of composition: Dance Composition Basics Pamela Anderson Sofras, 2019-02-06 If the saying “To be the best, you must learn from the best” holds true, then this book is gold for all aspiring dancers. Dance Composition Basics, Second Edition, doesn’t just feature the works and brilliance of dance and choreographic legends Alonzo King and Dwight Rhoden—it is completely based on the choreographic operations and forms in three of their original works: Chants and Dreamer by King and Verge by Rhoden. All compositional exercises in the book are based on those three works, and the book itself is expertly crafted by Pamela Anderson Sofras, who has 34 years of experience teaching dance at the university level. Dance Composition Basics, designed for beginning dance composition courses, introduces dancers to choreography through a series of problem-solving activities. The activities are starting points for novice dancers to embark on their own attempts at choreography. Useful Tools The book offers several useful tools for instructors: 27 lesson plans that draw from and highlight selected portions of original compositions by King and Rhoden 33 reproducible assessment and self-evaluation forms An instructor guide that includes a sample course syllabus plus written exams for each chapter PowerPoint presentations to guide students through each lesson A web resource featuring online videos that are closely tied to the lesson plans and provide a richer learning experience for students; students can access this resource inside or outside of class Highly Valuable Video Resource The videos give students access to Alonzo King and Dwight Rhoden, highly successful and respected choreographers, who share their processes and techniques. Many video clips show the choreographers working on the same movement concepts featured in the corresponding lesson. Students will see the choreographers in action with professional dancers as they develop the movement material for each dance. Because students get to see the choreographers and dancers struggling with the same creative concepts they have been assigned, these clips add tremendous value to Dance Composition. Book and Web Resource Organization The text is split into five chapters, each of which features several lessons based on that chapter’s choreographic concept. Each lesson contains the following: An introductory statement and a vocabulary list A warm-up to prepare the body and focus the mind Structured improvisations that help dancers understand the movement concepts of the lesson Problem-solving activities that allow dancers to apply the concepts presented in the improvisations Discussion questions to engage dancers and promote understanding Assessment rubrics to guide evaluation of each dancer’s learning At the end of the book, a glossary provides definitions for the vocabulary terms introduced in the chapters. The main menu of the web resource corresponds with the five chapters in the book. To guide students’ use of the videos, icons have been placed throughout the book, referring readers to additional information in the web resource. Reviewing the videos will provide further insight into the choreographic assignment. The web resource also contains all the discussion questions, assessments, and evaluations found in the book. Instructors can distribute these to students electronically or print them out. Instructors can also adapt the forms to meet their specific needs. The Learning Process Dance Composition takes students through a systematic learning process: reading about a concept, discussing the concept, seeing the concept played out on video with professional choreographers and dancers, and exploring the concept through their own movement ideas. Through this process, which includes structured improvisations, students discover a movement vocabulary and original dance phrases. They then more fully develop their movement ideas, with specific movement assignments, and are given feedback by their peers and the instructor. Invaluable Resource Dance Composition Basics, Second Edition, is an invaluable resource for dancers of all styles, from ballet to modern jazz, as it introduces them to some of the compositional structures used by professional choreographers. Through the carefully designed lessons in the book and the expert examples on the video clips, students can use this resource to take their first confident and exhilarating steps into the craft of choreography. |
| the process of composition: Explanation Points John R Gallagher, Dànielle Nicole DeVoss, 2019-09-06 Explanation Points is a curated collection of disciplinary knowledge and advice for publishing in rhetoric and composition. Covering a variety of topics in an approachable, conversational tone, the book demonstrates how writing faculty from diverse career trajectories and institutions produce, prepare, edit, revise, and publish scholarship. Rhetoric and composition is a uniquely democratic field, made of a group of scholars who, rather than competing with one another, lift each other up and work together to move the field forward. This lively, engaging, story-anchored book offers advice from a range of authors—including emeritus faculty, prolific authors, and early career researchers. Organized by various stages in the writing and publishing process, Explanation Points presents the advice shared between colleagues, passed along from professor to student, or offered online in abbreviated tweets and updates. The best advice book on writing and publishing in the field, Explanation Points is a useful resource for rhetoric and composition scholars including faculty, graduate students, and advanced undergraduate students; writing center administrators, staff, and consultants; graduate pratica and seminars; writing workshop classes; and editors, associate editors, assistant editors, and other academic journal staff. Contributors: Tim Amidon, Chris Anson, Nancy G. Barron, Ellen Barton, Michael Baumann, Steve Bernhardt, Kristine L. Blair, David Blakesley, Lynn Z. Bloom, Marcia Bost, James Brown, Amber Buck, Rebecca Burnett, Joyce Carter, Kate Comer, Janice Cools, Marilyn Cooper, Craig Cotich, Ellen Cushman, Gabriel Cutrufello, Courtney Danforth, Sid Dobrin, William Duffy, Norbert Elliot, Jessica Enoch, Doug Eyman, Michael Faris, Jenn Fishman, Linda Flower, Brenda Glasscot, Laura Gonzales, Jeffrey T. Grabill, Laurie Gries, Bump Halbritter, Joseph Harris, Byron Hawk, Douglas Hesse, Troy Hicks, Bruce Horner, Asao Inoue, Darin L. Jensen, Erin Jensen, Johndan Johnson-Eilola, Gesa E. Kirsch, Sarah Kornfield, Ashanka Kumari, Christina M. LaVecchia, Donna LeCourt, Barbara L’Eplattenier, Heather Lettner-Rust, Justin Lewis, Julie Lindquist, Tara Lockhart, Andrea Abernethy Lunsford, Katie Manthey, Lisa Mastrangelo, Ben McCorkle, Heidi McKee, Cruz Medina, Laura R. Micciche, Holly Middleton, Lilian Mina, Janine Morris, Joan Mullin, Kim Hensley Owens, Jason Palmeri, Mike Palmquist, Steve Parks, Juli Parrish, Staci Perryman-Clark, Mya Poe, Jacqueline Rhodes, Jeff Rice, Jim Ridolfo, Shirley K Rose, Stuart A. Selber, Jody Shipka, Naomi Silver, Ryan Skinnell, Trixie Long Smith, Kyle Stedman, Patrick Sullivan, Carrie Strand Tebeau, Christie Toth, John Trimbur, Chris Warnick, Kathleen Blake Yancey |
| the process of composition: Fundamentals of Musical Composition Arnold Schönberg, 1977 |
| the process of composition: The Process of Paragraph Writing Joy M. Reid, 1994 Written by Joy Reid, the foremost authority on teaching composition to ESL students, this series takes students from beginning-level instruction on basic sentence structure through the development and production of advanced academic papers.Writing examples, opportunities to learn about and produce academic prose, and sequenced assignments that increase in complexity help students build their ability to fulfill academic assignments as high as the university and graduate school levels. Examples of good (and poor) student compositions, written by native and non-native speakers of English, enrich all three books.The Reid hallmark of peer interaction with partners, small groups, and entire classes is an important feature of the books.This book takes students step-by-step through all the processes of academic writing, including audience analysis, choosing and focusing on a topic, generating ideas through pre-writing, and organizing information.-- Helps students build skills with writing examples, opportunities to learn and practice writing academic prose, and sequenced assignments.-- De-emphasizes the importance of discrete grammar points while still covering the necessary basics.-- Encourages classroom interaction through collaborative and group work assignments.-- Employs a writing-reading approach to build student background knowledge. |
| the process of composition: The Cambridge History of Fifteenth-Century Music Anna Maria Busse Berger, Jesse Rodin, 2015-07-16 Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement. |
| the process of composition: Process This Nancy Dejoy, 2004-10 In Process This, Nancy DeJoy argues that even recent revisions to composition studies, cultural studies, service learning, and social process movements--continue to repress the subjects and methodologies that should be central, especially at the level of classroom practice. Designed to move student discourses beyond the classroom, these approaches nonetheless continue to position composition students (and teachers) as mere consumers of the discipline. This means that the subjects, methodologies, and theory/practice relationships that define the field are often absent in composition classrooms. Arguing that the world inside and outside of the academy cannot be any different if the profession stays the same, DeJoy creates a pedagogy and a plan for faculty development that revisions the prewrite/write/rewrite triad to open spaces for participation and contribution to all members of first-year writing classrooms. |
| the process of composition: Dance Composition Jacqueline M. Smith-Autard, 2014-05-22 Dance composition - the discipline that translates ideas into dances - is an important part of dance education. For over twenty years, Dance Composition has been the leading guide to creative success in dance making, useful to everyone interested in dance composition, at both high school and college levels. This revised and updated edition includes a new chapter exploring creative processes in relation to composing dances. |
| the process of composition: Korean Composition Pong Ja Paik, Ji Young Kwak, Ji Hyon Choi, 2002-02-28 Korean Composition is the first book in English for students of Korean language aimed not only at enhancing their writing skills and overall linguistic competence, but also at organizing and developing their ideas and thoughts with grammatically, stylistically, and culturally correct expressions. The Essential Composition section contains chapters concerned with the writing of essays, diaries and letters, document preparation, and expository writing. The Advanced Composition section considers descriptions of impressions, writing poetry, newspaper accounts, writing articles and theses, and summarizing. Each chapter consists of numerous units designed to cover words, phrases, idioms, and grammatical patterns (with sentence examples). Exercises and a model writing example are included in each unit. Advanced students who need assistance in choosing proper topics and materials as well as in using diverse expressions in creative writing will benefit from the section on steps of composition and styles of writing. English translations of model writings, an index of useful grammatical patterns, and an English-Korean glossary are provided at the end of the text. Korean Composition is aimed at college-level students who have completed at least beginning and intermediate levels of Korean. For students using the Integrated Korean series, this text is recommended for use after the completion of Advanced Intermediate 2. |
| the process of composition: Natural Discourse Sidney I. Dobrin, Christian R. Weisser, 2002-02-19 Examines the relationships between language and nature. |
| the process of composition: Semantic Web Services and Web Process Composition Jorge Cardoso, Amit Sheth, 2005-01-17 Thisbookconstitutestherefereedproceedingsofthe1stInternationalWorkshop on Semantic Web Services and Web Process Composition, SWSWPC 2004, held at the Westin Horton Plaza Hotel, San Diego, California, USA, July 6, 2004, in conjunction with the IEEE International Conference on Web Services (ICWS 2004). Theworkshopintendedtobringresearchers,scientistsfrombothindustryand academics,andrepresentativesfromdi?erentcommunitiestogethertostudy,- derstand, and explore the phases that compose the lifecycle of Semantic Web processes. The workshop presented what can be achieved by the symbiotic s- thesis of two of the hottest R&D and technology application areas, Web services and the Semantic Web, as recognized at the 12th International World Wide Web conference (WWW 2003) and in the industry press. The emphasis of the workshop was mainly on Web services, Web processes and semantics which are important movements emerging in the World Wide Web. Web services and Web processes promise to ease several current infr- tructure challenges, such as data, application, and process integration. Web s- vices are truly platform-independent and allow the development of distributed, loosely coupled applications, a key characteristic for the success of dynamic Web processes. |
| the process of composition: A Guide to Composition Pedagogies Gary Tate, Brooke Hessler, Amy Rupiper-Taggart, Kurt Schick, 2014-02 A Guide to Composition Pedagogies is the essential bibliographic guide written for newcomers to the field. This best-selling guide familiarizes writing instructors with the current topography of Composition Studies and directs them to the best books and articles for further exploration. |
| the process of composition: Portfolio: Beginning Composition Kimberly Adams, 2019-11-05 Learn to create eye-catching, well-composed works of art using acrylic, oil, and watercolor paints. Beginning Composition features quick exercises for getting started in art, primers on the principles of composition and the Rule of Thirds, what to look for when composing artwork, examples of successful (and unsuccessful) compositions from a selection of artists, and customizable painting projects. The Portfolio series covers essential art techniques, core concepts, and media with an approach and format that’s perfect for aspiring, beginning, and intermediate artists. From this concept- and technique-driven series comes Beginning Composition, which details how to compose a work of art so that it draws in—and then holds—the viewer’s attention. Written and illustrated by Kimberly Adams, an experienced author and professional artist with years of experience in creating versatile, stunning works of art, Beginning Composition teaches you how to create successful compositions in acrylic, oil, and watercolor paints. After an introduction to the essentials of composition and some examples of composition in action, you are then invited to create your own artwork on a range of subjects, including landscapes, florals, animals, and more. The painting projects encourage personalization and creativity. Other topics covered include conveying mood and emotion through composition, the Golden Ratio, focal points, and more. With Portfolio: Beginning Composition, artists of all skill levels can learn to create engaging compositions in a range of art media. |
| the process of composition: Concepts in Composition Irene L. Clark, 2011-09 A textbook for composition pedagogy courses. It focuses on scholarship in rhetoric and composition that has influenced classroom teaching, in order to foster reflection on how theory impacts practice. |
| the process of composition: Creative Composition Danita Berg, Lori A. May, 2015-05-01 For decades theorists have opined that the lines between creative writing and composition need to be lifted, yet little has been written about the pedagogical methods that allow a cohesive approach between the disciplines. This book brings together contemporary authors and well-respected creative writing instructors and theorists to explore ways creativity in composition may be encouraged in student writers. The question in this anthology is not ‘Can writing be taught?’ but ‘How can we inspire students to embrace the creative process no matter what they write?’ This book offers multiple strategies to merge the best practices of teaching writing, regardless of the genre. |
| the process of composition: Composition, Rhetoric, and Disciplinarity Rita Malenczyk, Susan Miller-Cochran, Elizabeth Wardle, Kathleen Yancey, 2018-04-02 Edited by four nationally recognized leaders of composition scholarship, Composition, Rhetoric, and Disciplinarity asks a fundamental question: can Composition and Rhetoric, as a discipline, continue its historical commitment to pedagogy without sacrificing equal attention to other areas, such as research and theory? In response, contributors to the volume address disagreements about what it means to be called a discipline rather than a profession or a field; elucidate tensions over the defined breadth of Composition and Rhetoric; and consider the roles of research and responsibility as Composition and Rhetoric shifts from field to discipline. Outlining a field with a complex and unusual formation story, Composition, Rhetoric, and Disciplinarity employs several lenses for understanding disciplinarity—theory, history, labor, and pedagogy—and for teasing out the implications of disciplinarity for students, faculty, institutions, and Composition and Rhetoric itself. Collectively, the chapters speak to the intellectual and embodied history leading to this point; to questions about how disciplinarity is, and might be, understood, especially with regard to Composition and Rhetoric; to the curricular, conceptual, labor, and other sites of tension inherent in thinking about Composition and Rhetoric as a discipline; and to the implications of Composition and Rhetoric’s disciplinarity for the future. Contributors: Linda Adler-Kassner, Elizabeth H. Boquet, Christiane Donahue, Whitney Douglas, Doug Downs, Heidi Estrem, Kristine Hansen, Doug Hesse, Sandra Jamieson, Neal Lerner, Jennifer Helene Maher, Barry Maid, Jaime Armin Mejía, Carolyn R. Miller, Kelly Myers, Gwendolynne Reid, Liane Robertson, Rochelle Rodrigo, Dawn Shepherd, Kara Taczak |
| the process of composition: Remixing Composition Jason Palmeri, 2012-03-19 In Remixing Composition, Jason Palmeri challenges the notion that composition has historically been focused on words alone. Looking closely at how past compositionists responded to new media, Palmeri shows a substantial history of teachers engaging analog technologies in the teaching of composition--long before the rise of personal computers or the graphical web. |
| the process of composition: Composition Arthur Wesley Dow, 2018-10-15 This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| the process of composition: English Composition Ann Inoshita, Karyl Garland, Kate Sims, Jeanne K. Tsutsui Keuma, Tasha Williams, 2019 This OER textbook has been designed for students to learn the foundational concepts for English 100 (first-year college composition). The content aligns to learning outcomes across all campuses in the University of Hawai'i system. It was designed, written, and edited during a three day book sprint in May, 2019. |
| the process of composition: Post-process Theory Thomas Kent, 1999 Breaking with the still-dominant process tradition in composition studies, post-process theory--or at least the different incarnations of post-process theory discussed by the contributors represented in this collection of original essays--endorses the fundamental idea that no codifiable or generalizable writing process exists or could exist. Post-process theorists hold that the practice of writing cannot be captured by a generalized process or a big theory. Most post-process theorists hold three assumptions about the act of writing: writing is public; writing is interpretive; and writing is situated. The first assumption is the commonsensical claim that writing constitutes a public interchange. By interpretive act, post-process theorists generally mean something as broad as making sense of and not exclusively the ability to move from one code to another. To interpret means more than merely to paraphrase; it means to enter into a relationship of understanding with other language users. And finally, because writing is a public act that requires interpretive interaction with others, writers always write from some position or some place. Writers are never nowhere; they are situated. Leading theorists and widely published scholars in the field, contributors are Nancy Blyler, John Clifford, Barbara Couture, Nancy C. DeJoy, Sidney I. Dobrin, Elizabeth Ervin, Helen Ewald, David Foster, Debra Journet, Thomas Kent, Gary A. Olson, Joseph Petraglia, George Pullman, David Russell, and John Schilb. |
| the process of composition: Capital: The process of capitalist production as a whole, ed. by Frederick Engels. Tr. from the 1st German ed. by Ernest Untermann Karl Marx, 1909 |
| the process of composition: Aesthetics and the Art of Musical Composition in the German Enlightenment Johann Georg Sulzer, 1995 Can an abstract theory of Empfindsamkeit aesthetics have any value to a musician wishing to study composition in the classical style? The eighteenth-century German theorist and pedagogue Heinrich Koch showed how this question could be answered with a resounding yes. Starting with the systematic aesthetic theory of the Swiss encyclopedist Johann Sulzer, Koch was creatively able to adapt Sulzer's conservative ideas on ethical mimesis and rhetoric to concrete problems of music analysis and composition. In this collaborative study, Thomas Christensen and Nancy Baker have translated and analysed selected writings of Sulzer and Koch respectively, bringing to life a little-known confluence of philosophical and musical thought from the German Enlightenment. Koch's appropriation of Sulzer's ideas to the service of music represents an important development in the evolution of Western musical thought. |
| the process of composition: Stories from First-year Composition Jo-Anne Kerr, Ann N. Amicucci, 2020 Stories from First-Year Composition: Pedagogies that Foster Student Agency and Writing Identity counters perceptions of first-year composition (FYC) as a service course that prepares students for college writing. The collection identifies a new FYC service, one that accommodates the realities of writing both within and outside of the academy. The collection also offers insights into effective FYC pedagogies and opportunities for readers to consider and think about their own teaching and their identities as FYC instructors. Reflect Before Reading prompts and questions and after-reading activities, including Questions for Discussion and Reflection, writing activities that ask readers to apply ideas shared in chapters to their own FYC courses, suggestions for further reading, and multimedia components (accessible to readers through links within the collection itself and as resources available on the book's website) invite readers to interact with chapters and to develop deeper and more enriched understandings of their FYC teaching and an accompanying sense of agency so that they not only can teach FYC effectively but also advocate for its value and relevance-- |
| the process of composition: Exploring Multimodal Composition and Digital Writing Ferdig, Richard E., Pytash, Kristine E., 2013-07-31 While traditional writing is typically understood as a language based on the combination of words, phrases, and sentences to communicate meaning, modern technologies have led educators to reevaluate the notion that writing is restricted to this definition. Exploring Multimodal Composition and Digital Writing investigates the use of digital technologies to create multi-media documents that utilize video, audio, and web-based elements to further written communication beyond what can be accomplished by words alone. Educators, scholars, researchers, and professionals will use this critical resource to explore theoretical and empirical developments in the creation of digital and multimodal documents throughout the education system. |
| the process of composition: Reclaiming Composition for Chicano/as and Other Ethnic Minorities Iris D. Ruiz, 2016-06-15 Winner of Honorable Mention for the 2018 Conference on College Composition and Communication Outstanding Book Award This book examines the history of ethnic minorities particularly Chicano/as and Latino/as--in the field of composition and rhetoric; the connections between composition and major US historical movements toward inclusiveness in education; the ways our histories of that inclusiveness have overlooked Chicano/as; and how this history can inform the teaching of composition and writing to Chicano/a and Latino/a students in the present day. Bridging the gap between Ethnic Studies, Critical History, and Composition Studies, Ruiz creates a new model of the practice of critical historiography and shows how that can be developed into a critical writing pedagogy for students who live in an increasingly multicultural, multilingual society. |
| the process of composition: Insights into Music Composition Gregory Young, Steve Roens, 2022-04-19 Insights into Music Composition is a guide and source of inspiration for beginning students of music composition. Drawing on perspectives from a range of experienced composers, the book introduces readers to the compositional process, emphasizing how to think about creating a piece of music from beginning to end by providing not only a survey of methods but also an understanding of the overarching context for composition. The authors present student composers with the tools to develop their own voice, covering topics such as: methods for harnessing inspiration and creativity how to give shape, context, and meaning to a piece of music and create moments that audiences will remember the value in exploring the music of other cultures and music’s interdisciplinarity atonal and 12-tone techniques and the roles of form and style the benefits and pitfalls of student-teacher relationships and the importance of building relationships with performers Combining content from class scenarios with discussion questions, practical exercises, an annotated guide of online resources, and a glossary of terms, the text’s flexible structure allows chapters to be read through in order or drawn on by topic. Clear and accessible, Insights into Music Composition is an ideal resource for all students and instructors of music composition. |
| the process of composition: Star of the West , 1928 |
| the process of composition: The Process of Composition Jeffrey Jay Butler, 1976 |
| the process of composition: Compositionality: The Significant Difference Willem-Paul de Roever, Hans Langmaack, Amir Pnueli, 1998-12-18 This book originates from the International Symposium on Compositionality, COMPOS'97, held in Bad Malente, Germany in September 1997. The 25 chapters presented in revised full version reflect the current state of the art in the area of compositional reasoning about concurrency. The book is a valuable reference for researchers and professionals interested in formal systems design and analysis; it also is well suited for self study and use in advanced courses. |
| the process of composition: Simple Composition Charles Wuorinen, 1979 |
| the process of composition: Assassin's Price L. E. Modesitt, Jr., 2017-07-25 The eleventh novel in the New York Times bestselling fantasy series the Imager Portfolio and the third book in the new story arc that began with Madness in Solidar |
| the process of composition: Rules and Syllabuses for Examinations in Art, 1921 , 1921 |
| the process of composition: Composition & Photography Harold Davis, 2022-01-31 <p><b>Own composition, use composition, and make composition your own in your photographs!</b><p> <p>Of all the magical elixirs that make up a successful photograph, composition is perhaps the most fundamental, and at the same time the most elusive. What makes a composition “good”? It’s hard to define exactly, but we instinctively recognize good composition when we see it. There is an undeniable emotional response when a composition resonates with and complements the subject matter of an image.</p> <p>But traditional attempts to define “good composition” and to pass on rules for good compositional construction are often doomed to failure. The truth is, there are no hard and fast rules. Rules eliminate experimentation and spontaneity, which are crucial for creating compelling, dynamic, and exciting compositions. The best compositions contain an element of the unexpected. “Expect the unexpected!” is perhaps the only viable “rule” of composition. To create exciting compositions, you must have a willingness to embrace serendipity and change as part of your artistic practice. After all, composition is a process, not a result.</p> <p>In <i>Composition & Photography</i>, photographer and bestselling author Harold Davis teaches you how to perceive patterns and abstractions and incorporate them into your image-making process. If one of the goals of photography is to show viewers things that are new, or things they haven’t seen before, or things they have seen many times but need to see anew, then it’s with the thoughtful and considered use of composition that you do that.</p> <p>In this book, you’ll learn how to reduce your subject matter to the fundamentals, and to show familiar subjects in unfamiliar, novel ways. Harold covers topics and themes such as:</p> <ul> ▪ Lines and circles</ul> <ul> ▪ Rectangles</ul> <ul> ▪ Combinations</ul> <ul> ▪ Repetition</ul> <ul> ▪ Symmetry and asymmetry</ul> <ul> ▪ Abstraction</ul> <ul> ▪ Entering and exiting</ul> <ul> ▪ Vanishing points and perspective</ul> <ul> ▪ Emphasis</ul> <ul> ▪ Designing within a frame</ul> <ul> ▪ Creating order from chaos</ul> <p><i>Composition & Photography</i> will help you find the tools and visual vocabulary to creatively design your photographs. Regardless of the genre and kind of photography you practice, you’ll learn to create powerful compositions that incorporate structure and form into your work in ways that best support your images. Along the way, Harold shows and discusses his own work relating to each compositional element or theme he’s exploring. And featured throughout the book are exercises about flexibility and process, designed to spur your creativity and help you begin an internal creative discussion.</p> <p>“My goal as a photography teacher and writer about photography is to inspire and to help you become the best and most creative photographer and image-maker that you can be.”<br> ―Harold Davis</p> <p>“Harold Davis is a force of nature―a man of astonishing eclectic skills and accomplishments.”<br> ―Rangefinder Magazine</p> |
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