81. HTML 4 Strict Rather, the composition qua work of art is intimate to the person who made it suchthat critique is ipso facto predicable to the maker in one way or another http://www1.rhul.ac.uk/research/music/bulletin/Issue4/philbaker.html

'Hey, You! Get Off My Cloud!' (sic) (Mick Jagger) By Phil Baker Unlike musicology, composition, as a field of research, has not existed long in our universities. It would be instructive to uncover the reasons for this, but life is too short. As a hunch, it may be that Composition might have been perceived simply as an outsider in the 'Groves of Academe' (excluding, perhaps, Grove himself...) in a way that Musicology was not. Such a perception has been, and indeed is still held by some composers who believe that they simply do not belong in an academic environment although without preventing them from making occasional guest appearances or nurturing a creative symbiotic relationship (the money's not bad and it gives you something to do when not composing). Ironically, it is composers, whether major, minor or entirely insignificant, who ultimately become fodder for musicologists. Historically, there does seem to have been nervousness amongst composers who, working at the 'cutting edge', eschewed possible contamination from academic musicians who symbolised the very antithesis of their creative work. Academic music is, perhaps by definition, an analysis of past events, whether technical or historical, such that composers, who see themselves as makers of a contemporary culture, may not fit easily into such a framework. Both Debussy and Satie, for examples, kept a respectful distance and other composers have maintained a distance by avoiding formal and academic musical study altogether by studying History, Classics or Mathematics or Law (a favourite for the nineteenth century) as they ploughed their own furrows in music, finally studying with so-and-so of some distinction. To be sure, becoming a composer involves a long progress towards self-knowing -

82. DC Bulletin Board Topic: Art Theory And Critique There are 9 more messages in the Art Theory and critique topic. well developed (nopun intended) in terms of subject matter, composition, and overall focus. http://digitalconsciousness.com/bboard/t.phtml?tp=9

83. Internet Sources For Friendly Critique Of Your Writing offered via email utilizing mailing lists for group discussion and critique. thestudent for the Advanced Placement Test in English Language and composition. http://www.geocities.com/charlesjones2012/aewresources.htm

Internet Sources for Friendly Critique of Your Writing The English Server managed by the English Department at Carnegie-Mellon University offers a unique, eclectic blend of research links reflecting the motley composition of the individuals who have cooperated in putting it together. It hosts a number of mailing lists, electronic journals, and a Conference Line with five 'chat rooms' for online classes, meetings, and conversations. The University of Missouri's Online Writery WRITING@lists.missouri.edu . In either case, be as specific as you can about the assignment/task, and be sure to thank them for their help. The Dakota State On-Line Writing Lab is the another campus-based writing assistance service that appears to respond to requests for feedback. Submissions may be made directly via email . Again, provide specific information about your needs and thank them in advance for their help. The Temple University Writing Center is a third resource for free critique and consultation via the web. Be as specific as you can when asking for advice. The Inkspot has an exceedingly good collection of annotated links to electronic newsletters, electronic 'zines', and mailing lists for writers. Also, they have a nice selection of online writing courses, some of them free, some of them not.

84. Composition-New Media At CalArts issues, historical background and literature, essential materials from 20th centurymusic literature and analysis, composition lessons, and critique seminars. http://music.calarts.edu/ms_info/compnm_info.html

Composition-New Media at the CalArts School of Music Innovative artists in all disciplines are inventing art forms based on evolving computer technologies. Increasingly, artists use digital computers and electronic communication networks to create and manipulate images, generate sounds, and control performance production systems. The effects of these developments on contemporary music are profound. THE COMPOSITION- NEW MEDIA PROGRAM Composition-New Media is a graduate-level program leading to the Master of Fine Arts degree, geared toward the serious, creative artist with a musical bias who wishes to enter this exciting new field. Course work is focused on theory and applications of technological tools, the interaction of media, perception and its relation to arts languages, interactive programming languages, signal and image processing, analysis of aesthetic issues, historical background and literature, essential materials from 20th century music literature and analysis, composition lessons, and critique seminars. Advanced media studies include performance with interactive media, non-linear design strategies in installations, narrative forms, CD-ROM authoring, telecommunications arts and experimental instruments and controllers. Lessons and seminars in composition, analysis, literature, and techniques comprise the core of the program. Two years of intensive full-time course work and creative projects are required, though some individualized programs may take longer. The culmination of each student's program lies in the creation of a graduation portfolio for faculty review. It will contain work accomplished at CalArts, a substantial portion of which will have been presented in performance or through other appropriate means.

85. Writing Tutorials Sample Essay And Critique Sample Level 3 Assignment, Student Essay, and Tutor critique. to score well on theAdvanced Placement Test in English Language and composition is perfectly http://www.jhu.edu/gifted/writing/samples/sampewt.html

Center for Distance Education Writing Tutorials Parents Sample Essay jump to... Apply! Courses Eligibility Calendar Tuition CD-ROM For Parents Our Tutors Contact Us CTY all JHU Apply! Eligibility Calendar CD-ROM (Level 3 software) For Parents Our Tutors Contact Us Center for Distance Education Writing Tutorials Sample Level 3 Assignment, Student Essay, and Tutor Critique Dear Student, Your last assignment is to write an evaluation. I want you to decide whether this tutorial is worth taking and to explain why or why not. Some things to know about evaluation. Evaluation presupposes some standard of judgement. Standards vary and may not be explicit; nevertheless, there has to be a standard. If I dislike Bon Jovi's music, it's probably because I prefer Bruce Springsteen. Springsteen is my standard of judgement. Obviously, the next question is "What about Springsteen's music do you like?" This implies that my standard is not really Springsteen but that Springsteen performs to my standards. I like a melody I can follow. I like lyrics that go beyond mindless repetition for 3 minutes of a 4-line chorus. Thus, I prefer "The End of the World As We Know It" to "This One Goes Out To The One I Love," both by REM. Standards are usually relative and not absolute. While most people believe it is wrong to kill, most people also believe killing is a necessary part of war.

86. Kandinsky: Compositions same emotional power as a musical composition. The exhibition "Kandinsky enhances the impact of composition IV, a maelstrom of to a reading of composition IV as expressing the http://glyphs.com/art/kandinsky

Kandinsky: Compositions A Review by Mark Harden Kandinsky: Compositions by Magdalena Dabrowski Published by the Museum of Modern Art 11 West 53 Street New York, NY 10019. $45.00 Wassily Kandinsky was one of the most original and influential artists of the twentieth-century. His "inner necessity" to express his emotional perceptions led to the development of an abstract style of painting that was based on the non-representational properties of color and form. Kandinsky's compositions were the culmination of his efforts to create a "pure painting" that would provide the same emotional power as a musical composition. The exhibition "Kandinsky: Compositions", organized by Magdalena Dabrowski and on display at the Los Angeles County Art Museum until September 3, 1995, presents these monumental works together for the first and possibly last time and provides an opportunity to witness the creative process of Kandinsky. (Black) is like the silence of the body after death, the close of life. - Wassily Kandinsky, 1911 Kandinsky viewed the compositions as major statements of his artistic ideas. They share several characteristics that express this monumentality: the impressively large format, the conscious, deliberate planning of the composition, and the transcendence of representation by increasingly abstract imagery. Just as symphonies define milestones in the career of a composer, Kandinsky's compositions represented the culmination of his artistic vision at a given moment in his career.

87. Guggenheim Collection - Artist - Kandinsky - Sketch For Composition II Sketch for composition II (Skizze für Komposition II), 1909–10. Oil oncanvas, 38 3/8 x 51 5/8 inches. Solomon R. Guggenheim Museum. 45.961. http://www.guggenheimcollection.org/site/artist_work_md_7121.html

Shortcut Full search On the Spiritual in Art, and the contemporaneous Blue Rider Almanac, which he coedited with Franz Marc In 1909, the year he completed Blue Mountain, Sketch for Composition II and Improvisation 28 Nancy Spector

88. Virginia Press Association Awards critique A nicely designed guide to who, what and where critique A typical fall football section, distinguished by its critique A standard "progress" section which seemed to be http://www.roanoke.com/vpa/daily2.html

89. Dissertations Of Purdue Rhetoric And Composition Graduates 1999. Miles, Elizabeth Building Rhetorics of Production An InstitutionalCritique of composition Textbook Publishing 1998. Miller http://rc.english.purdue.edu/dissertations.html

Below are listed dissertations in Rhetoric and Composition completed by graduates of Purdue University. You may access the abstract and DAI information for each dissertation by clicking on its title. UMI makes 24-page previews available online for disserrations published since 1997 Addison, Joanne Emancipatory Research and Composition Studies: Feminist Postmodern Cultural Studies and Teacher Research Methodologies Allen, Nancy Collaborative Voices: Rhetorical and Textual Features of Collaboratively Written Reports Amenya, Hulda English in a Kenyan University: How Kenyan Students Negotiate Their Cultural Upbringing and the University's Western-oriented Education in Writing Andres, Laura Gay The Authentic I: A Theory of Expressive Writing Atkinson, Dianne A Meta-Analysis of Recent Research in the Teaching of Writing: Workshops, Computer Applications, and Inquiry Atwill, Janet M. Refiguring Rhetoric as Art: Aristotle's Concept of Techne and the Humanist Paradigm Baker, Lori

90. Nat'l Academies Press, Body Composition And Physical Performance: (1992), 11 Cri Performance 1992. Pp. 185193. Washington, DC National Academy Press 11Critique of the Military's Approach to Body composition Asses http://www.nap.edu/books/030904586X/html/185.html

Body Composition and Physical Performance: Applications for the Military Services Institute of Medicine ( IOM Related Books Openbook Linked Table of Contents FRONT MATTER, pp. i-xii Contents, pp. xiii-xiv I Overview, pp. 1-2 1 Introduction and Background, pp. 3-24 2 Conclusions and Recommendations..., pp. 25-28 II Invited Papers, pp. 29-30 3 Body Composition and Military P..., pp. 31-56 4 Body Composition in the Militar..., pp. 57-70 5 Effects of Experimental Alterat..., pp. 71-88 6 Army Data: Body Composition an..., pp. 89-104 7 The Relationship of Body Size a..., pp. 105-118 8 New Approaches to Body Composit..., pp. 119-140 9 Associations Among Body Composi..., pp. 141-174 10 Body Composition, Morbidity, a..., pp. 175-184 11 Critique of the Military's App..., pp. 185-194 12 Body Composition and Performan..., pp. 195-206 13 Sex Differences and Ethnic/Rac..., pp. 207-220 III Committee Discussion Paper, pp. 221-222 14 Body Composition Measurement: ..., pp. 223-236 Appendixes, pp. 237-238 Appendix A: Accession Standards f..., pp. 239-246

91. || Twofivesix critique. Unfortunately, the structures that the english language imposes on sentencecomposition are very different to those used in the phrasing of musical http://www.twofivesix.co.uk/snd/crit.html

Critique As you can read in the brief, the focus of this project was to create 'music' from web pages, not simply 'sound'. The boundaries between the two are becoming increasingly blurred, as tastes change and artists produce increasingly diverse audio experiences using electronic boxes in preference to classic instuments - Gescom, the Aphex Twin, Speedy J and Auteche are just a few artists whose output would have been considered unlistenable only a few decades ago, but whose popularity is on the increase. For the purposes of this project, I defined 'music' as a more traditional form of audio experience: of chords and rhythms, melodies and harmonies as appropriate. In the generative sector at least, the musical output is often only appreciated as a result of the process it has been through, and is made more listenable by a knowledge of that process, just as a Jackson Pollock paint-splattered canvas is deemed more artistic than a small child's poster-paint flicked outburst, because we know that Pollock was using the motion of the trees to guide him. When creating for the immaterial canvas of the electronic age, process is more important than ever before. To achieve my goal, I had to define the process of converting raw text to music. The most straightforward way to do this is via numbers - every ASCII character has an ASCII value ranging from 1 to 255 - the same range as most midi-based tools. Early versions of the webPlayer utilised this method, which produced results exactly like the ones I didn't want - non-musically based, effectively randomly generated dirge. Unfortunately, the structures that the english language imposes on sentence composition are very different to those used in the phrasing of musical composition, and one does no transpose directly onto the other.

92. Le Comité De La Prévention Et De La Précaution : Composition, Missions, Et Re CRITIQUEDE LA PROPOSITION DE LIGNES DIRECTRICES DE LA DG XXIV . http://www.environnement.gouv.fr/ministere/comitesconseils/cpp-fiche-descriptive

s Le Comité de la prévention et de la précaution février 2002 accueil ministère Comités, commissions et conseils spécialisés Le CPP Comité de la prévention et de la précaution 20, avenue de Ségur 75 302 PARIS 07 SP Tél 01 42 19 20 21 Derniers avis du comité Communiqué du Comité de la Prévention et de la Précaution sur les aspects sanitaires autour de l'usine Métaleurop Avis du Comité sur l'expertise des risques d'accident industriel Missions et composition Ce comité a une triple mission : - contribuer à mieux fonder les politiques du ministère de l'environnement sur les principes de précaution et de prévention ; - exercer une fonction de veille, d'alerte et d'expertise pour les problèmes de santé liés aux perturbations de l'environnement ; - faire le lien entre, d'une part, les actions de recherche et la connaissance scientifique et, d'autre part, l'action réglementaire. Archives des travaux du Comité Depuis sa séance inaugurale du 5 septembre 1996, le Comité s'est réuni en séance plénière tous les deux mois, puis tous les mois à partir de septembre 1997. Le Comité a rendu six recommandations. Les particules fines dans l'atmosphère, en particulier celles liées au diesel (avis du 23 mai 1997)

93. Course Title: English 102, Literature And Composition Course title English 102, Literature and composition. Students and groups willcritique the work of other students and groups and be able to defend their http://www.uncc.edu/webcourse/sb/TextSB.htm

Example of Text-only Storyboard Course title: English 102, Literature and Composition Overall Course Objectives: The goal of this English course is to help students develop a critical approach, not only to literature, but that can be applied in other disciplines. Students can expect to learn how to develop a personal, critical approach to literature; develop the vocabulary and structures needed to support critical views in written discussions about literature; understand the larger framework of our literary tradition through wide and varied reading; develop the ability to consciously control elements of style in writing; write comfortably and effectively about literature. Assessment will be based upon almost daily postings within the class discussion and two written exams. Students will also work in groups to develop group consensus in a formal discussion. Students and groups will critique the work of other students and groups and be able to defend their critique. The thoughtful postings to class and group discussions are replacing 6 10-page written reports; therefore, the postings are expected to be well-written and well thought out. Target Audience: Undergraduate, native English speaking students.

94. Saint Eulalia , John William Waterhouse, An Analysis By Tathra Witherow 7. The method of associative composition had been utilised by painting and literarycircles long before the science of signs was officially defined as semiology http://www.newcastle.edu.au/department/fad/fi/woodrow/waterhou.htm

Analysis of J. W. Waterhouse's Saint Eulalia by Tathra Witherow John William Waterhouse RA Saint Eulalia ( oil on canvas, 188.6 x 117.5 cm ) Exhibited Royal Academy, London, 1885 Tate Gallery, London To avoid confusion, all numbered links in the body of the text refer to endnotes. Links to external documents or sites have been placed at the end of the Bibliography. Regardless of John William Waterhouse's (1849-1917) intentions his classical-subject paintings were instruments of social instruction (particularly for women) during his lifetime and beyond. To his contemporaries, his work drew its potency by manipulation through the nineteenth-century institution of Academic selection and exhibition. That Waterhouse was unaware of the implications of a painting such as St. Eulalia (1885, Tate Gallery, London) is doubtful considering the multitude of signs revealed by a deconstruction of the image. Some of these signs will be discussed at length during the course of this paper. Archaeological discoveries, the fear of social insurgents and the indoctrinated admiration of ancient Greek and Roman mythology are aspects of Victorian culture that will be addressed in relation to the classical-subject painting of Waterhouse. Waterhouse was Italian by birth and educated in Britain where the curriculum was dominated by Latin literature full of character building examples of the heroes of antiquity, depicted in the texts of Livy, Virgil, Horace and Homer.

95. English Composition And Essays Writing Help composition AND ESSAY WRITING. Principles of composition Learn about thedifferent principles to be followed while writing compositions. http://www.indianchild.com/composition_and_essay_writing.htm

web hosting provided by Direct i COMPOSITION AND ESSAY WRITING. Essay.org -Site has over 100 free essays, related links. Principles of Composition - Learn about the different principles to be followed while writing compositions. The different Parts of a n Essay - Learn about the various parts in an essay. studentcentral Over 4000 essays, 500 resources. Essay crawler -Site has Thousands of essays and related sites. Helpful essays- compositions, essays, grammar, writing, etc Writing T ips for you - More useful tips for writing good compositions. GetPapers Thousands of critical essays and book reports on the works of the most famous English and American writers, summaries of books that are studied in colleges and high schools, and biographies of their authors. Become a Good Writer Composition and essay help - Lots of helpful tips for writing essays and biographies.

96. Painting Critique Corner - Read The Critiques, Add Your Own Comments critique Corner. A gallery piece. All paintings submitted to the PaintingGuide will be deemed to be available for critique. Read http://painting.about.com/library/projects/blcritiquecorner.htm

zfp=-1 About Painting Search in this topic on About on the Web in Products Web Hosting Painting with Marion Boddy-Evans Your Guide to one of hundreds of sites Home Articles Forums ... Help zmhp('style="color:#fff"') Subjects ESSENTIALS What's New Painting Tip of the Week Monthly Painting Project ... All articles on this topic Stay up-to-date! Subscribe to our newsletter. Advertising Free Credit Report Free Psychics Advertisement Critique Corner A gallery of paintings from artists asking for your constructive criticism. Read what has been said about the paintings and help your fellow artists by posting your own comments on a work on the painting forum Recent Submissions: Click on a painting for a larger image, comments by the Artist, and critique by your Painting Guide. by T Roberts The Blue Carpet by RMA Taha That Sunday by M Lim Girl Praying by C Tutman Geese by J Toth Sunflowers by D Serio Doddabettah by S Nagendranr Baby Meredith by S Rinker A Face? by A Corpeño Buggy Programmer by A Corpeño Dan River by M Gibson North Symphony by S Muravyev High Mountains by S Muravyev Sunrise, City of Perth

97. Painting Composition And Perspective Advertisement. composition and Perspective in Paintings Guide picks. It'snot simply a matter of the subject, the composition is also crucial. http://painting.about.com/cs/compositio1/

zfp=-1 About Painting Search in this topic on About on the Web in Products Web Hosting Painting with Marion Boddy-Evans Your Guide to one of hundreds of sites Home Articles Forums ... Help zmhp('style="color:#fff"') Subjects ESSENTIALS What's New Painting Tip of the Week Monthly Painting Project ... All articles on this topic Stay up-to-date! Subscribe to our newsletter. Advertising Free Credit Report Free Psychics Advertisement Composition and Perspective in Paintings Guide picks A range of articles on all apsects of composition, including setting out the elements in a painting, choosing a light source, and deciding what to include or exclude. Light Sources or Directions When painting, one decision that must be made at composition stage, is where the light is going to come from as this influences the shadows, contrasts, and colours. So what are the choices? Composition and Design Painting Tips Helpful painting tips on composition and design submitted by fellow artists. Composition: the Basics An explanation of the composition concepts of Golden Mean, assymetrical, quadrant, and sequential. Perspective An introduction to perspective, what it is and how one-, two- and three-point perspective and vanishing points work.

98. Vermont MIDI Project An online music mentoring project, networking over sixty schools where students in grades K12 submit their music compositions for sharing and critique by professional composers, teachers and other students. http://www.vtmidi.org/

Summer Institute 2003 Registration and Info Now Available! VTMIDI Project information and participation agreements are now located on the Resources Page The purpose of the Vermont MIDI Project is to encourage and support students in composing and arranging music. Students in grades 2 through 12 share their work in a password protected website for critique by professional composers, teachers, and other students. Teachers are supported with professional development opportunities in music and technology. Contact Vermont MIDI/ARTT Project, Inc. Vermont ARTT Project Board of Directors Funding for the VT MIDI/ARTT Project, Inc., is provided in part by participation fees from schools, donations from members and grants from the O.P. and W.E. Edwards Foundation , The Josephine Bay Paul and C. Michael Paul Foundation, Inc., the Vermont Arts Council , the National Endowment for the Arts , and a Vermont Department of Education title IID Competitive Local Grant, Enhancing Education Through Technology. A password protected website for the sharing of student work in progress is sponsored by the National Institute for Community Innovation For information about how you can become a participant or supporter, contact

99. FScN - Subpage Template This practice critique will be graded for scientific concepts, edited for writing/compositionby the Instructor, and handed back to you for correction of errors http://courses.che.umn.edu/03fscn5623-1s/

ABOUT FScN FACULTY/STAFF PROGRAMS STUDENT INFO ... HOME FScN 5623 Regulation of Energy Balance Spring Semester 2003 Study Questions Papers Sample Exams FScN 5623 Regulation of Energy Balance Spring Semester, 2003 Department Food Science and Nutrition Course Title 5623 Regulation of Energy Balance (2 cr; prereq FScN 5621 or consent of Instructor) Lecture: 8:30-9:20 AM, Monday and Wednesday, in VoTech R280, St. Paul Campus Instructor Elizabeth J. Parks, Ph.D. 139 FScN, telephone: 612-625-1785, fax: Office hours: Thursday 1:30-3:00 PM or by appointment Internet: eparks@umn.edu Preferred method of contact: use email to make an office appointment Course Description Regulation of energy balance in humans, including regulation of food intake and energy expenditure; methods used to measure energy expenditure; adaptations to energy deprivation and excess energy consumption; body composition and fat distribution;

100. Living Surfaces, Responsive Software In Proce55ing (Part I). HyperWerk 2003 Top 08 January 2003. Time Motion 0900, Form composition CritiqueEach student presents one program from the previous day. 0930, http://proce55ing.net/learning/courses/hyperwerk/schedule.html

HyperWerk FHBB Living Surfaces, Responsive Software in Proce55ing (Part 1) Professor Casey Reas Index Schedule Exercises ... 10 January 2003. Workshop Overview Programming in context Workshop format Play/experiment, refine Install environment Environment 1 Open, Save Run Sketchbook Program Structure 1 Comments Statements Coordinate system ( X,Y,Z dimensions ) Form 1 point line rect ellipse, ellipseMode Curve [ Exercises F00-F03 ] Data 1 Variables Datatypes [ Exercises F04-F06 ] Lunch Control 1 For Embedded loops [ Exercises F07-F09 ] Form 2 LINES, LINE_STRIP, LINE_LOOP, TRIANGLE, QUADS, POLYGON, etc. Drawing in loops [ Exercises F10-F12 ] Structure 2 Methods Parameters [ Exercises F13-F15 ] Environment 2 Exporting and documentation Top Each student presents one program from the previous day Control 2 If [ Exercises T00-T01 ] Motion 1 Screen wrapping Changing direction Modulation [ Exercises T02-T04 ] Calculate 1,3

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