Melos, Compositional Technique, and Consonance

This study was aimed at finding out the effectiveness of applying Cooperative Integrated Reading and Composition (CIRC) Technique on Students’ Reading Descriptive Text Achievement. In other words, the objective of this study was to find out if there was a significant effect of applying Cooperative Integrated Reading and Composition (CIRC) Technique on Students’ Achievement in Reading Descriptive Text. This study was designed with the experimental research. The subject of this research was the second year student of Junior High School in Indonesia. The subject consisted of 3 parallel classes. Every class consisted of 30 students. They were randomly selected out as the sample of the research, and divided into two equal groups, in which 30 students for experimental group and another 30 students for control group. The experimental group was taught by applying Cooperative Integrated Reading and Composition (CIRC) Technique, while control group was taught by using Classical Method (CM). The instrument of collecting data used objective test (multiple choice items) and subjective test for reading descriptive text materials. To obtain the reliability of the test, the researcher applied Kuder Richardson formula (KR. 21). The pre-test and post-test were administered and then the data were statistically analyzed by using the t-test formula. The result showed that the t-observed (4.539) was higher then t-critical value (1.671) at the level of significance (0.05) for a-one tail test (4.539 > 1.671), and the degree of freedom (df) was 58. Based on the analysis of the data, the result indicated that the null hypothesis (Ho) was rejected and the alternative hypothesis (Ha) was accepted. It can be concluded that there was a significant effect of applying Cooperative Integrated Reading and Composition (CIRC) Technique on Students’ Reading Descriptive Text Achievement compared with classical method (CM) of teaching.

Effects of cooperative integrated reading and composition (CIRC) technique on reading-writing skills

Compression for color image is now necessary for transmission and storage in the data bases since the color gives a pleasing nature and natural for any object, so three composite techniques based color image compression is implemented to achieve image with high compression, no loss in original image, better performance and good image quality. These techniques are composite stationary wavelet technique (S), composite wavelet technique (W) and composite multi-wavelet technique (M). For the high energy sub-band of the 3rd level of each composite transform in each composite technique, the compression parameters are calculated. The best composite transform among the 27 types is the three levels of multi-wavelet transform (MMM) in M technique which has the highest values of energy (En) and compression ratio (CR) and least values of bit per pixel (bpp), time (T) and rate distortion )R(D)). Also the values of the compression parameters of the color image are nearly the same as the average values of the compression parameters of the three bands of the same image.

The purpose of the article is to find out the specifics of the feuilletons printed in the magazine "Kino" for 1926. Methodology. Descriptive, systematic methods, methods of analysis, synthesis, statistical methods, and hermeneutic methods were used in the research process. Information necessary for the coverage of the topic of the scientific article was recorded using the descriptive method. The content and form of feuilletons were comprehensively analyzed using the systematic method. The method of analysis made it possible to single out compositional techniques and elements, means of psychologism from the texts. The method of synthesis presents the functional features of the form-content elements. Thanks to the hermeneutic method, original interpretations of the analyzed texts are offered. Thanks to the statistical method, the quantitative ratio of the used compositional elements and techniques, psychological tools for modeling the images of the characters or the collective image of the audience was clarified. Research results. In 1926, 4 feuilletons were printed in the magazine "Kino", which discussed current problems, the emergence of which was caused by the specifics of the development of cinematography at that time, determined by cultural and socio-political factors. Conclusions. The topics and problems of the feuilletons are revealed more deeply with the help of creolization of the texts, in particular, it is about the use in all feuilletons of illustrations, which are characterized by multifunctionality, with text quotes. The plot of feuilletons, the compositional features of which are the division of texts into parts, the use of compositional framing, the compositional technique "story within a story", film advertising, and descriptions, is presented with the help of either extra-diegetic or homodiegetic narrators, as well as due to their contamination. To model the figurative system of feuilletons, the authors used various means of psychology, visual, sound, olfactory details, and artistic means that give feuilletons dynamism, and expressiveness, and increase the humorous and satirical effect. Key words: feuilleton, "Kino" magazine, means of psychology, compositional elements, compositional techniques.

To compare short- and long-term outcome and complications of chest wall reconstruction in dogs using autogenous, prosthetic, and composite autogenous-prosthetic techniques. Historical cohort. Dogs (n=44) with spontaneous tumors arising from or involving the chest wall. Medical records were reviewed for dogs with rib and/or sternal tumors treated by chest wall resection and reconstruction. Signalment, preoperative clinical features, intraoperative findings and complications, reconstruction technique (autogenous muscle flap, prosthetic mesh, or composite autogenous-prosthetic technique), and short- (< or =14 days) and long-term (>14 days) postoperative complications were determined from the medical records and telephone contact with owners and referring veterinarians. Associations between chest wall reconstruction technique and postoperative complications were tested with Cox proportional hazards. Chest wall defects were reconstructed with autogenous muscle flaps (29 dogs), prosthetic mesh (3), and a composite technique of prosthetic mesh and either autogenous muscle or omental pedicle flap (12). Early postoperative complications were recorded in 8 dogs (18.2%) and included seroma (5) and pleural effusion and peripheral edema (3). One dog had a late complication (2.3%) with a mesh-related infection 767 days postoperatively. Overall, complications occurred in 10.3% of autogenous, 25.0% of composite, and 66.7% of prosthetic reconstructions. Chest wall reconstruction with Marlex mesh alone was associated with a significantly increased risk of postoperative complications compared with autogenous reconstruction (P=.027). Reconstruction of sternal defects (3), 2 of which were performed with Marlex mesh alone, was associated with a significantly increased risk of complications compared with lateral chest wall reconstructions (P=.037). Large chest wall defects can be reconstructed with autogenous and composite techniques, but prosthetic mesh should be covered with well-vascularized autogenous muscle or omentum to decrease the risk of postoperative complications. Sternal defects should be reconstructed with rigid techniques. Chest wall reconstruction with autogenous muscle flaps or a combination of autogenous techniques with prosthetic mesh is associated with a low rate of infection and other complications.

Relevance of the study. Sonoric is a widespread definition in Post-Soviet countries musicology. However, it is the only one in the system of contemporary compositional techniques that does not have English analogue. This fact conditioned to a number of questions related to this technique: what English terminology should be used as an analogue of sonoric or sonoristic? Why is there no such compositional technique as sonoric in European (with the exception of Poland) and American musicology? Is sonoric a compositional technique? The actualization of these issues makes it possible to solve both terminological problems and partially approach to the creation of a complete theory of contemporary composition techniques. The purpose of the study is to attempt to identify the structural core of sonoric as a compositional technique, the parameter (or parameters) of tone or noise material, for which organization it is responsible. Methods. This article is based on the method of systemic analysis of phenomena, general methods of theoretical research (analysis of a term, its semantic boundaries, correlation with other concepts), as well as specific musicological methods of a musical text analyzing. The results and conclusions. The authors of the theory of the sonoric compositional technique (Yu. Kholopov and A. Maklygin) suggest its use both in a general (a certain quality of concords) and in a narrow sense (a compositional technique that operates with timbre mass). In the process of a critical analysis of the concept of sonoric, it was noted that there are no precise criteria for distinguishing between the sound phenomena described by sonoric. Its methodological underpinning is based more on the elements of psychoacoustics and the theory of perception (without the direct use of the methods of these sciences) than on the theory of music. This thesis is proved by comparing the concepts of sonorically colored harmony and sonoric harmony. Postulating a reliance on synesthesia, the sonoric proposes to use a set of subjective associations to describe a sound phenomenon, relying on imaginative rather than technological characteristics. The analysis of sonoric texture types showed that point, line, spot, stripe, etc. are not original ways of tone and noise sounds organization, but are based on various combinations of pointillistic, cluster, polyphonic, micropolyphonic tools. Based on this conclusion, the idea that sonoric formations are not technically unique is formed. Such sonoric texture types are created by using a certain set of methods typical for various compositional techniques.

Relevance of the study. The work of Louis Andriessen, a Dutch composer, is regarded as a significant contribution to the formation of music culture of the second half of the 20th century. Despite his influence, however, there are practically no research papers in domestic musicology that would analyze Andriessen’s work and personality or his professional musical and political activities. One of the main research topics related to Andriessen’s work is the influence of politics on music. The topic itself is quite particular and somewhat controversial because it always leaves a lot of questions that need further clarification, may require a different perspective and a new approach. One of such questions with a controversial view is a discussion of how compositional techniques can be influenced by and formed based upon the composer’s political views. Main objective of the study. Taking into consideration Louis Andriessen’s own experiences, analyze how his compositional techniques created political content of his works, and particularly the writing of the cantata “De Staat” (“The Republic”) by Plato. Methods. The following were used in the research analysis: biographical (in the analyses of the style and work of the composer); historical (in the analyses of the cultural and socio-political context); comparative (in the analyses of the political and aesthetic views and standpoints of artists); analytical (in the analyses of the musical works). Results/findings and conclusions. There were several reasons that led Louis Andriessen to appeal to minimalism. The main reason was the composer’s desire to respond to his fellow composers that themselves were searching for their own applicable techniques and style to disseminate political ideas. Minimalism was particularly attractive to the composer because it was relevant, easily accessible to the general public, and reflective. At the same time, it was politically appropriate and democratic. The musical and political activism of Andriessen was aimed at creating a new type of communication and relationships between a composer and a performer, a performer and audience, and ultimately at creating a new musical community. This new type of communication and community is reflected in the composer’s work “The Republic”. For performers in particular, “The Republic” became a practical exercise similar to the style of Lehrstück B. Brecht, which allowed performers to adapt to new musical interactions proposed by the composer. Andriessen was able to achieve this goal by using hocket techniques — i. e., by removing the role inequality among performers and emphasizing the expressive importance of each performer in a musical composition. However, Andriessen’s compositional techniques used in “The Republic” to reflect his political views did not support, but rather emphasized the composer’s contradictory political position and in particular his binary position to Plato’s views on the place of music in politics. Nevertheless, it was “The Republic” that started the creation of a unique performance and approach in musical composition called “Andriessen’s approach”, which would successfully combine minimalism with traditional European compositional techniques, modern and experimental techniques, and components of music at large. At the very end, the unique combination of the aforementioned compositional techniques is what identifies the specificity of the content of Andriessen’s music. Significance of these results consists in the point of view on the question of how a compositional technique forms political content in the music written by Louis Andriessen

This research is based on the conception of the Dayak Bakumpai tribe towards traditional medicine. This study analyzed ethnomedical lexicons in traditional Dayak Bakumpai tribal medicine. The purpose of this study is to describe the ethnomedicin lexicon and the techniques of composition in the traditional treatment of the Dayak Bakumpai tribe. The method used in this study is qualitative descriptive method. The data in this study were ethnomedicin lexicons in traditional medicine and the techniques of composition in traditional medicine of the Dayak Bakumpai tribe obtained from informants in Barito Kuala Regency, South Kalimantan. Data collection techniques used are the method of referencing, note taking, and library research. The instrument of this study was the researcher as observer and observation sheets. Data analysis includes the classification of ethnomedicin lexicon based on the types of medicinal plants and their functions and the techniques of composition in the traditional treatment of the Dayak Bakumpai tribe. Then, describe, analyze, transcribe, interpret, and conclude the results of the study. From the results of the ethnomedicin lexicon analysis in traditional Dayak Bakumpai tribal medicine, 40 ethnomedicin lexicons were found in traditional Dayak Bakumpai tribal medicine based on the types of medicinal plants and their functions. Then, plant parts are used for medicine, namely roots, tubers (rhizomes), stems, leaves, shoots, and parts of plant skin. Furthermore, the techniques of composition in the traditional treatment of the Dayak Bakumpai tribe are carried out by drinking, smearing, rubbing, sticking, evaporating, and watering to the body part (bathing).

Statement of the problem. The work of the Kharkiv composer Valentyn Bibik, in particular his piano polyphonic cycles, is increasingly attracting the attention of Ukrainian performers and musicologists. The composer’s two polyphonic cycles demonstrate an original approach to understanding polyphonic traditions and established compositional techniques, and also vividly represent the artist’s new avant-garde and balanced thinking. The article is devoted to the analysis of the cycle “24 Preludes and Fugues”, op. 2 by Valentin Bibik in terms of the manifestations of those creative mechanisms that could have influenced on the formation of the author’s concept of this work – modern and innovative in content and form. Objectives, methods, and novelty of the research. The purpose of the study is to recognize and analyze some innovative compositional principles and techniques of form-creation in the cycle, among which the leading role is played by the mode and texture means in their dialectical interaction. A historical approach was applied to identify the contextual conditions, where the polyphonic cycle op. 2 was created, and its continuity with the Baroque model, on the one hand, and the traditions of the Ukrainian (Kharkiv) composer school, on the other hand, as well as the correlations with the development of musical art in the 20th century; a genre and style approach for identifying the specifics of Bibik’s individual interpreting the genre model of the fugue; a systemic approach aimed at coverage of the totality of musical and content levels, the dramatic unity of the cycle, the processes of theme- and formcreating, dialectical interaction of polyphonic, mode and harmonic principles as components of Bibik’s compositional technique; a comparative method to analyze the expressive means in the cycle, in particular, comparing mode and tonal centers in the fugues of op. 2. For the first time in Ukrainian musicology, the article, based on the material of a little-studied polyphonic cycle, raises the issue of the specificity of V. Bibik’s polyphonic technique in the context of the composer’s innovation, in particular, in the aspect of mode and texture regularities. Research results. Among the leading principles and means implemented by V. Bibik, we note the wide application of variation, various kinds of polyphonic permutations, the use of contrapuntal combinations with innovative mode and texture (functional and logical, colourful and sonorous) solutions, re-harmonization, the combination of various texture and form-creating polyphonic and harmonic techniques. The pitch organization of V. Bibik’s polyphony is distinguished by the synthesis of diatonic, chromatic and enharmonic systems, enharmonic replacement of tones, which leads to changes in the interval composition of the melody and, in general, mode and harmonic content in the process of thematic development. The combination in one polyphonic form of modal, polymodal, polytonal, atonal and other principles creates a special complex-modal type of mode and tonal dramaturgy, characteristic of the music of the 20th century. The article also highlights the influence of mode and texture on other elements of the musical expressive complex within the work, including various structural components of the fugue, reflecting the unique compositional approach to the interpretation of both the genre model of the fugue and the large polyphonic cycle. Conclusion. The free operation of traditional techniques of polyphonic music, as well as innovation in this area, the skill and maturity of the composer’s writing, the conscious and vivid implementation of creative experimentation make the polyphonic cycle conceptually complete, meaningful and technically diverse, and therefore worthy of further attention from both, the researchers and, above all, the performers.

In this paper, we apply a&lt;br /&gt;compositional proof technique to an automatic&lt;br /&gt;verification of the correctness of&lt;br /&gt;Fischer's mutual exclusion protocol. It&lt;br /&gt;is demonstrated that the technique may&lt;br /&gt;avoid the state-explosion problem. Our&lt;br /&gt;compositional technique has recently been&lt;br /&gt;implemented in a tool, CMC, which gives&lt;br /&gt;experimental evidence that the size of&lt;br /&gt;the verification effort required of the technique&lt;br /&gt;only grows polynomially in the&lt;br /&gt;size of the number of processes in the&lt;br /&gt;protocol. In particular, CMC verifies the&lt;br /&gt;protocol for 50 processes within 172.3&lt;br /&gt;seconds and using only 32MB main memory.&lt;br /&gt;In contrast all existing verification&lt;br /&gt;tools for timed systems will suffer from&lt;br /&gt;the state-explosion problem, and no tool&lt;br /&gt;has to our knowledge succeeded in verifying&lt;br /&gt;the protocol for more than 11 processes.

Probabilistic models are widely deployed in various systems. To ensure their correctness, verification techniques have been developed to analyze probabilistic systems. We propose the first sound and complete learning-based compositional verification technique for probabilistic safety properties on concurrent systems where each component is an Markov decision process. Different from previous works, weighted assumptions are introduced to attain completeness of our framework. Since weighted assumptions can be implicitly represented by multiterminal binary decision diagrams (MTBDDs), we give an &gt;i&lt;L&gt;/i&lt;*-based learning algorithm for MTBDDs to infer weighted assumptions. Experimental results suggest promising outlooks for our compositional technique.

In this presentation, I discuss the main achievements in the area of formal verification, in particular regarding their impact thus far on the development of Computer Science as a discipline and on future research directions. The presentation starts with a short overview of formal verification techniques and their main characteristics, followed by an analysis of their current status with respect to: 1) requirements specification; 2) faithfulness of modeling; 3) scalability of verification methods. Compositional modeling and verification is the main challenge to tackling complexity. System verification should be tightly integrated into the design process, making use of knowledge about the system's structure and its properties. I identify two complementary research directions for overcoming some of the current difficulties in compositional techniques: 1) Moving away from low-level automata-based composition to component-based composition, by developing frameworks encompassing heterogeneous components; 2) Using such frameworks to study compositionality techniques for particular architectures and/or specific properties. I illustrate these ideas through the BIP (Behavior, Interaction, Priority) component framework which encompasses high-level composition of heterogeneous components. BIP supports a design methodology for building systems in a three-dimensional design space by using property-preserving transformations. This allows efficient compositional verification techniques for proving invariants, and deadlock-freedom in particular.

In this paper, we apply a compositional proof technique to an automatic verification of the correctness of Fischer's mutual exclusion protocol. It is demonstrated that the technique may avoid the stateexplosion problem. Our compositional technique has recently been implemented in a tool CMC 5, which verifies the protocol for 50 processes within 172.3 seconds and using only 32MB main memory. In contrast all existing verification tools for timed systems will suffer from the stateexplosion problem, and no tool has to our knowledge succeeded in verifying the protocol for more than 11 processes.

"The paper examines the style of Sándor Veress in his first compositional period through the dance suite Four Transylvanian Dances, written for string orchestra. Throughout the musical analysis, the paper points out a few compositional principles and techniques, with which the heritage of classical and folk music can be successfully translated into an innovative and progressive contemporary musical language. Keywords: Sándor Veress, style, compositional techniques, analysis, Four Transylvanian Dances."

This study concerrns with Improving the Students Writing Narrative Text by Applying Cooperative Integrated Reading and Composition Technique.The objective was to investigate improvement of students’ writing narrative text by applying Cooperative Integrated Reading and Composition Technique. This research was conducted by using action research method. The subject of the study was grade VIII students of MTS Al- Hasanah Medan totalling to 29 students. They were taught writing by cooperative integrated reading and composition technique. The instruments for collecting data were quantitative data and qualitative data (observation sheet, questionnaire sheet, and interview sheet). Based on the test score of quantitative data, students’ score kept improving in every evaluation. In the orientation test the mean was 43, 2, in the cycle I test the mean was 55, 6. In the cycle II test the mean was 67.2. The percentage of orientation test was 10, 34%, cycle I test was 24, 13% and cycle II test was 86, 20%. The finding of the research showed that applying Cooperative Integrated Reading and Composition Technique significantly improved students’ writing. The qualitative data show that the students were more interested and motivated on writing through cooperative integrated reading and composition technique. It is suggested that teachers should apply cooperative integrated reading and composition technique as one of methods to improve students’ writing. Keywords: Classroom Action Research, writing, Cooperative Integrated Reading and Composition Technique,narrative text.