Stylistic Composition Research Articles

IDENTIFICATION OF TEUNGKU CHIK MUHAMMAD AMIN'S LEGACY

Teungku Chik Muhammad Amin is a scholar from Aceh who is descended from South Yemen's Arab community. Along with promoting society's understanding of Islam and the fight against Dutch forces, he is a person who is quite tenacious. This study's objectives were to learn more about Teungku Chik Muhammad Amin's life, identify his remains, and assess their state of preservation. The explicative (explanatory) or descriptive methods used in this study give a general overview of the archaeological data discovered in terms of time, form, and space as well as demonstrating the correlation between various research variables. In Meunasah Mancang Village, Tiro Truseb District, Pidie Regency, data were gathered by direct observation, interviews, literature reviews, and documentation. Aspects of the data's morphology, technology, and stylistic composition were characterized and examined. The identification has revealed various Teungku Chik Muhammad Amin relics, including Zawiyah Cut, a study hall, an old pond or ablution site, and an old well. Teungku Chik Muhammad Amin's remains have similarly gotten less attention from the parties involved, as seen by their current state. The government of Pidie Regency and other relevant parties are urged to be able to preserve this historical legacy as the cultural heritage of the Acehnese people.

ИСТОРИКО-АРХИТЕКТУРНЫЙ АНАЛИЗ КОМПЛЕКСА ДОРЕВОЛЮЦИОННОЙ ПРОМЫШЛЕННОЙ УСАДЬБЫ РЯБЧИКОВЫХ В Г. ИВАНОВО

The article presents a historical and architectural analysis of the pre-revolutionary Ryabchikov’s textile industrial estate complex in Ivanovo. The author researches the estate during the process of studying the prerevolutionary industrial estates of the city. The issue has not been investigated earlier and not mentioned previously in the local history and research literature. The Ryabchikov’s estate is one of the fourteen surviving complexes of pre-revolutionary industrial and residential architecture that are not included in the list of cultural heritage objects. For its inclusion and long-term preservation, full-scale, visual and photo fixation surveys, historical-archival, bibliographic, architectural and cultural analysis surveys are carried out. The obtained information reveals the historical boundaries and preserves estate buildings, their functional purpose and erecting dates are indicated. The relevance of the complex’s functional and planning structure to the researched archival documents are studied, the amount of preservation is determined. The ways of architectural-planning and spatial transformation of the estate in the late XIX- XX centuries are analyzed. The features of buildings’ architectural and stylistic composition are shown. Drawings and graphic reconstructions of buildings are provided. According to the summary of the identified and listed historical and architectural features, it is determined that the pre-revolutionary Ryabchikov’s industrial estate has the characteristics of a cultural heritage object and needs comprehensive preservation.

FreshJam: Suggesting Continuations of Melodic Fragments in a Specific Style

Imagine that a budding composer suffers from writer's block partway through devising a melody. A system called FreshJam is demonstrated, which offers a solution to this problem in the form of an interactive composition assistant; an algorithm that analyzes the notes composed so far, makes a comparison with an indexed corpus of existing music, and suggests a possible next note by choosing randomly among continuations of matched melody fragments. We provide a demonstration of FreshJam as an aid in stylistic composition, and of its potential to be more iterative than existing composition assistants such as PG Music's Band in a Box or Microsoft's Songsmith.

ORNAMENTS ON TRADITIONAL WOODEN PRODUCTS – EMBOSSING PATTERN

This article examines the traditions of the Kazakh people in ancient woodcarving. It is about the semantic interpretation of the art of ornamentation and its significance in history. The composition of wooden interior furniture includes bed linen, pillows made of wood, dzhukayak, kebezhe, sandyk, abdire, yaglan, uldyryk, abazha, as well as a technique (method) for processing household utensils. Historical background, philosophical understanding of the symbolic meaning of each line of the ornament, indicated against the background of the object of artistic value of wooden products. This article is also important for understanding the genesis of the entire Kazakh traditional art of wood carving, as well as the evolution of ornaments, the general art of weaving (carpet weaving, jewelry made of wood, bone, etc.). It has been scientifically analyzed that home furniture and household appliances represent a holistic system entirely based on stylistic composition.

Stylistic Composition of Melodies Based on a Brain-Inspired Spiking Neural Network.

Current neural network based algorithmic composition methods are very different compared to human brain's composition process, while the biological plausibility of composition and generative models are essential for the future of Artificial Intelligence. To explore this problem, this paper presents a spiking neural network based on the inspiration from brain structures and musical information processing mechanisms at multiple scales. Unlike previous methods, our model has three novel characteristics: (1) Inspired by brain structures, multiple brain regions with different cognitive functions, including musical memory and knowledge learning, are simulated and cooperated to generate stylistic melodies. A hierarchical neural network is constructed to formulate musical knowledge. (2) Biologically plausible neural model is employed to construct the network and synaptic connections are modulated using spike-timing-dependent plasticity (STDP) learning rule. Besides, brain oscillation activities with different frequencies perform importantly during the learning and generating process. (3) Based on significant musical memory and knowledge learning, genre-based and composer-based melody composition can be achieved by different neural circuits, the experiments show that the model can compose melodies with different styles of composers or genres.

Glasbeni arhiv starejših rokopisov v cerkvi sv. Danijela v Celju

Prispevek predstavlja potek urejanja in evidentiranja glasbene zbirke starejših rokopisov iz arhiva Opatijsko-mestne župnije Celje (SI-Co) ter nekatere novosti o slogovni podobi ohranjene glasbe ter njenih najpomembnejših prepisovalcih. Napredek v tehnologiji ter izboljšani raziskovalni pogoji so spodbudili ponovno obravnavo, ki je razkrila zanimiv, večplasten potencial za prihodnje poglobljene raziskave, zlasti zaradi sledi, ki nakazujejo na raznolik izvor gradiva in namembnost repertoarja.

The Stylistic Uses of Gothic Passive Constructions

This paper explores the variation between non-past (present and future) synthetic and periphrastic passive verb forms in the Gothic Gospels in an effort to evaluate the possibility that the availability of functionally identical forms of the passive was exploited by the translators of the Gothic Bible as a way of manipulating the stylistic composition of the Gothic text. Based on the evidence of the Gothic translation of the Gospels, although the Gothic synthetic passive constructions do mostly occur in stylistically special environments, the existence of other clearly verifiable competing motivations makes the stylistic motivations difficult to verify. It is concluded that the distribution of forms is largely determined by factors such as literalism as the main translation technique as well as contrasts between the synthetic and periphrastic ‘be’ passives in terms of the actionality of the former and stativity of the latter.

Amjad Nasser’s Short Poem’s Stylistic Composition

The present study explores the stylistic composition of Amjad Nasser’s short poem. The analysis covers the features of the experience, the poet’s awareness of its forms and his motivations. It is found that the poet is conscious of the composition of the genre, which has its own function and beauty, and a technical necessity representing a stylistic stage of his poetry. Such poetic revolutionizing is a self-attempt experience to diversify the poetic shape, mixed with human and artistic factors which express rebellion and rejection and prefer the stylistic composition of the short poem. He is also affected by the heritage of Arab and Western modernism. It is also found that the poet builds his short poem on a set of foundations and techniques, such as intensity, irony, satire, circular construction, connotation, flash, omission, poetic concentration, squeezed language, ambiguity, intertextuality, opening, etc.

Автопортрет во время боя, на фоне картинной галереи (о Федоре Глинке)

In this paper, we try to show that the magnus opus of Fyodor Glinka, his Letters of a Russian Officer (1809/1815–1816), when analyzed, is liable to add to our understanding of the archaists-innovators debate as formulated by Tynyanov. We approach the Glinka’s book on the genre level, as a combination of letters, journal and travel (military) notes. Our analysis of narrative and stylistic composition of the 8-volume work lays bare the drama of ‘war and peace’ and the collision between two civilizations in which a lot of Slavophile interrogations could be read. This proto-Slavophile position as well as a utopian free-masonic stance assure the ideological and philosophical coherence of the Glinka’s book, whereas its poetic wholeness is assured by an interplay of high, low and median styles, which the writer brilliantly exploits. Our analysis gives an opportunity to observe how the ancient genres of epigraphy and ekphrasis, revived in the 18th century, following the interest for travels and ruins, enter the book’s poetic system, and to note that Glinka treats these genres in a new way, turning away from the Karamzinist model.

Computer-Generated Stylistic Compositions with Long-Term Repetitive and Phrasal Structure

This article describes and evaluates an algorithm called Racchmaninof-Jun2015, referred to hereafter as Racchmaninof, which generates passages of music in a specifiable style. For generating all four parts of a Bach hymn (one of two target styles evaluated as part of a listening study – the other being Chopin mazurkas), we found that only five out of 25 participants performed significantly better than chance at distinguishing Racchmaninof’s output from original human compositions. These participants had a mean of 8.56 years of formal musical training and mode “daily/weekly” regularity of playing an instrument or singing. In the context of relatively high levels of musical expertise, this difficulty of distinguishing Racchmaninof’s output from original human compositions underlines the promise of our approach. Current trends and issues in the area of automatic stylistic composition are introduced and discussed and we consider the potential for applying our algorithm to additional composers and/or genres of music.

On the Functions of Stylistic Devices in Newspaper Texts (Anaphora and Parallel Syntax)

The article observes the functions of two stylistic devices in modern newspapers. The author studies how the functions of anaphora and parallel syntax depend on their structures and lexical stylistic composition. The analysis of the syntactic structure of each figure is based on the theory of lexical meaning and componential structure of the connotation of stylistic devices. The author reveals the system-semantic relationship between the structural components of the stylistic devices in question, and analyses how the functions of stylistic figures depend on the lexical stylistic content of its speech realization. The author concludes that the logical realization and function of expressive stylistic figures depend on the typical logical-linguistic relationships between the components of constructed speech in the stylistic figures. The logical capacity of anaphora and parallel syntax is caused by the semantic relationship of the repeating units, which form a coherent syntactic structure. An expressive effect is created by repeating an element or repetition in general. The article points out that the aforementioned functions may often be combined with one of them dominating. The author argues that there is a tendency for anaphora and parallel syntax to be used together along with other stylistic devices. As a result, the analysis clarifies the application of stylistic devices.

Editing of medical periodicals publications: compositial and linquistic-stylistic features

In the article the authors analyze editing peculiarities of medicalpublications, find and describe typical composition, linguistic and stylisticmistakes, which are made in medical periodicals, using the magazine PracticeManagement of Medical Setting as an example. The authors also considereditorial work of authors’ material at linguistic-stylistic and compositionallevels.It is determined that peculiarities of composition editing of medicalperiodicals depends on the format of the certain periodic, the articles areprepared for the fixed pattern, determined by editors. Traditionally, editing ofcomposition includes revision of narrative logic, presence of the main parts ofthe text (introduction, main body, conclusion) and connections between them.Material should be followed by appendices, keywords etc.A typical mistake which should be discovered and correct by the editorwith the author’s approval in medical periodic is wrong coherence compositionelements. The most often are used such linguistic reviews as: reorderingtransformation in order to restore logical development in the article; reductionfor eliminating unnecessary elements which are partly connected with the topic.Sometimes the editor should reduce the text not only due to the contentcriterion but also to the page proofs speciality.The authors found out the characteristic of average composition materialscomplexity of the medical periodicals, thus, during composition editing it isbetter not to use subtitle of the third level. The main title of the material has toreflect its whole idea not some aspects, they are worth to be separated intosubtitles.Editorial classification of the text is very important for readers-medicsperception, because text without separated headlined parts is hard for reading, itis time-consuming.The authors pay special attention to the title of the article in medicalperiodic, it should be understandable, clear and without implications, otherwisethe article may be not interested in because of abstractedness and unclear title. Linguistic and stylistic composition of the medical periodic depends ontarget reading audience. Materials in medical academic periodicals intended forgeneral reading and materials in academic professional periodicals for medicswith different qualifications vary in style, terminology complexity andlinguistic constructions.Typical authors’ mistakes are: 1) providing results of obsolete researches,while existing new researches on the issue; 2) fixing some facts for the contentof the article and author’s position; 3) providing nonobjective facts. The author,trying to argue own opinion, provides facts, which are neither refuted norproved this opinion. In such cases the editor should use reduction linguisticreview; 4) inaccuracy in names, titles, units of measurement, quotations.For preventing such mistakes, the editor should use three types of revisingof the material – internal, external and official approval. Internal facts checkincludes finding the correlation between article’s fragments and determiningdiscrepancy. External facts check is more complex and includes addition workwith literatures, medical encyclopedias, handbooks, legally enforceableenactments while using specialized web sites. In some cases the editor shouldalso refer to the officials for providing official request.The authors, having analyzed issues of medical periodical PracticeManagement of Medical Setting, determined main editorial mistakes – wronguse of words, russism, calque, composition inaccuracies etc. The aim of thisdetermination is to pay attentions to the editorial stages of medical periodicalpreparations, where authors and editors may make mistakes

الانزياح من الكون إلى الذات : قراءة في جمالية التشكيل

This paper deals with one of the terms that commonly used on the modern linguistic and stylistic studies; this term is deviation. I have tried to study this phenomenon in the form of totalitarianism, as it is considered as a cosmic and psychological event rather than a stylistic text event. The Search results have revealed that the interdependence of the cosmic and psychological human knowledge help the writer on the stylistic composition. The position of the universe and the soul in the literary style is the position of thunder and rain sound in an aesthetic rhythm.

Developing and evaluating computational models of musical style

AbstractStylistic composition is a creative musical activity, in which students as well as renowned composers write according to the style of another composer or period. We describe and evaluate two computational models of stylistic composition, called Racchman-Oct2010 (random constrained chain of Markovian nodes, October 2010) and Racchmaninof-Oct2010 (Racchman with inheritance of form). The former is a constrained Markov model, and the latter embeds this model in an analogy-based design system. Racchmaninof-Oct2010 applies a pattern discovery algorithm called SIACT and a perceptually validated formula for rating pattern importance, to guide the generation of a new target design from an existing source design. A listening study is reported concerning human judgments of music excerpts that are, to varying degrees, in the style of mazurkas by Frédéric Chopin (1810–1849). The listening study acts as an evaluation of the two computational models and a third, benchmark system, called Experiments in Musical Intelligence. Judges' responses indicate that some aspects of musical style, such as phrasing and rhythm, are being modeled effectively by our algorithms. Judgments are also used to identify areas for future improvements. We discuss the broader implications of this work for the fields of engineering and design, where there is potential to make use of our models of hierarchical repetitive structure.

Thomas More et l’utilisation du paradoxe comme discours de la méthode

Starting from Thomas More’s taste for paradoxes, our purpose consists in analysing paradoxes as a way of expressing a basic methodological principle whose aim is not to mislead the reader but to show him the truth. In this perspective, our first part will be devoted to Thomas More’s paradoxical discourse which will give us the opportunity to highlight its apparent contradictions, i.e. on the one hand an apology for the truth and on the other hand a rhetoric of artifice, fiction and lying. Then, we shall focus on Thomas More’s purpose. This second step will emphasize that the juxtaposition of theses and antitheses does not lead to immediate knowledge of the truth but that it reveals the process to be used and the questions to be asked before reaching the truth. Far from being a rhetorical convention, using paradoxes enables the truth to be revealed as it contributes to creating an objective distance, a spiritual game and the intermingling of tragic and comic perspectives. Finally, we shall be interested in the sources which inspired Thomas More. This third step will lead us to situate his writings in the literary and academic tradition of his time and to assess his originality and the pertinence of his discourse. Indeed, studying the nature of the Morean paradox and its function in the discourse will give us the possibility to differentiate between the stylistic composition and the methodological principle and to show the fecundity of this discourse.

La página ideal de Sol LeWitt

<p>“La página ideal” presenta un ensayo sobre la obra de Sol LeWitt, <em>Wall Drawing # 1126 Whirls and Twirls 1</em> (2004), ubicada en el techo de la Sala de Lectura de la Biblioteca Panizzi en Reggio Emilia, Italia. Bajo esta excitante visión que sobrevuela nuestras mentes, el artículo emprende un recorrido, trasladándonos en el tiempo sin movernos de Italia, para recuperar la paleta de los frescos del primer Renacimiento en las figuras de Giotto y Piero della Francesca, por quienes LeWitt manifiesta una gran devoción.</p><p>Este símil de lectura que emprenderemos se realiza a la inversa, y desde los murales teñidos con tintas diluidas, pasamos a revisar el período minimal a través de la lectura que LeWitt hace del libro en Mallarmé, entendido como un microcosmos múltiple. Desde la palabra plantea el libro como un pequeño universo regido por la relación universal: movimiento-espacio-tiempo. Este universo le aportará claves en relación a las ideas de una estructura reglamentada que LeWitt interpreta en la composición estilística de Mallarmé.</p>

Odessa Without Dogma: Jabotinsky's the Five

Multinational imperial Odessa was a unique city on Russia's periphery. After its destruction, it lived on in the Odessan style and as the myth of "Old Odessa," both of which provided Russian culture with ways of talking about diversity. The article analyzes the right-wing Zionist Vladimir Jabotinsky's novel The Five against the backdrop of the Odessa myth. It argues that its narrative construction and stylistic composition were designed to undermine a politicized, "textbook" reading of the plot. Jabotinsky instead draws a multivocal artistic image and, in his poetic activity, overcomes the confines of nationalist ideological discourse. Многонациональная Одесса была уникальным городом российской географической и культурной периферии. Она жила и развивалась в "одесском стиле" и в "одесском мифе", которые в российской куль- туре функционировали как пространства, где был возможен разговор о разнообразии. Мирья Лекке обращается к одному из произведений "одесского стиля" – роману правого сиониста Владимира Жаботинского "Пятеро", который она рассматривает на фоне "одесского мифа". Лекке показывает, что нарративная конструкция романа и его стилистическая композиции подрывают политизированное, начетническое прочтение сюжета. Жаботинский создает внутренне многообразный, сложный художественный образ и на уровне поэтики преодолевает ограничения националистического идеологического дискурса.

Style, indexicality, and the social meaning of tag questions

ABSTRACTThis article illustrates how the notions of style and indexicality can illuminate understanding of the social meaning of a specific linguistic variable, the tag question. Drawing on conversational speech and ethnographic data from a community of high school girls in northwest England, it quantitatively and qualitatively examines the discourse, grammatical, and phonological design of tag questions in this community. Members of four social groups are shown to use tag questions to similar effect, as a means of conducing particular points of view. However, these groups also exhibit striking differences in the stylistic composition of tags, distinctions that indexically construct stances and personas, which may in turn come to represent group identity. These data suggest that the social meaning of tag questions can be best ascertained by examining their internal composition and by situating them in their broader discursive and social stylistic contexts. (Adolescents, ethnography, indexicality, interactional context, quantitative discourse analysis, social meaning, style, tag questions)

Aristotle, Rhetoric III, 12, 4

In section III, 12, of the Rhetoric, Aristotle discusses the style of practical oratory, λέξις ἀγωνιστική, as opposed to the literary style, λέξις γραφική. While in the latter a compact construction is necessary, the former uses an asyndetic composition which gives it the character of natural speech and a dramatic potential conformable to ὑπόκρισις, the artistic delivery. As far as Aristotle deals with stylistic composition in a larger sense (up to the beginning of ch. 4), his comments seem clear. In chapter 4 he passes to a more definite plane of syntactical notions: .The interpretation of this passage offers more than one difficulty, contained both in its first section which ends with the example and in its last sentence.1. The standard translation of the first section is as follows: ‘The asyndeton has a further peculiarity: in an equal space of time many things appear to be said. Just as the connective particle turns a number of statements into one, so its omission does the opposite: turns a single statement into many. Thus an asyndeton produces amplification, e.g. I came, I talked (with him), I entreated (him).’