Academic literature on the topic 'Phrase ending'
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Journal articles on the topic "Phrase ending"
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Coenen, Pascal, and Michael Frotscher. "The nominative/vocative plural of Vedic masculine a-stems in complex nominal expressions." Indogermanische Forschungen 125, no. 1 (2020): 165–216. http://dx.doi.org/10.1515/if-2020-009.
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AbstractIn Vedic Sanskrit, masculine a-stem nominals exhibit two different forms of the nom/voc.pl, a short form (ending in ‑ās) and a long form (ending in ‑āsas). In this article, we will argue that the scope of this variation is not a single nominal but the entire noun phrase. This means that whereas the short form may occur several times in a noun phrase, the long form is either absent or occurs only once. From a functional point of view, complex noun phrases containing one long form are equivalent to simple noun phrases consisting of one long form. In contrast, complex noun phrases containing only short forms are equivalent to simple noun phrases consisting of one short form. The presence or absence of the long form marks the presence or absence of a certain linguistic feature, the exact nature of which still has to be determined. We will argue that in those cases in which two long forms occur in relative proximity to each other, they either have to, or at least can be interpreted as being part of two distinct noun phrases. In order to do so, we will apply morphological, semantic, syntactic as well as stylistic and metrical criteria.
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Applegate, Judith K. "The Co-Elect Woman of 1 Peter." New Testament Studies 38, no. 4 (1992): 587–604. http://dx.doi.org/10.1017/s0028688500022098.
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The ending of 1 Peter includes greetings from a person or group designated by an adjective, συνεκλεκτός (co-elect, 5.13), found no where else in the New Testament. The adjective as it stands in 1 Peter is preceded by a singular feminine article and has a singular feminine ending. It functions as a substantive and has a modifying prepositional phrase, ν Bαβυλνι (in Babylon), sandwiched between the article and the adjective. The complete phrase reads: ν Bαβυλνι συνεκλεκτή literally, ‘the (feminine) in Babylon co-elect (feminine)’.
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Baruah, Sanjib. "Ending India's Naga Conflict." Comparative Studies of South Asia, Africa and the Middle East 40, no. 3 (2020): 434–43. http://dx.doi.org/10.1215/1089201x-8747390.
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Abstract For quite some time now, there has been an effort to settle India's Naga conflict. Instead of ordering the developments in the conventional teleological narrative of a peace process, this article looks at certain facts on the ground created by the two-decades-old cease-fire and the negotiations that have gone on for almost as long. Dismantling these transitional structures will not be easy. This existing regime of “shared sovereignty”—to use a key phrase from the negotiations as a category of practice—is based on a form of informal partnership between state and nonstate armed entities. It serves to provide the kind of protection ideally suited for economic transactions associated with the so-called informal sector economy in the region. There are affinities between this emergent order and the indirect rule regime of the British colonial era.
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HESTER, D. MICAH. "Narrative as Bioethics: The “Fact” of Social Selves and the Function of Consensus." Cambridge Quarterly of Healthcare Ethics 11, no. 1 (2002): 17–26. http://dx.doi.org/10.1017/s0963180102101046.
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Several months ago, I was walking down the hallway outside our medical school faculty offices and a colleague stopped me to ask a question. He phrased his query in the context of a “hypothetical” case that raised ethical issues for him, and he asked me to respond. I obligingly offered my opinion given the details he presented, ending my comments with the phrase, “at least, that is what I would say.” To this he kindly shot back, “OK, but what is the consensus of medical ethicists?” To be honest, this question caught me off guard. Though his particular dilemma was relatively well-trod territory for many bioethicists, I had done little research on the issue and could not immediately render a response to his latter query.
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Hantz, Edwin C., Kelley G. Kreilick, William Kananen, and Kenneth P. Swartz. "Neural Responses to Melodic and Harmonic Closure: An Event-Related-Potential Study." Music Perception 15, no. 1 (1997): 69–98. http://dx.doi.org/10.2307/40285739.
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The event-related evoked potential (ERP) responses to sentence endings that either confirm or violate syntactic/semantic constraints have been extensively studied. Very little is known, however, about the corresponding situation with respect to music. The current study investigates the brain- wave (ERP) responses to perceived phrase closure. ERPs are a potentially valid measure of how language-like or uniquely musical the perception of phrase closure is. In our study, highly trained musicians (N= 16) judged whether or not novel musical phrases were closed (melodically or harmonically). Three stimulus series consisted of seven- note tunes with four possible endings: closed (tonic note or tonic chord), open/ diatonic (dominant chord or a member thereof), open/ chromatic (a chromatic note or chord outside the key of the melody), or open/white noise (a nonmusical control). One series included melodies alone, a second series included melodies harmonized, and a third series included melodies in which the melodic contexts were disrupted rather than the endings. In the recorded ERPs, a statistically significant negative drift in the waveforms occurred over the course of the context series, indicating anticipation of closure. The drift-corrected poststimulus waveforms for all series were subjected to a principal components analysis/analysis of variance. Two subject variables were also considered: sex and absolute pitch. All four stimulus types elicited identifiable responses. The waveform peaks for the four stimulus types are clearly differentiated by principal component analysis scores to two components: one with a maximum value at 273 ms and one with a maximum value at 471 ms. Taking the closed endings as the expected "standard," the waveforms for the two types of musical deviant endings were significantly below the standard at 273 ms and above the standard at 471 ms. The amount of negativity was proportional to the amount of deviance of the ending. The positive peak in the closed condition and the reduced peak in the open/diatonic condition are contrary to the normal inverse relationship between peak size and stimulus probability; the former agrees with peaks found in response to syntactic closure in language. Significant, though isolated, interactions involving both sex and absolute pitch also emerged.
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Kuzar, Ron. "A Jewish and democratic state." Journal of Language and Politics 8, no. 1 (2009): 97–111. http://dx.doi.org/10.1075/jlp.8.1.06kuz.
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The two Palestinian uprisings have brought about an ideological shift in Israel’s view of the solution to the Israeli–Palestinian conflict. The time has ripened for an open debate about ending the Israeli occupation of the Palestinian Occupied Territories. The debate has limited discursive boundaries, set up by the catch phrase “a Jewish and democratic state”. This article discusses some points of view within this discourse and exemplifies those that remain outside it.
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Lawrence, John Y. "Toward a Predictive Theory of Theme Types." Journal of Music Theory 64, no. 1 (2020): 1–36. http://dx.doi.org/10.1215/00222909-8033408.
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Listener expectations are a fundamental consideration in formal analysis, common to cognitive and hermeneutic approaches alike. Such approaches maintain that listeners use statistical regularities of musical style to predict where a piece of music is going and then assess what actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types as formulated by William Caplin. This article proposes a framework for modeling expectation at the theme and phrase level. This is premised on the idea that conventional beginning-ending pairs condition listeners to expect certain endings when they hear certain beginnings. An expansion of Caplin’s categories is provided to classify such pairs. This reframing of phrase-structural analysis in predictive terms opens it up to the hermeneutic strategies of dialogic analysis, by allowing for the exploration of the rhetorical and expressive effects of failed predictions. This article further proposes a way to use corpus studies to identify theme types in later musical styles in which Caplin’s definitions do not necessarily apply. The utility of this approach is demonstrated in analyses of waltzes by Johann Strauss II.
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Nam, Unjung. "Pitch Distributions in Korean Court Music: Evidence Consistent with Tonal Hierarchies." Music Perception 16, no. 2 (1998): 243–47. http://dx.doi.org/10.2307/40285789.
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Preliminary evidence from three recorded samples of music for p'iri suggests that a tonal hierarchy may exist in traditional Korean court music. After a simple transposition, two of the three works studied exhibited similar scale intervals, similar phrase-ending tones, and similar tone-duration distributions (or "key profiles"). A third sample work proved more equivocal. The results are consistent with earlier studies of Balinese music (Kessler, Hansen, & Shepard. 1984) and North Indian music (Castellano, Bharucha, & Krumhansl, 1984) concerning the existence of genre- related tonal hierarchies.
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Hoit, Jeannette D., Nancy Pearl Solomon, and Thomas J. Hixon. "Effect of Lung Volume on Voice Onset Time (VOT)." Journal of Speech, Language, and Hearing Research 36, no. 3 (1993): 516–20. http://dx.doi.org/10.1044/jshr.3603.516.
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This investigation was designed to test the hypothesis that voice onset time (VOT) varies as a function of lung volume. Recordings were made of five men as they repeated a phrase containing stressed /pi/ syllables, beginning at total lung capacity and ending at residual volume. VOT was found to be longer at high lung volumes and shorter at low lung volumes in most cases. This finding points out the need to take lung volume into account when using VOT as an index of laryngeal behavior in both healthy individuals and those with speech disorders.
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Gasde, Horst-Dieter. "Yes/no questions in Mandarin Chinese revisited." ZAS Papers in Linguistics 24 (January 1, 2001): 47–101. http://dx.doi.org/10.21248/zaspil.24.2001.127.
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This article discusses some syntactic peculiarities of Chinese yes/no questions. Starting from the observation that Standard Mandarin shares significant typological features with prototypical SOV languages, Chinese is treated as an underlyingly verb-final language. Based on this heuristic principle, A-not-AB, AB-not-A and AB-not questions are uniformly derived by means of one simple raising rule that operates within the sentence constituent V'. This novel idea is elaborated on in great detail in the first part of the article. In contrast to the prevailing trend, it is argued that the question operator contained in A-not-A and A-not sentences CANNOT be raised to "Comp". In consequence, A-not-A and A-not questions are "typed" in the head position of a sentence-internal functional phrase that we call Force2 Phrase (F2P) in the present paper. This position is not to be confused with Drubig's (1994) Polarity 1 Phrase (PollP), in the head position of which assertive negations and an abstract affirmative element are located. The existence of a head position F2° other than Poll° is supported by the fact that F2° can be occupied by certain overt question operators, such as assertive shi-bu-shi, which are compatible with negations. In contrast to the assertive question operator shi-bu-shi which is obligatorily associated with information focus, non-assertive shi-bu-shi serves as a compound focus and question operator whose focus feature is complex insofar as it is composed of two subfeatures: a contrastivity and an exhaustivity subfeature. Non-assertive shi-bu-shi is obligatorily associated with identificational focus in the sense of Kiss (1998). In accordance with some basic ideas of Chomsky's checking theory, the two subfeatures of the complex focus feature carried by the non-assertive shi-bu-shi operator check a correlating subfeature in the head position of a corresponding functional phrase (Contrastive Phrase and Focus Phrase, respectively). The question feature contained in the non-assertive shi-bu-shi operator is attracted by the head of Force1 Phrase (F1') at the level of LF. Due to the fact that F1° is sentence-final, the question feature of non-assertive shi-bu-shi must be Chomsky-adjoined to F1'. Unlike identificational focus phrases which are inherently contrastive, topics are non-contrastive in the default case. As separate speech acts, they are located in a c-commanding position outside the sentence structure. Semantically, there is a difference between Frame-Setting Topics and Aboutness Topics. As shown in the article, both A-not-A and A-not questions on the one hand and yes/no questions ending with ma on the other can be used in neutral and non-neutral contexts. The decisive advantage of mu questions, however, is that their question operator has scope over the whole sentence.
Dissertations / Theses on the topic "Phrase ending"
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Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.
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Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.
Books on the topic "Phrase ending"
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Form and meaning in Persian vocabulary: The Arabic feminine ending. Mazda Publishers in association with Bibliotheca Persica, 1991.
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Joyce, C. Alan. Under the covers and between the sheets: The inside story behind classic characters, authors, unforgettable phrases, and unexpected endings. Reader's Digest Association, 2009.
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Gans, Evelien, and Remco Ensel, eds. The Holocaust, Israel and 'the Jew'. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648488.
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This book is the first comprehensive study of postwar antisemitism in the Netherlands. It focuses on the way stereotypes are passed on from one decade to the next, as reflected in public debates, the mass media, protests and commemorations, and everyday interactions. The Holocaust, Israel and 'the Jew' explores the ways in which old stories and phrases relating to 'the stereotypical Jew' are recycled and modified for new uses, linking the antisemitism of the early postwar years to its enduring manifestations in today's world. The Dutch case is interesting because of the apparent contrast between the Netherlands' famous tradition of tolerance and the large numbers of Jews who were deported and murdered in the Second World War. The book sheds light on the dark side of this so-called 'Dutch paradox,' in manifestations of aversion and guilt after 1945. In this context, the abusive taunt 'They forgot to gas you' can be seen as the first radical expression of postwar antisemitism as well as an indication of how the Holocaust came to be turned against the Jews. The identification of 'the Jew' with the gas chamber spread from the streets to football stadiums, and from verbal abuse to pamphlet and protest. The slogan 'Hamas, Hamas all the Jews to the gas' indicates that Israel became a second marker of postwar antisemitism. The chapters cover themes including soccer-related antisemitism, Jewish responses, philosemitism, antisemitism in Dutch-Moroccan and Dutch- Turkish communities, contentious acts of remembrance, the neo-Nazi tradition, and the legacy of Theo van Gogh. The book concludes with a lengthy epilogue on 'the Jew' in the politics of the radical right, the attacks in Paris in 2015, and the refugee crisis. The stereotype of 'the Jew' appears to be transferable to other minorities. Now also available as paperback!
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Gans, Evelien, and Remco Ensel, eds. The Holocaust, Israel and 'the Jew'. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986084.
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This book is the first comprehensive study of postwar antisemitism in the Netherlands. It focuses on the way stereotypes are passed on from one decade to the next, as reflected in public debates, the mass media, protests and commemorations, and everyday interactions. The Holocaust, Israel and 'the Jew' explores the ways in which old stories and phrases relating to 'the stereotypical Jew' are recycled and modified for new uses, linking the antisemitism of the early postwar years to its enduring manifestations in today's world. The Dutch case is interesting because of the apparent contrast between the Netherlands' famous tradition of tolerance and the large numbers of Jews who were deported and murdered in the Second World War. The book sheds light on the dark side of this so-called 'Dutch paradox,' in manifestations of aversion and guilt after 1945. In this context, the abusive taunt 'They forgot to gas you' can be seen as the first radical expression of postwar antisemitism as well as an indication of how the Holocaust came to be turned against the Jews. The identification of 'the Jew' with the gas chamber spread from the streets to football stadiums, and from verbal abuse to pamphlet and protest. The slogan 'Hamas, Hamas all the Jews to the gas' indicates that Israel became a second marker of postwar antisemitism. The chapters cover themes including soccer-related antisemitism, Jewish responses, philosemitism, antisemitism in Dutch-Moroccan and Dutch- Turkish communities, contentious acts of remembrance, the neo-Nazi tradition, and the legacy of Theo van Gogh. The book concludes with a lengthy epilogue on 'the Jew' in the politics of the radical right, the attacks in Paris in 2015, and the refugee crisis. The stereotype of 'the Jew' appears to be transferable to other minorities.
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Turner, Dale. Intros, Endings and Turnarounds for Guitar: Essential Phrases for All Styles. Hal Leonard Corporation, 2001.
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Valerio, John. Intros, Endings and Turnarounds for Keyboard: Essential Phrases for Swing, Latin, Jazz Waltz, and Blues Styles. Hal Leonard Corporation, 2001.
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Onuf, Nicholas Greenwood. The Mightie Frame. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190879808.001.0001.
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Inspired by Michel Foucault’s The Order of Things, this book tells a story about epochal change in the modern world. While both books are concerned with how we moderns think about ourselves and our world, this book emphasizes the conceptual links in the ways we think, talk, get things done, conduct ourselves, and run societies. Both tell the story as a succession of epochs or ages separated by great ruptures. First is the Renaissance as the age of similitudes, ending around 1650. In its wake is the classical epoch as the age of tables, succeeded around 1800 by the modern epoch as a time of exponential growth and changing scales. Then follows the modernist age, beginning around 1900, which Foucault failed to identify as such but this book treats as the modern epoch turned inside-out. Last comes Foucault’s “end of man,” c. 1970, a time of rupture and renewal—or not. Despite Foucault’s rhetoric of rupture, modernity has changed within the confines of a “mightie frame” (a turn of phrase borrowed from John Milton). From epoch to epoch, the mighty frame has gained features that continue to function even as they recede from view, all the while fixing the limits of possible knowledge for modern minds and the conditions of rule in the modern world. These two sets of conditions constitute modernity as we know it now, give us clues about what comes next, and point to a plausible ethics for a time of uncertainty, stasis, and, quite possibly, decline.
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I Used To Know That Inside Stories Of Famous Authors Classic Characters Unforgettable Phrases And Unanticipated Endings. Reader's Digest Association, 2012.
Find full textBook chapters on the topic "Phrase ending"
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van Schaaik, Gerjan. "Postpositional complements." In The Oxford Turkish Grammar. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851509.003.0028.
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Postpositions can be classified according to several criteria, one of which is the type of complement one of them can take. In this chapter person-bound complements are distinguished from temporal phrases and from purpose phrases. The reason is that person-bound complements all contain a nominalized verb plus a personal (possessive) ending, whereas the other two types have other verbal forms. Temporal phrases have a deverbal suffix, and purpose phrases are all based on an infinitival verb form. A type of complement which typically occurs with the instrumental and case-marker annex postposition is phrases specifying circumstance or detail. This specification is based on a kind of sentence, a “small clause,” which always contains a locative phrase, including an element reminiscent of the anticipatory possessive. The final section discusses the properties of postpositions in predicate and attributive position.
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Greenhouse, Linda. "6. The Court and the other branches." In The U.S. Supreme Court: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780190079819.003.0006.
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Is the phrase separation of powers misleading? “The Court and the other branches” looks at the Court in relation to the president and Congress. A more accurate description of the relationship between the branches might be “dynamic interaction” with tensions arising between them. Sometimes these tensions cause limited disagreements. Some developments are more ominous, such as Congress’s attempts to limit the Supreme Court’s power or the power of federal courts in general. This ingrained and constitutionally based struggle about law-making authority is expressed in a cycle of interaction and reaction that shows no sign of ending and may be hard-wired into the system.
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Burstein, L. Poundie. "Formal Punctuations." In Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0002.
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Galant sonata-form movements can be understood as framed by a series of Perioden, that is, large multi-phrase sections that each lead to a formal cadence and which comprise a series of Sätze (phrases). The last Satz of a Periode, which concludes with the formal cadence, is known as a Schlußsatz. The Sätze and Satz-endings that precede the Schlußsatz are known as Absätze. Each Satz itself may be articulated by small divisions, known as Einschnitten. Largely relying on terminology and concepts of Heinrich Christoph Koch, this chapter explores the structure and conceptual underpinnings of these and related formal segments.
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"4 Arabic Case-Endings as Copulae." In Copulae in the Arabic Noun Phrase. BRILL, 2013. http://dx.doi.org/10.1163/9789004256286_006.
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van Schaaik, Gerjan. "Simple sentences." In The Oxford Turkish Grammar. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851509.003.0023.
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Embroidering the distinction made in the chapter (18) on negation, this chapter discusses the full spectrum of simple sentences with a nominal predicate based on a noun, genitive-possessive construction, question-word, pronoun, demonstrative, and copular forms. Furthermore, negated and question forms, as well as combinations thereof, are discussed for these types of predicate. Besides a preliminary account of ordering principles for the noun phrase, special attention is given to copular forms of possessive nouns and inflected pronouns. Existential predicatesare: var ‘there is’ and its negational counterpart yok. Such structures are essential when it comes to expressing availability or possession. The final section is on verbal predicates, showing that there are two ordering patterns for the relative positions of the question particle and personal endings.
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de Miranda, Luis. "Introduction: A Thousand Platoons – The Enduring Importance of Esprit de Corps." In Ensemblance. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474454193.003.0001.
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The French use of ‘esprit de corps’ is often political and suggests a form of cognitive uniform generated by a more or less conscious adherence to a collective body. However, the phrase is more used today in English than in French because it has gained in the former language a general and often uncritical meaning (signifying more or less team spirit). This chapter gives contemporary examples that demonstrate the ubiquity of ‘esprit de corps’ in today’s global discourses, for example political (Brexit, Trump) or managerial (team spirit). It briefly analyses the rare literature on the matter, explains the systematic and exhaustive method followed in this book (‘histosophy’), and explains why a longue-durée genealogical and transnational approach was chosen and how this was possible thanks to digital archives and primary sources.
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Hasty, Christopher. "Overlapping, End as Aim, Projective Types." In Meter as Rhythm. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886912.003.0013.
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This chapter looks at several passages from a single composition in which relatively large measures are formed. In the Allegro from the first movement of Beethoven's First Symphony, two large phrases or periods compose the exposition. The first of these is a virtually unbroken gesture. The second period, though more broken, is also a highly continuous gesture. Although there is a sharp break between the two periods, there is little discontinuity between the second period and the repetition of the first. The chapter then considers the concept of “overlapping,” conceived most generally as the joining of ending and beginning. Since tonal continuities and discontinuities play an essential role in overlappings, one needs to study more closely the interaction of tonal and projective potential and the notion of end as goal. The chapter also presents a rudimentary theory of “projective types” or durational patterns that present more or less specific possibilities for overlapping.
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Kurki, Visa A. J. "Who or What Can be a Legal Person?" In A Theory of Legal Personhood. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844037.003.0005.
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The chapter assesses the rather popular claim that anything can be endowed with legal personhood. This ‘everything-goes’ view is often supported by examples such as the putative legal personhood of Indian idols and the Whanganui River in New Zealand. The chapter exposes a conflation of two senses of the phrase ‘legal person’, which can refer both to the holders of legal positions (rights and duties) or to the legal positions themselves. This conflation often underlies the everything-goes view, rendering it unsustainable. Instead, one must either have the capacity to act or the capacity for claim-rights in order to qualify as a potential legal person. As rivers can neither act nor hold claim-rights, rivers cannot be legal persons. The Whanganui River arrangement should rather be understood as endowing a collectivity—the Maori and other sentient beings who are dependent on the river—with legal personhood.
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Adolphe, Bruce. "Exercises in Composing." In The Mind's Ear. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0006.
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This part is designed primarily with composers in mind, yet while experience writing music would be helpful here, it is not absolutely required to enjoy doing these exercises. The exercises may be done by an individual alone, and they are also useable in a composition class, private lesson, theory seminar, or improvisation workshop. Part V opens with an essay about creativity in general that also explores ideas of truth and beauty in music. Beauty is not discussed in a mundane sense—not in the sense of prettiness or loveliness—but rather the concept of Beauty within music composition as it is embodied in the relation of the parts to the whole, a sense of proportion, and the aptness of technique to the idea expressed. This is followed by a series of exercises designed to inspire musical creativity. These involve a range of approaches, including: imitating models; channeling composers; creating alternatives to existing music; using spoken text as subtext for composition; stylistic juxtapositions and confrontations; altering parameters such as meter; rewriting pre-existing music; using structural analysis to create new music; cutting and pasting; group composing games; versions and variations of a phrase; deceptive endings, detours, and interruptions; and music based on physical manifestations of emotion discovered through acting.
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Sadgrove, Joanna. "Global Moralities, Local Responses." In Strings Attached. British Academy, 2014. http://dx.doi.org/10.5871/bacad/9780197265680.003.0005.
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Kampala is just one place where the AIDS pandemic has generated a plethora of contradictory codes for the sexual behaviour of young people, influenced by a range of transnational actors. Yet amidst the discursive complexities and possibilities, it remains a considerable concern for many to present as a ‘good’, ‘respectable’ person, signalling recourse to local, enduring notions of what constitutes honourable behaviour in Ganda society. Drawing on ethnographic data from a group of Pentecostal university students, this chapter explores the implications of the reification of moral character for the sexual behaviour of young born-again Christians. The critical importance of secrecy and discretion around sexual behaviour is revealed. Based on this evidence, I argue against the analytical dangers of assuming a direct relationship between what Pentecostal Christians might say about their sexual behaviour and their actual sexual behaviour. Please suggest 5–10 keywords which can be used for describing the content of the chapter. The keywords should appear in the abstract if possible. They should not be too generalised. Single words are preferred, but two- or three-word specialist phrases are acceptable. Keywords may be taken from the chapter title as long as they also appear in the abstract.