Relevant bibliographies by topics / The style of tintinnabuli

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'The style of tintinnabuli'

Author: Grafiati
Published: 5 June 2025
Last updated: 6 July 2025

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Journal articles on the topic "The style of tintinnabuli"

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Michael Chikinda. "Pärt's Evolving Tintinnabuli Style." Perspectives of New Music 49, no. 1 (2011): 182–206. http://dx.doi.org/10.1353/pnm.2011.0007.

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Michael Chikinda. "Pärt's Evolving Tintinnabuli Style." Perspectives of New Music 49, no. 1 (2011): 182. http://dx.doi.org/10.7757/persnewmusi.49.1.0182.

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Belibou, Alexandra. "Arvo Pärt’s Music: Facets of the Tintinnabuli Technique." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 109–17. http://dx.doi.org/10.24193/subbmusica.2020.2.08.

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"This article comprises an analysis of two of the religious works signed by the Estonian composer, Arvo Pärt, both written in the tintinnabuli technique, 9 years apart - De profundis and Miserere. After an overview of the tintinnabuli concept and after indicating their technical features, I have observed how the minimalist compositional method, specific to Pärt, has acquired elasticity, as years went by. Nonetheless, the hermeneutical principles which the composer intended to soundly integrate in his composition style are preserved, regardless of how the tintinnabuli technique arises (strict or elastic). In both musical works analyzed, the tintinnabuli technique (technique used in composition since 1976) does not refer to serialization of sound parameters, but addresses the algorithmizing process of the musical material, which originates from formal and philosophical thinking. Keywords: tintinnabuli, minimalism, holy minimalism, Arvo Pärt."
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Савенко, С. И. "Aesthetics and style of Arvo Pärt’s work: revolution or evolution?" Журнал Общества теории музыки, no. 4(24) (March 22, 2023): 41–51. http://dx.doi.org/10.26176/otmroo.2018.24.4.003.

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Статья посвящена ключевой особенности творческой эволюции известного современного композитора, которая заключается в резкой смене стилистической парадигмы, произошедшей в середине 1970-х годов: авангардный тип письма, характерный для Пярта в 1960-е годы, уступил место стилю tintinnabuli (термин композитора), ориентированному на благозвучие в условиях литургических жанров. The article is devoted to the key features of the creative evolution of the famous contemporary composer, which consists in the abrupt change of the stylistic paradigm that occurred in the mid 1970s: the avant-garde type of writing characteristic of Pärt in the 1960s gave way to the tintinnabuli (term of the composer) focused on euphony and liturgical genres.
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Opanasiuk, Oleksandr. "Intentionally-Cultural Aspects of the Tintinnabuli Style and Сreativity of Arvo Pärt". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, № 2 (2018): 12–26. https://doi.org/10.31866/2616-7581.2.2018.153371.

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The article is devoted to the tintinabuli style and creativity of the Estonian composer Arvo Pärt. The relevance of the research is due to the need to determine the distinctiveness of these phenomena, their underlying culture which gives possibility to characterize them in the context of the procedural being of European culture and patterns of its development in intentional period of its formation (the end of ХІХ – the beginning of the ХХІ centuries. The purpose of article is to analyze the tintinnabuli style and Arvo Pärt creativity in the context of the author's concept of culture and art intentionalism. The study used such research methods as cultural-historical in consideration of the tintinnabuli style and Arvo Pärt creativity in the context of the procedural European culture being in intentional period of its formation; procedural-structural in determining the structural dynamics and meanings, which determine the development of musical culture of the 20th - early 21st centuries; intentional-cultural - in defining the basic principles of intentionalism which determine their development. Scientific novelty of the work lies in the development of new research direction which is based on cultural basis and author’s conception of culture and art intentionalitsm. Tintinnabuli style and works of Arvo Pärt are distinctive by extraordinary originality. There aren’t any analogues of this style as well as the techniques of composition in the modern music culture. At the same time tintinnabuli style and Pärt’s creativity aren’t beyond the scope and express the specific content of European culture being in the final – intentional - period of its development. The peculiarity of these phenomena is conditioned by intention modeling, aimed at the research of accomplished cultural formation based on the actualization such basic principles of intentionalism as phenomenologism, prognostics as well as peripherality, intro-retrospection and compilation, extention in their phenomenological and prognostics content.
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Opanasiuk, Oleksandr. "Intentionally-Cultural Aspects of the Tintinnabuli Style and Сreativity of Arvo Pärt". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, № 2 (26 грудня 2018): 12–26. http://dx.doi.org/10.31866/2616-7581.2.2018.153371.

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Skipp, Benjamin. "OUT OF PLACE IN THE 20TH CENTURY: THOUGHTS ON ARVO PÄRT'S TINTINNABULI STYLE." Tempo 63, no. 249 (2009): 2–11. http://dx.doi.org/10.1017/s0040298209000229.

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Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of these procedures has naturally resulted in a diminished sense of human labour within the compositional process and, at times, the total loss of a composer's authorial voice. The tintinnabuli music of Arvo Pärt stands out against the general tendency of such repetitive-based composers to harness the latest technology, to the extent that some commentators have baulked at the term ‘minimalist’ as an appropriate category. Robert Schwarz, for example, believes ‘neo-medievalist’ to capture something of Pärt's particular adoption of a supposedly pre-modern, non-technological attitude, while Josiah Fisk opts for the ‘new simplicity’ to describe (negatively) Pärt's monochromaticsm.
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Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.
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Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's ‘Credo’." Tempo, no. 211 (January 2000): 16–20. http://dx.doi.org/10.1017/s004029820000735x.

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The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of no less a person than Tikhon Khrennikov, the all-powerful general secretary of the Soviet Composers’ Union. Indeed at the Third All– Union Congress of Soviet Composers held in Moscow in March 1962 Khrennikov singled out Pärt for criticism.
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Cohal, Dragoș-Mihai. "Da Pacem Domine by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 261–75. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.16.

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The piece “Da pacem Domine” (Give us peace, O Lord), by Arvo Pärt was inspired by a Gregorian antiphon from the 9th century. Written in the original tintinnabuli style, the piece uses numerous compositional techniques belonging to the early Renaissance period called Cantus firmus, parallel organum, faux bourdon, Landini cadence or anticipations, but also and even a modern way of vocal scoring: the “pointillistic polyphony”. The work is divided into four sections, corresponding to the four verses of the prayer and the gravitational centre of the music is D. To impart expressive meaning to the musical performance, the interprets, both the conductor or singers can consider the following elements: homogeneity in individual voices and ensemble performance, different singing modalities (legato/non-legato) alternating between moments of cadence and the rest of the piece, the technique of attack and sound placement, finding and maintaining an appropriate inner state reflecting the ideas of the text and the general character of the piece. Keywords: Da pacem Domine, Arvo Pärt, style, interpretation, analyse, conductor, guide
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Dissertations / Theses on the topic "The style of tintinnabuli"

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Kongwattananon, Oranit. "Arvo Pärt and Three Types of His Tintinnabuli Technique." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271844/.

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Arvo Pärt, an Estonian composer, was born in 1935. Most of the works at the beginning of his career were for piano in the neo-classical style. After that, he turned his interest to serial music and continued creating works with serial techniques throughout the 1960s. After his "self-imposed silence" period (during the years 1968-1976), Pärt emerged with a new musical style, which he called tintinnabuli. Although, this technique was influenced by music from the medieval period, the texture and function of its musical style cannot be described easily in terms of any single musical technique of the past. This study explores the evolution of Arvo Pärt's tintinnabuli technique in its first decade 1976-1985, which is divided into three different types. It provides musical examples from the scores of selected works, Für Alina, Cantus in Memory of Benjamin Britten, Cantate Domino canticum novum, Missa Sillabica, Stabat Mater and Es sang vor langen Jahren, and their analyses with supporting interpretative sketches. The goal of this thesis is to provide the reader a basis for understanding and recognizing the different types of Pärt's tintinnabuli technique.
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May, Christopher Jonathan. "System, gesture, rhetoric : contexts for rethinking tintinnabuli in the music of Arvo Pärt, 1960-1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b54c2749-f35b-4fdc-91d7-8fd1d28e91b3.

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This thesis addresses critical strategies that have been used, or might be used, to approach Pärt's tintinnabuli music. It has three main objectives: to question prevalent narratives drawn around the tintinnabuli concept, to suggest interpretative frameworks that could yield fresh insights into that concept's 'meaning', and to introduce new and neglected materials to anglophone Pärt discourse. In studying the mediating role of the tintinnabuli scholar, I also confront some of the ethical challenges associated with research on living composers. This project places special emphasis on localised narratives of production and influence in Pärt's music, and draws extensively on Estonian primary source material. A major hermeneutic guide has been the composer's 1994 description of seeking 'the appropriate system for the gesture', and this idea figures in each of the four main chapters. Chapter 1 describes and questions existing knowledge around tintinnabuli, approaching this task through a study of "Wenn Bach Bienen Gezüchtet Hätte ...", a work chosen for its critically fertile 'cusp' status. Chapter 2 concentrates on Pärt's explorations of 'Soviet serialism' from 1960-3, engaging with withdrawn and film scores in addition to the well-known "Nekrolog". I discuss this music in terms of a complex freedom-constraint interplay, and suggest links to the tintinnabuli style. Taking "Sarah Was Ninety Years Old" as a case study, Chapter 3 turns to listener-oriented frameworks of musical meaning. I offer an experiential reading of the piece that places tintinnabuli in dialogue with body-based theories of cognition. Lastly, Chapter 4 addresses texted tintinnabuli. I build up a reading of "Miserere" in terms of 'musical rhetoric', comparing Pärt's compositional strategies to those used by Josquin des Prez in the 1503 motet "Miserere Mei, Deus". I also consider the implications of music-rhetorical analogy for wider understandings of the 'tintinnabuli' concept.
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Votta, Junior Alfredo. "A musica tintinabular de Arvo Part." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284022.

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Orientador: Denise Hortencia Lopes Garcia<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Arte<br>Made available in DSpace on 2018-08-14T23:08:27Z (GMT). No. of bitstreams: 1 VottaJunior_Alfredo_M.pdf: 13778431 bytes, checksum: cbba6684483b3568f6d78a26e474efea (MD5) Previous issue date: 2009<br>Resumo: O compositor estoniano Arvo Pärt, nascido em 1935 e radicado na Alemanha desde os anos 1980, tem sido objeto de atenção do mundo musical por sua peculiar linguagem modal baseada na técnica tintinnabuli, formulada e nomeada pelo próprio Pärt. Esta técnica se baseia na ideia de utilização exclusiva das três notas de uma tríade em ao menos uma das vozes da textura musical. Esta técnica tem sido utilizada por Pärt desde meados dos anos 1970. Sua obra apresenta também numerosas afinidades com a música medieval, arte estudada por Pärt nos anos de interrupção de seu trabalho composicional que se prolongaram de 1968 até 1976. O canto gregoriano ocupou lugar de destaque nestes estudos, sendo por esta razão importante para a compreensão de sua obra. São apontados também, por inúmeras fontes (trabalhos acadêmicos, encartes de gravações e textos críticos jornalísticos), vínculos da obra de Pärt com o minimalismo, que se manifestam sobretudo no ideal de stasis, nos processos aditivos e nos ciclos. As técnicas desenvolvidas por Pärt, bem como aquelas que se podem relacionar a ele, são fértil campo para a formulação de novas ideias composicionais e mesmo para o reencontro com ideias antigas que podem fertilizar a expressão musical atual.<br>Abstract: Estonian composer Arvo Pärt, born in 1935 and living in Germany since the 1980s, has been the object of close attention by the musical world due to his peculiar modal language based on his own tintinnabuli technique. This technique builds upon the exclusive use of the three notes of a triad in at least one of the voices of a given musical texture. Pärt has been using this method since the mid-seventies. His work displays great affinity with medieval music as well. The music of the Middle Ages was studied by Pärt during his period of compositional silence from 1968 to 1976. Since that includes especially Gregorian chant, this genre is crucial for proper understanding of Pärt's work. Numerous sources (academic papers, recordings' booklets and press writings) have also pointed resemblance of Pärt's compositions with minimalism chiefly due to the ideal of stasis, additive processes and cycles. Pärt-developed and -related techniques are a fertile environment for the creation of new compositional ideas and a new approach towards ancient ideas as a means to contribute with current musical expression.<br>Mestrado<br>Mestre em Música
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De, Ciantis S. M. "The relationships between leadership style, cognitive style and learning style : An exposition of management style dimensions." Thesis, University of Hertfordshire, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384474.

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Pagojienė, Daiva. "Essay style." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090623_100350-16939.

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According to such functional stylistic features as social preserves, content and the prevailing function Lithuanian essays can be ascribed to three variations: publicistic, scientific and literary style. The major part of essays is dominated by the features of expressive and analytical sub-style of the publicistic style. Essays are also written in the field of liberal arts and natural sciences. In the analysed period the Lithuanian essay surpassed the dividing line between the publicistic and creative literature – texts of fictional content may be called essays.<br>Pagal tokius funkcinius stilistinius požymius kaip visuomenės veiklos sritis, turinys ir vyraujanti funkcija lietuvių esė galima priskirti trims atmainoms: publicistiniam, moksliniam ir meniniam stiliui. Didžiojoje jų dalyje vyrauja publicistinio stiliaus ekspresyviojo bei analitinio postilio požymiai. Rašoma esė ir humanitarinių bei gamtos mokslų srityje Tiriamuoju laikotarpiu lietuvių esė peržengė ribą, skiriančią publicistiką ir meninę literatūrą – esė pavadinami fikcinio turinio tekstai.
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Gadd, Robin Neal. "Theorising style." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310571.

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Buriak, Olha. "Couple style." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13040.

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Hurst, Theresa Charlotte. "Construction of Good Citizens and the Public School System:Democratic American Style, Communist Style, and Nazi Germany Style." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1108572571.

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Farrell, Evann Anne. "Killer Style: An Investigation of Rodney Alcala’s Street Style Photography." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou159792067991252.

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Khan, Arsalan. "Management and Leadership Style: Is Style Influenced by Engineering Education?" TopSCHOLAR®, 2017. http://digitalcommons.wku.edu/theses/1976.

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Leadership Development Programs (LDPs) programs are employed by firms globally in different multiple manners that are aimed at accelerating the development and growth of highly capable candidates. Among these candidates, depending on the particular LDP, may be those possess engineering skills typically afforded through engineering education as measured by completion of an engineering degree. Infrastructure reductions might be afforded corporations if multiple LDPs could be supplanted with one program such as an Engineering Leadership Development Program. In practice, however, economic constraints limited the total sample population of this category to 67 (48 with engineering degrees and 15 without). Employing SPSS Sample Power 3, based on the pilot testing for CPMs, 113 subjects per group (with and without engineering degrees - totaling 226) would be required to yield a power of 80%, and of the 350 received completed surveys received, CPMs meeting the desired criteria accounted for only 63 (18%) of the total number of rated organizational leaders. Consequently, while all testing included the CPM group, the scope was expanded to also include managers with and without PMI certifications as well as managers with and without engineering degrees. The first research hypothesis was Ho: There is no affiliation amongst Transformational Leadership (TL) and engineering education. Thus, the author’s aim is to determine the role, if any, that engineering education plays in perceived leadership style as exhibited by CPMs and non-CPMs holding engineering degrees (e.g. EE, ME, IE, etc.) versus the same without engineering degrees. A secondary goal is to determine, within the management category, which style (transformational or transactional) serves as the dominant style of leadership. With this in mind, the independent variable, CPMs with and without engineering degrees, was operationally defined consistent with this Project.
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Books on the topic "The style of tintinnabuli"

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Hermann, Conen, ed. Arvo Pärt: Die Musik des Tintinnabuli-Stils. Dohr, 2006.

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Andy, Warhol. Style, style, style. Little, Brown, 1997.

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Freeborn, Dennis. Style. Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24710-3.

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Elise, Loehnen, and Dragt Annemarie 1959-, eds. Style. 2nd ed. Blossom Books, 2011.

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Beryl, Meyer, ed. Style. Berkley Pub. Group, 1995.

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Asharya, Kat. 6 X Style: (Six Style Icons). the author, 2013.

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Aragon. Treatise on style =: Traité du style. University of Nebraska Press, 1991.

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photographer, Gamal Tony M., Pagkalinawan B. J. photographer, Product Development and Design Center of the Philippines, and Philippine Homestyle and Holiday Décor Association, eds. Abaca @ home: Home. style. life. life. style. home. home. life. style. Design Center of the Philippines (DCP) and the Philippine Homestyle and Holiday Décor Association (PhilHHDA), 2015.

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Swift, Penny. Outdoor style. Struik, 1993.

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Style, style, style. Bulfinch Press, 1997.

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Book chapters on the topic "The style of tintinnabuli"

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Shelley, Cameron. "Style." In Studies in Applied Philosophy, Epistemology and Rational Ethics. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52515-0_4.

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Lake, Peter, and Robert Drake. "Style." In Information Systems Management in the Big Data Era. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13503-8_4.

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Stueben, Michael. "Style." In Good Habits for Great Coding. Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3459-4_3.

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Hartwig, Melinda K. "Style." In A Companion to Ancient Egyptian Art. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch3.

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Thorne, Sara. "Style." In Mastering Advanced English Language. Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13645-2_3.

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Smith, Stan. "Style." In W. B. Yeats: A Critical Introduction. Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20918-7_4.

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Daggett, Mark E. "Style." In Expert JavaScript. Apress, 2013. http://dx.doi.org/10.1007/978-1-4302-6098-1_7.

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Vercellone, Federico. "Style." In Lecture Notes in Morphogenesis. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_114.

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Pinotti, Andrea. "Style." In Handbook of Phenomenological Aesthetics. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_65.

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Rose, Jean. "Style." In The Mature Student’s Guide to Writing. Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-05027-4_4.

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Conference papers on the topic "The style of tintinnabuli"

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Lai, Wen, Viktor Hangya, and Alexander Fraser. "Style-Specific Neurons for Steering LLMs in Text Style Transfer." In Proceedings of the 2024 Conference on Empirical Methods in Natural Language Processing. Association for Computational Linguistics, 2024. http://dx.doi.org/10.18653/v1/2024.emnlp-main.745.

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Yang, Hyeri, Hyeonbeom Heo, Junyoung Hong, Ye Ju Kim, and Kyungjae Lee. "Selective Style Gaussian: Enabling Localized Style Transfer in 3D Scenes." In 2024 International Technical Conference on Circuits/Systems, Computers, and Communications (ITC-CSCC). IEEE, 2024. http://dx.doi.org/10.1109/itc-cscc62988.2024.10628224.

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Talemi, Niloufar Alipour, Hossein Kashiani, and Fatemeh Afghah. "Style-Pro: Style-Guided Prompt Learning for Generalizable Vision-Language Models." In 2025 IEEE/CVF Winter Conference on Applications of Computer Vision (WACV). IEEE, 2025. https://doi.org/10.1109/wacv61041.2025.00605.

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Amorim, Glauco F., Joel A. F. dos Santos, and Débora C. Muchaluat-Saade. "STyLe." In Webmedia '16: 22nd Brazilian Symposium on Multimedia and the Web. ACM, 2016. http://dx.doi.org/10.1145/2976796.2976861.

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Lee, DaYeon, and Seungkyu Lee. "Style Transfer with Gesture Style Generator." In SA '24: SIGGRAPH Asia 2024 Posters. ACM, 2024. https://doi.org/10.1145/3681756.3697972.

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Fujiwara, Haruo, Yusuke Mukuta, and Tatsuya Harada. "Style-NeRF2NeRF: 3D Style Transfer from Style-Aligned Multi-View Images." In SA '24: SIGGRAPH Asia 2024 Conference Papers. ACM, 2024. https://doi.org/10.1145/3680528.3687643.

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Zuo, Zhiwen, Lei Zhao, Shuobin Lian, et al. "Style Fader Generative Adversarial Networks for Style Degree Controllable Artistic Style Transfer." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/693.

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Abstract:
Artistic style transfer is the task of synthesizing content images with learned artistic styles. Recent studies have shown the potential of Generative Adversarial Networks (GANs) for producing artistically rich stylizations. Despite the promising results, they usually fail to control the generated images' style degree, which is inflexible and limits their applicability for practical use. To address the issue, in this paper, we propose a novel method that for the first time allows adjusting the style degree for existing GAN-based artistic style transfer frameworks in real time after training. Our method introduces two novel modules into existing GAN-based artistic style transfer frameworks: a Style Scaling Injection (SSI) module and a Style Degree Interpretation (SDI) module. The SSI module accepts the value of Style Degree Factor (SDF) as the input and outputs parameters that scale the feature activations in existing models, offering control signals to alter the style degrees of the stylizations. And the SDI module interprets the output probabilities of a multi-scale content-style binary classifier as the style degrees, providing a mechanism to parameterize the style degree of the stylizations. Moreover, we show that after training our method can enable existing GAN-based frameworks to produce over-stylizations. The proposed method can facilitate many existing GAN-based artistic style transfer frameworks with marginal extra training overheads and modifications. Extensive qualitative evaluations on two typical GAN-based style transfer models demonstrate the effectiveness of the proposed method for gaining style degree control for them.
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Ataer-Cansizoglu, Esra, Hantian Liu, Tomer Weiss, et al. "Room Style Estimation for Style-Aware Recommendation." In 2019 IEEE International Conference on Artificial Intelligence and Virtual Reality (AIVR). IEEE, 2019. http://dx.doi.org/10.1109/aivr46125.2019.00062.

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Park, Dae Young, and Kwang Hee Lee. "Arbitrary Style Transfer With Style-Attentional Networks." In 2019 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2019. http://dx.doi.org/10.1109/cvpr.2019.00603.

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Brand, Matthew, and Aaron Hertzmann. "Style machines." In the 27th annual conference. ACM Press, 2000. http://dx.doi.org/10.1145/344779.344865.

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Reports on the topic "The style of tintinnabuli"

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Barberis, Nicholas, and Andrei Shleifer. Style Investing. National Bureau of Economic Research, 2000. http://dx.doi.org/10.3386/w8039.

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The HP Cambridge Partnership for Education EdTech Fellowship, The HP Cambridge Partnership for Education EdTech Fellowship. Style Guide. Open Development & Education, 2023. http://dx.doi.org/10.53832/opendeved.0292.

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Morgan, Jon. XML Style Guide. Defense Technical Information Center, 2015. http://dx.doi.org/10.21236/ada627623.

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Haralson, Ricky L. 'Missionary Style' Only. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada631465.

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Carlin, Bruce, Li Jiang, and Stephen Spiller. Learning Millennial-Style. National Bureau of Economic Research, 2014. http://dx.doi.org/10.3386/w20268.

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Flanagan, H., and S. Ginoza. RFC Style Guide. RFC Editor, 2014. http://dx.doi.org/10.17487/rfc7322.

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Brooks, Christopher, and Edward A. Lee. Ptolemy Coding Style. Defense Technical Information Center, 2014. http://dx.doi.org/10.21236/ada624393.

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Addison, Victor G., and Jr. Coercive Diplomacy American-Style. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada325572.

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Meyer, S. Soviet Style Theater Assessments. Defense Technical Information Center, 1989. http://dx.doi.org/10.21236/ada269791.

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Brown, Stephen, and William Goetzmann. Hedge Funds With Style. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8173.

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