Journal articles: '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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Gomeniuk, Svitlana, та Nazarii Tarasenko. "Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 137 (30 жовтня 2023): 95–109. http://dx.doi.org/10.31318/2522-4190.2023.137.294668.

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Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the works of A. Pärt—work. The opportunity to clarify our ideas about the creative method of one of the most performed contemporary composers, as well as the use of rare works by A. Pärt as research material, ensures the relevance of the article. In addition, the performer's view of the choral work of A. Pärt, reflected in the article, has a certain novelty. The aim of the article is to identify the specifics of the composer's work with the verbal text, to establish the ways of interaction between the number and the word in the choral works of A. Pärt, to substantiate the choice of performing means that are adequate in terms of style. Main results and conclusions: 1) both instrumental and choral works by A. Pärt are algorithmic compositions based on numerical series as the fundament of the melodic voice; 2) in both groups of works, the numerical series are not formed on immanent musical patterns, but are borrowed from outside; 3) the numerical series of the instrumental compositions “Für Alina” and “Cantus in Memory of Benjamin Britten” are increasing and/or decreasing arithmetic progressions: each subsequent modus-block of the melodic voice contains a tone more/less than the previous one; 4) the numerical sequences of works with verbal text are based on the syllabic structure of the word: in the works "Missa Syllabica", "Cantate Domino" the number of sounds in each modus-block corresponds to the number of syllables in the word. A hypothetical judgment is made that the work “Summa” is a creative experiment of Arvo Pärt: the composer uses the method of forming numerical series not on the basis of the word (as in other choral compositions), but on the basis of number (as in instrumental compositions). Later, the composer revised this approach to working with the word, he’s created an instrumental version of this work for string quartet. The way the tintinnabuli technique presents in A. Pärt's choral works emphasizes the priority of the verbal text.

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Zeverino, Silvia. "Arvo Pärt e l’evoluzione dello stile Tintinnabuli nelle opere per violino. Tabula rasa (1977) e Fratres (1980)." Ex Chordis, no. 1 (November 15, 2023): 91–107. http://dx.doi.org/10.54103/3034-8781/22519.

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Il presente saggio è una versione abbreviata e aggiornata del mio lavoro di Tesi Triennale sui principali brani per violino di Arvo Pärt. In seguito al mio diploma accademico di I livello ho avuto un’ulteriore opportunità per conoscere il compositore estone grazie alla mia visita all’Arvo Pärt Centre di Laulasmaa (Estonia) in occasione degli Arvo Pärt Days 2022; motivo per cui ho deciso di approfondire due dei brani già analizzati nel mio precedente lavoro, Tabula Rasa (1977) e Fratres (1980). Il risultato di questo studio è allo stesso tempo specifico e generale; il suo scopo principale è aumentare la conoscenza sulla figura di Arvo Pärt, liberandola da tutti gli stereotipi associati alla sua musica. La sua musica, infatti, è differente da tutto il resto. In via preliminare, il saggio analizza la sua personale tecnica compositiva, affrontando alcuni concetti chiave che torneranno più avanti nelle analisi di Tabula Rasa e Fratres. Poi, durante l'analisi dei due brani in questione, si cercherà di riscontare tecniche musicali ricorrenti nell’uso del violino e nella sua interazione con strumenti differenti.

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Tarasenko, Nazarii. "Arvo Pärt’s “Sieben MagnificatAntiphonen”: rethinking tradition." Aspects of Historical Musicology 35, no. 35 (2024): 198–224. http://dx.doi.org/10.34064/khnum2-35.11.

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Statement of the problem. In the Ukrainian musical community both, performing and scientific, Arvo P&#228;rt’s works arouses interest, although their presence in the repertoire of our musicians and in the studies of musicologists is insufficient. The reason for this lies, in particular, in the misunderstanding of the specifics of A. P&#228;rt’s style. The feigned simplicity, lack of external eventfulness gives rise to the opinion that A. P&#228;rt’s works cannot be an accent of the concert program, it is difficult to attract the attention of the listener for those works. In such conditions, the role of research is important, which would explain and comment on the principles of A. P&#228;rt’s aesthetics and technique, reveal the depth of the content of his work and the perfection of his stylistic solutions. The mentioned problem is especially acute in relation to A. P&#228;rt’s choral music, which, compared to the instrumental works of the composer, is much less researched and commented on. This article is designed to fill this gap. It focuses on the peculiarities of the embodiment of the sacred word in A. P&#228;rt’s choral cycle “Sieben Magnificat-Antiphonen” on the comparison of the composer’s approach and the Gregorian tradition, as well as on the specifics of the functioning of the “tintinnabuli” technique in the conditions of the choral texture. Objectives, methods, and novelty of the research. The purpose of the study is basing on the analysis of A. P&#228;rt’s choral cycle “Sieben Magnificat-Antiphonen” and its comparison with the corresponding Gregorian chants, to trace how the composer’s interpretation of these texts is consistent with the tradition of the Western Christian rite. The cycle is analyzed for the first time in Ukrainian musicology, which determines the scientific novelty of the study. The research uses general scientific and specifically musicological methods. Among the general scientific ones, there are the comparative (compares the embodiment of the canonical text in the Gregorian monody and the work by a modern composer) and the inductive (based on the analysis of individual parts of A. P&#228;rt’s cycle, the conclusions are drawn about the structure of the whole). The method of analyzing the system of musical instruments in connection with the canonical text is a specifically musicological one. Results and conclusion. As a result of the analysis of the verbal text of the “Seven Antiphons” and its musical embodiment in the Gregorian chants and A. P&#228;rt’s choral cycle, we came to the following conclusions: 1. The verbal text of the antiphons is a seven-part cycle, in which the constituent parts are united by content and structure, and the structural unification is designed to emphasize the main idea of the text: active anticipation of the Nativity of Christ. 2. The constructive unity laid down in the seven short verbal texts of the antiphons realized in the Gregorian chant: all seven antiphons have a similar melody; it alternately changes, reflecting changes in the number of syllables in the verbal text; despite these changes, the key intonations (initial and cadential structures, the method of implementing the pitch mode) remain unchanged in all seven chants. 3. The idea of a cycle in the work by A. P&#228;rt is also realized by musical means, but these means are different than in the Gregorian tradition. The key means of creating a cycle for A. P&#228;rt are not variant repetition (as in the Gregorian chants), but contrast and end-to-end development; the contrast is realized by means of dynamics and choral texture, and the through development – by the tonal organization of the cycle and the specifics of using the “tintinnabuli” technique. The analysis of A. P&#228;rt’s choral cycle confirms: the composer rethinks the tradition, remaining faithful “not to the letter, but to the spirit” of the ancient texts. Without resorting to quoting the Gregorian melody, A. P&#228;rt created an original choral cycle in which the key constructive and meaningful ideas of the texts are embodied in a fresh and convincing way.

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CIZMIC, MARIA. "Transcending the Icon: Spirituality and Postmodernism in Arvo Pärt’s Tabula Rasa and Spiegel im Spiegel." Twentieth-Century Music 5, no. 1 (2008): 45–78. http://dx.doi.org/10.1017/s1478572208000601.

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AbstractThis essay explores the perceptions of value that circulate around Arvo Pärt’s early tintinnabuli works Tabula Rasa (1977) and Spiegel im Spiegel (1978). Western reception hears Pärt’s music as either ‘spiritually deep’ or musically ‘flat’. By understanding how modernist subjectivity translates into standards of musical value, I attempt to dismantle the biases inherent in both camps and go on to consider Pärt’s early tintinnabuli works in terms of both spirituality and postmodernism. Couched in the religious revivalism of the 1970s, Tabula Rasa offers a narrative of transcendence that performs a Neoplatonic model of subjectivity built directly from Orthodox praxis and supplies an alternative to dominant Soviet cultural narratives. By the 1980s Western marketing of tintinnabuli transformed the influence of religion into the visual and linguistic rhetoric of ‘holy minimalism’. Does commodification leech out spiritual ‘depth’ from Pärt’s music? The essay responds to this question by turning to Fredric Jameson’s ‘antinomies of postmodernism’ and an analysis of Spiegel im Spiegel’s musical stasis, process, surface, and depth. While Jameson’s postmodernism still finds value in modernist subjectivity, this essay suggests an alternative way of understanding musical value through a consideration of Pärt reception and experiences of illness.

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Maimets-Volt. "Arvo Pärt's Tintinnabuli Music in Film." Music and the Moving Image 6, no. 1 (2013): 55. http://dx.doi.org/10.5406/musimoviimag.6.1.0055.

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Roeder, J. "Transformational Aspects of Arvo Part's Tintinnabuli Music." Journal of Music Theory 55, no. 1 (2011): 1–41. http://dx.doi.org/10.1215/00222909-1219187.

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Копосова, И. В., and В. Д. Дёмин. "COMPOSING TECHNIQUE IN STRING PIECES OF ARVO PÄRT." Music Journal of Northern Europe, no. 2(14) (July 2, 2018): 1–21. http://dx.doi.org/10.61908/2413-0486.2018.14.2.1-21.

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В статье рассматриваются особенности композиторской техники в сочинениях, созданных Арво Пяртом для струнных инструментов. Хотя этот автор неоднократно высказывался о нейтральном отношении к категории тембра в музыке, совокупный взгляд на его творчество позволяет выявить тяготение Пярта к определённым инструментальным краскам. Звучание струнных находится в их числе. В статье анализируются несколько опусов: «Cantus in Memory of Benjamin Britten», «Trisagion», «These words». Первое демонстрирует опору на союз композиционных приёмов прошлого и настоящего, свойственный многим инструментальным опусам Пярта. Среди них ведущими являются найденные автором принципы tintinnabuli-контрапункта, техника изоритмии, приёмы аддиции и субстрации. Два других произведения опираются на текст православных молитв: он выписан в нотах, но не произносится. Следовательно, в их организации используются закономерности, свойственные вокальным опусам автора. Подводится итог: знакомство с сочинениями для струнных способно составить комплексное представление о композиторском письме Арво Пярта. The peculiarities of composing techniques in pieces for string instruments created by Arvo Pärt are discussed in the article. Despite the fact that this author has many times talked about his impersonal posture to the category of tone in music, a collective view on his works can define his leaning towards some particular instrumental colors, including the sound of string instruments. Several opuses (“Cantus in Memory of Benjamin Britten”, “Trisagion”, “These words”) are analyzed in the article. The first one demonstrates the agreement of composing techniques of the past and the present, which are common for many instrumental opuses of Pärt. The lead among them belongs to tintinnabuli counterpoint principals, the technique of isorhythm, musical techniques of addition and substration. Two other pieces are based on the text of Orthodox prayers, it’s written in notes, but is not pronounced. As a consequence, patterns common for vocals opuses of the author are used in their organization. We can make a conclusion that the acquaintance with the string pieces can give a complex insight into the composing writing of Arvo Pärt.

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Окунева, Е. Г. "Техника перезвонов Пола Рудерса: истоки, принципы, контекст". Научный вестник Московской консерватории 16, № 1(60) (2025): 104–29. https://doi.org/10.26176/mosconsv.2025.60.1.03.

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Статья посвящена особенностям композиционной техники Пола Рудерса, получившей наименование техники перезвонов. Оригинальный метод был разработан датским мастером во второй половине 1970-х годов и с тех пор неустанно совершенствовался. Его истоком стало распространенное в англиканской церкви искусство звонить в несколько колоколов в строго определенной последовательности, контролируемой математическими алгоритмами. Рудерс экстраполирует данные принципы на область музыкальной композиции, заменяя колокола мотивно-тематическими ячейками. В статье рассматриваются базовый материал, с которым работает композитор, и разнообразные приемы его преобразования (извлечение нот из «перезвонной» темы, тональные транспозиции, ритмические увеличения), показывается специфика работы с пермутационными таблицами, выявляются способы организации целостной формы. Принципы техники перезвонов иллюстрируются на примере пьесы для семи инструментов Diferencias (1980). Отдельное внимание уделяется сходству метода Рудерса с иными техниками композиции. В частности, он сопоставляется с серийным способом организации, техникой tintinnabuli Арво Пярта и иерархической системой Пера Нёргора. The article is devoted to the peculiarities of Poul Ruders’ compositional technique, which was named the change ringing technique. The original method was developed by a Danish master in the second half of the 1970s and has been continuously improved since then. Its origin was the widespread art in the Anglican Church of ringing several bells in a strictly defined sequence controlled by mathematical algorithms. Ruders extrapolates these principles into the field of musical composition, replacing bells with motif-themed cells. The article discusses the basic material that the composer works with, various techniques for its transformation (extracting notes from the change ringing theme, tonal transpositions, rhythmic enlargement), the specifics of working with permutation tables, and ways to organize an integrated form. The principles of change ringing technique are illustrated by the example of the piece for 7 instruments, Diferencias (1980). Special attention is paid to the similarity of the Ruders method with other composition techniques. In particular, a comparison is made with the serial method of the organization, Arvo Pärt’s tintinnabuli technique, and Per Nørgaard’s hierarchical system.

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Dalla Valle, Daniela. "Style maniériste, style baroque." Littératures classiques 28, no. 1 (1996): 13–22. http://dx.doi.org/10.3406/licla.1996.2514.

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SPRECHER, SUSAN, ARTHUR ARON, ELAINE HATFIELD, ANTHONY CORTESE, ELENA POTAPOVA, and ANNA LEVITSKAYA. "Love: American style, Russian style, and Japanese style." Personal Relationships 1, no. 4 (1994): 349–69. http://dx.doi.org/10.1111/j.1475-6811.1994.tb00070.x.

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Estevez, Vicky. "Oser le style, son style." Champ lacanien N�10, no. 2 (2011): 151. http://dx.doi.org/10.3917/chla.010.0151.

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Morris, Rosalind C. "Style, Tsotsi-style, and Tsotsitaal." Social Text 28, no. 2 (2010): 85–112. http://dx.doi.org/10.1215/01642472-2009-068.

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Riggle, Nick. "Personal Style and Artistic Style." Philosophical Quarterly 65, no. 261 (2015): 711–31. http://dx.doi.org/10.1093/pq/pqv026.

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Snavely, William B., and John D. McNeill. "Communicator Style and Social Style." Journal of Leadership & Organizational Studies 14, no. 3 (2007): 219–32. http://dx.doi.org/10.1177/1071791907308464.

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Faigenbaum, Avery D., and Chris Polakowski. "Olympic-Style Weightlifting, Kid Style." Strength and Conditioning Journal 21, no. 3 (1999): 73. http://dx.doi.org/10.1519/00126548-199906000-00022.

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Pandya, S. K. "Style." BMJ 295, no. 6613 (1987): 1662–64. http://dx.doi.org/10.1136/bmj.295.6613.1662.

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Mendoza-Denton, Norma. "Style." Journal of Linguistic Anthropology 9, no. 1-2 (1999): 238–40. http://dx.doi.org/10.1525/jlin.1999.9.1-2.238.

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Rooth, Graham. "Style." Psychiatric Bulletin 14, no. 7 (1990): 444–45. http://dx.doi.org/10.1192/pb.14.7.444.

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Thomison, John B. "STYLE." Southern Medical Journal 83, no. 9 (1990): 991–93. http://dx.doi.org/10.1097/00007611-199009000-00002.

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Herschberg-Pierrot, Anne. "Style de genèse et style d'auteur." Romantisme 148, no. 2 (2010): 103. http://dx.doi.org/10.3917/rom.148.0103.

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Maechling, Charles. "Official secrets: British style/ American style." International Journal of Intelligence and CounterIntelligence 2, no. 3 (1988): 359–80. http://dx.doi.org/10.1080/08850608808435070.

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Cardell, Daniel J., and James D. Miller. "IS STYLE MANAGEMENT OUT OF STYLE?" Journal of Applied Corporate Finance 6, no. 4 (1994): 93–97. http://dx.doi.org/10.1111/j.1745-6622.1994.tb00253.x.

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Swinkin, Jeffrey. "The Middle Style/Late Style Dialectic." Journal of Musicology 30, no. 3 (2013): 287–329. http://dx.doi.org/10.1525/jm.2013.30.3.287.

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In this essay, I aim both to elucidate and to problematize Adorno’s reading of Beethoven’s middle and late styles as essentially dichotomous. Specifically, Adorno holds that the middle-style works express the utter interdependency of the subjective and objective spheres in their emphasis upon organic wholeness and totality. By contrast, the late-style works express the alienation of subject from object in isolating and laying bare musical conventions. Yet middle Beethoven, as Adorno himself intimates, often calls organic unity into question, especially with respect to the recapitulation and coda in a sonata-form piece. Moreover, although Adorno does not seem to acknowledge it, the middle style exhibits fragmentation both in partitioning the sonata principle into subprinciples and, more concretely, in partitioning a theme into various subcomponents. Conversely, using Schenkerian techniques, one can expose sub-thematic unity underlying foreground fragmentation in the late works (as demonstrated by Daniel Chua and Kevin Korsyn). Drawing on Schenker’s reading, I use Beethoven’s Piano Sonata in A, op. 101 as a case study. In the second half of the essay I confront the political connotations of Adorno’s argument, again problematizing particular stylistic binarisms with respect to issues of freedom, solidarity, and hope.

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Cooper, Stewart E., and John A. Miller. "Mbti Learning Style-Teaching Style Discongruencies." Educational and Psychological Measurement 51, no. 3 (1991): 699–706. http://dx.doi.org/10.1177/0013164491513021.

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Brown, Michael J. "Politics of Style, Politics as Style." Reviews in American History 44, no. 4 (2016): 653–59. http://dx.doi.org/10.1353/rah.2016.0088.

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Smith, Diane H. "GPO style: U.S. GPO style manual." Government Publications Review 17, no. 6 (1990): 628–29. http://dx.doi.org/10.1016/0277-9390(90)90082-o.

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Lake, Al, and Curtis Cook. "Style: an automated program style analyzer." ACM SIGCSE Bulletin 22, no. 3 (1990): 29–33. http://dx.doi.org/10.1145/101085.101095.

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You, Song, and Guojun Lin. "Multi-style Cartoon Style Migration Study." Scientific Journal of Technology 6, no. 5 (2024): 60–66. http://dx.doi.org/10.54691/6vefqm71.

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Cartoon pictures are a kind of art form that we often contact in our daily life, and generating different styles of cartoon pictures from a given real-life photo is a great promotion for the development of art. Aiming at the current existing methods in generating cartoon images appear in the degree of stylization is insufficient, the generalization ability of the situation is poor, this paper proposes a kind of improvement of the generation of adversarial network: in the generator module to join the adaptive normalization way to improve the generalization ability of the model; at the same time the introduction of the auxiliary discriminator to help the generator style to better present the different styles; in the data processing of this paper on the cartoon image to do guided filtering. The experimental results show that the cartoon image generated by the method of this paper is of higher quality and better effect.

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Stejskal, Jakub. "Visual style hermeneutics: from style to context." World Art 11, no. 2 (2021): 201–27. http://dx.doi.org/10.1080/21500894.2021.1899984.

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Westreich, Allan H., Barry Ritzler, and Joan Duncan. "Relationship between Cognitive Style and Defensive Style." Perceptual and Motor Skills 84, no. 3 (1997): 1011–23. http://dx.doi.org/10.2466/pms.1997.84.3.1011.

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This study examines psychoanalytic psychology, theories of cognitive style, and cognitive developmental psychology to examine the relationship between cognitive style and defensive style. A new set of cognitive styles of visual attention is formulated at the following developmental levels: (1) global, (2) local, (3) global-plus-local at the concrete operational level, and (4) global-plus-local at the formal operational level. 50 subjects were administered global-local sorting tasks, the Sentence Preference Test, the Embedded Figures Test, and the Defense Style Questionnaire. Analysis provided mixed support for the hypothesized cognition-defense relationship. Results suggested that the “pure” character types are not typical and that their styles of cognition and defense are positively correlated, not independent as expected. However, possible measurement problems preclude any firm conclusions at this time.

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Lassalle, Hélène. "Du Style : le style et les styles." Ligeia N°17-18, no. 1 (1995): 67. http://dx.doi.org/10.3917/lige.017.0067.

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Brightman, Harvey J., Robert Elrod, and Ron Hart. "Are Social Style and Cognitive Style Related?" Psychological Reports 59, no. 2 (1986): 834. http://dx.doi.org/10.2466/pr0.1986.59.2.834.

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Baridon, Michel. "Style chinois, style gothique et jardin pittoresque." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 36, no. 1 (1993): 43–54. http://dx.doi.org/10.3406/xvii.1993.1246.

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Peyton, Martha. "Real Estate Investment Style and Style Purity." Journal of Real Estate Portfolio Management 14, no. 4 (2008): 325–34. http://dx.doi.org/10.1080/10835547.2008.12089815.

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Compagnoni, Adriana, and Healfdene Goguen. "Relating Church-Style and Curry-Style Subtyping." Electronic Proceedings in Theoretical Computer Science 45 (January 22, 2011): 1–15. http://dx.doi.org/10.4204/eptcs.45.1.

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Li, Pan, Dan Zhang, Lei Zhao, Duanqing Xu, and Dongming Lu. "Style Permutation for Diversified Arbitrary Style Transfer." IEEE Access 8 (2020): 199147–58. http://dx.doi.org/10.1109/access.2020.3034653.

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Darsinos, Theofanis, and Stephen Satchell. "Measuring style tilting and decomposing style risk." Journal of Asset Management 5, no. 1 (2004): 64–71. http://dx.doi.org/10.1057/palgrave.jam.2240128.

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Hunsaker, Phillip L., and Mary J. Landkamer. "Decision Style, Incongruity Preference and Leadership Style." Psychological Reports 76, no. 1 (1995): 284–86. http://dx.doi.org/10.2466/pr0.1995.76.1.284.

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Comparisons of scores for 215 management students on the Least Preferred Co-worker Scale, the Driver Decision Style Exercise, and the General Incongruity Adaptation Level Self-description Test showed that decision style was positively related to incongruity preference, but neither of these measures was related to leadership style.

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Park, Daewoo. "Gender role, decision style and leadership style." Women in Management Review 11, no. 8 (1996): 13–17. http://dx.doi.org/10.1108/09649429610148737.

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Тайсумова, Х. В., Р. Х. Денильханова, and З. О. Магомедова. "Leadership style" fundamentals of leadership style research." Экономика и предпринимательство, no. 12(137) (May 3, 2022): 722–26. http://dx.doi.org/10.34925/eip.2021.137.12.142.

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В условиях ускорения глобальных процессов успех организации зависит от эффективности ее деятельности в настоящем времени и в перспективе. Проблема повышения качества управления является ведущей проблемой увеличения эффективности современной организации. Актуальность темы исследования обусловлена возрастающим уровнем спроса на талантливых руководителей как огромное дополнительное конкурентное преимущество организации. В статье говорится о том, что стиль руководства определенным образом влияет на успех управленческой деятельности, направленный на достижение конкретных результатов деятельности организации. In the context of accelerating global processes, the success of an organization depends on the effectiveness of its activities in the present and in the future. The problem of improving the quality of management is the leading problem of increasing the efficiency of a modern organization. The relevance of the research topic is due to the increasing level of demand for talented managers as a huge additional competitive advantage of the organization. The article says that the leadership style in a certain way affects the success of management activities aimed at achieving specific results of the organization's activities.

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Journal articles on the topic 'The style of tintinnabuli'

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