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1

Boyd, Adrian. Composition, structure and properties of sputter deposited calcium phosphate thin films. The Author], 2000.

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2

H, Mueller Carl, and NASA Glenn Research Center, eds. Interplay between thin film ferroelectric composition, microstructure, and microwave phase shifter performance. National Aeronautics and Space Administration, Glenn Research Center, 2003.

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3

J, Aziz Michael, Materials Research Society, and Materials Research Society Meeting, eds. Morphological and compositional evolution of thin films: Symposium held December 2-5, 2002, Boston, Massachusetts, U.S.A. Materials Research Society, 2003.

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4

(Editor), J. Mirecki Millunchick, A. L. Barabasi (Editor), N. A. Modine (Editor), and E. D. Jones (Editor), eds. Morphological and Compositional Evolution of Heteroepitaxial Semiconductor Thin Films: Symposium K Held April 24-27, 2000, San Francisco, California (Materials ... Society Symposia Proceedings, V. 618.). Materials Research Society, 2000.

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5

Interplay between thin film ferroelectric composition, microstructure, and microwave phase shifter performance / Carl H. Mueller ... [et al.] ; prepared for the 13th International Symposium on Integrated Ferroelectrics, sponsored by the Ultrasonics, Ferroelectrics, and Frequency Control Society, Nara, Japan, May 28-June 1, 2002. National Aeronautics and Space Administration, Glenn Research Center, 2003.

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6

Padmanabhan, Mekala. Orchestra and song. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0011.

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Orchestras have played a seminal role in creating a vibrant soundscape in Indian films since inception. From the earliest skeletal complement comprising violin, tabla and harmonium in silent films to the dynamic and expansive orchestral colour, timbre and styles of the twenty-first century, Tamil film orchestral sonorities have drawn global attention to the ‘Kollywood sound’. Music directors have adopted a cross-cultural approach to musical composition, enriching film background scores and song interludes while establishing film music’s distinctiveness as a musical genre. This chapter explores
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7

Mitchell, Richard G. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0026.

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As a practitioner of film music composition, I make music that is shaped by its relationship with a moving picture. Music’s role in most commercial films, whether documentary or drama, is to help direct the audience’s emotional response in synchronization with the action. In this sense music shapes the audience’s feelings every bit as much as the action....
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8

J, Valco George, and United States. National Aeronautics and Space Administration., eds. Sequentially evaporated thin Y-Ba-Cu-O superconductor films: Composition and processing effects. National Aeronautics and Space Administration, 1988.

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9

E, Jabbour Ghassan, Koinuma Hideomi, and Society of Photo-optical Instrumentation Engineers., eds. Combinatorial and composition spread techniques in materials and device development II: 22-23, 25 January, 2001, San Jose, USA. SPIE, 2001.

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10

Aspell, Luke. Shivers. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325970.001.0001.

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Shivers (1975) was David Cronenberg's first commercial feature and his first horror film. In a modern apartment block, a scientific project to unleash the id results in the equation of passion with contagion and predation. Because the writer-director's imaginative landscape arrived in the genre fully formed, the unique forms of this début have often been overlooked or mistaken for shortcomings. Cronenberg's most comedic film until Map to the Stars, Shivers is also his most spectacularly unnerving, throwing more images of extreme behavior at us than any of his subsequent films; it remains, with
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11

Muzyczuk, Daniel. Discontinuities and Resynchronisations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0007.

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This chapter explores three distinct attempts in Polish film history to use the medium for research into synaesthesia. The first can be found in the films of Franciszka and Stefan Themerson made before the Second World War and after their emigration to Great Britain. Their experimental attitude is exposed through analysis of their work from 1944 entitled The Eye and the Ear. Second, the Experimental Studio of Polish Radio, established in the wake of Stalinism, became an important space where new approaches into investigating of the sound and vision relationship could develop. Primarily oriente
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12

E, Jabbour Ghassan, and Society of Photo-optical Instrumentation Engineers., eds. Combinatorial and composition spread techniques in materials and device development: 26 January 2000, San Jose, California. SPIE, 2000.

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13

Hoel, Jon. Stalker. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.001.0001.

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This book examines Andrei Tarkovsky’s film Stalker, one of the most powerful science-fiction films ever made, with the goal of unraveling the film’s many intricacies, from its difficult production and inspecting its many cinematic elements. Included are examinations of composition and cinematography, the many philosophies, poetic and literary influences, and the enormity of its influence across the following generations. The film juxtaposes its speculative elements with a gripping tale of human fragility and introspection. It is as much a movie about the complexity of the human as it is the my
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14

Ehrlichmann, Marcel. Composition Notebook: Nauls Macready Childs and Blair - Thing Fan Film Movie Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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15

Rice, Alison, ed. Transpositions. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621112.001.0001.

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Transpositions examines a variety of new Euro-Mediterranean literary, cinematic, artistic, and musical works that are inspired in many senses by the movements of contemporary migration. Divided into four parts, the collective volume focuses first on diverse representations of migration in chapters that explore “Mediterranean Crossings.” It then turns to questions of translation, multilingualism, and plurality in chapters united under the heading “Multilingual Aesthetics and Poetics.” In reflections on creative expression in genres ranging from theatrical works to films to the fine arts, the th
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16

Schmitt, Daniel. Composition Notebook: It's a Filmmaking Thing You Wouldn't Understand Fan Film Movie Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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17

Salzberg, Ana. Produced by Irving Thalberg. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451048.001.0001.

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Irving Thalberg was not just a critically important producer during Hollywood’s Golden age, but also an innovative theorist of studio-era filmmaking. Drawing on archival sources, this is the first book to explore Thalberg’s insights into casting, editing, story composition and the importance of the mass audience from a theoretical perspective. The book argues that Thalberg’s views represent a unified conceptual understanding of production – one that is still significant in the modern day. It examines Thalberg’s impact on film-historical turning points, including the transition from silent to s
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18

Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.

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Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diege
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19

Simon, Gleeson. Part I The Elements of Bank Financial Supervision, 4 The Composition of Bank Capital. Oxford University Press, 2018. http://dx.doi.org/10.1093/law/9780198793410.003.0004.

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This chapter discusses the concept of bank capital. The essence of regulatory capital requirements as originally conceived was to procure that banks had sufficient capital to absorb both expected and unexpected losses. However, recent market developments have indicated two different but important functions of capital. Going Concern Capital is that capital which can absorb losses, both when the firm is in a state of financial health and during periods of financial stress, thus maintaining market confidence in the financial system and avoiding disruption to depositors. Gone Concern Capital is th
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20

Caps, John. First Cadence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0008.

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This chapter details the start of Mancini's musical evolution in the 1960s. If the word cadence can be defined as the notes or chords that resolve a melody, or at least lead to a new development, then this next transitional period in Mancini's career can be seen as his first cadence. It was the first sign of real evolution since he had come into his own as a jazz-pop film composer, demonstrating not only a contemporary enrichment of the harmonies and instrumental blends he had learned in the big band era, but also a broadening of the dramatic architecture of his orchestral writing into scores
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21

Goldmark, Daniel, and Kevin C. Karnes, eds. Korngold and His World. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.001.0001.

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Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical
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22

Graziosi, Barbara. Homer: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199589944.001.0001.

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Homer’s mythological tales of war and homecoming, the Iliad and the Odyssey, are widely considered to be two of the most influential works in the history of world literature. Yet their author, ‘the greatest poet that ever lived’, is something of a mystery. Homer: A Very Short Introduction considers Homer’s famous works, their composition, and their impact on readers throughout the centuries. It also shows how scholars’ notes on ancient manuscripts still influence our interpretation of Homer’s work today. Homer’s poems have inspired artists, writers, philosophers, musicians, playwrights, and fi
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23

Adleyba, Dzhulyetta. The stylistic and poetical-compositional system of a fairy tale. Volume 1 : Oral stylistic foundations of a fairy tale. Experimental study on the Abkhaz material. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1473.978-5-317-06459-4_v1.

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In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz m
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24

Mollaghan, Aimee. Rebalancing the Picture-Sound Relationship. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0011.

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This chapter explores how experimental filmmaker Lis Rhodes subverts the hegemonic relationship between sound and image across her body of moving image work in order to highlight and address inequitable power structures and the absence of the female voice in music and society. This is achieved on a material level by translating the optical soundtrack into visual presentations in her direct animation Dresden Dynamo (1971–72) and within an expanded, performative context in her audiovisual composition Light Music (1975). Further to this, Rhodes’s later films, Light Reading (1978) and A Cold Draft
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25

Beal, Amy C. Big Band Theory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0008.

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This chapter focuses on the Carla Bley Band, a ten-person big band Bley had spent several years establishing. The Carla Bley Band effectively became the instrument for which she composed, the vehicle through which she could let her sonic imagination run free. The establishment of her own large ensemble following the creation of her recording studio, record label, and distribution service was part of a logical chain of events, one indicating a further step in Bley's ongoing quest for total artistic control in the creation, administration, and dissemination of her music. This freedom allowed Ble
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26

Ramnarine, Tina K., ed. Global Perspectives on Orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.001.0001.

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This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an instituti
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27

Wilsey, Brian J. Trophic Cascades in Grasslands. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198744511.003.0005.

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Top predators have effects that can ‘cascade down’ on lower trophic levels. Because of this cascading effect, it matters how many trophic levels are present. Predators are either ‘sit and wait’ or ‘active’. Wolves are top predators in temperate grasslands and can alter species composition of smaller-sized predators, prey, and woody and herbaceous plant species, either through direct effects or indirect effects (‘Ecology of Fear’). In human derived grasslands, invertebrate predators fill a similar ecological role as wolves. Migrating populations of herbivores tend to be more limited by food tha
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28

Hickman, Roger. More Sondheim. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0017.

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Sondheim provided original music for five movies: one or more songs forThe Seven-Per-Cent Solution(1976),Dick Tracy(1990), andThe Birdcage(1996), and scores forStavisky(1974) andReds(1981). The two scores reflect divergent trends in this era. Warren Beatty’sRedsuses music sparingly, and Alain Resnais’sStaviskycontains a complicated score that reflects compositional trends of the 1930s. Sondheim’s songs for the other films are crafted to entertain and to further their respective stories. ForDick Tracy, Sondheim composed five songs; several accompany montages, others crosscut with live action, a
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29

Gann, Kyle. Incredibly Slowly Our View Begins to Slide. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035494.003.0004.

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This chapter comprises the years following the demise of the ONCE festivals as Ashley moves to Oakland, California and takes up a professorship at Mills College, from where he would teach electronic music. As best he could in new circumstances, he continued the kind of activities he had directed in Ann Arbor. However, despite this new and promising life on the West Coast, it was a depressing period for Ashley. His composing had slowed to a standstill, and he had no plans to continue. With the demise of ONCE, nobody, he felt, was interested in his kind of music, and he did not want to just writ
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30

Walden, Joshua S. Musical Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.001.0001.

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This book explores the wide-ranging but underexamined genre of musical portraiture. It focuses in particular on contemporary and experimental music created between 1945 and the present day, an era in which conceptions of identity have changed alongside increasing innovation in musical composition as well as in the uses of abstraction, mixed media, and other novel techniques in the field of visual portraiture. In the absence of physical likeness, an element typical of portraiture that cannot be depicted in sound, composers have experimented with methods of constructing other attributes of ident
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31

Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of f
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32

Ramírez, Dixa. Colonial Phantoms. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479850457.001.0001.

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Colonial Phantoms argues that Dominican cultural expression from the late nineteenth century to the present day reveals the ghosted singularities of Dominican history and demographic composition. For centuries, the territory hosted a majority mixed-race free population whose negotiations with colonial power were deeply ambivalent. Disquieted by the predominating black freedom, Western discourses ghosted—mis-categorized or erased—the Dominican Republic from the most important global conversations and decisions of the 19th century. What kind of national culture do you create when leaders of the
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33

Scott, Andrew G. Emperors and Usurpers. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190879594.001.0001.

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This historical commentary examines books 79(78)–80(80) of Cassius Dio’s Roman History, which cover the period from the death of Caracalla in 217 B.C. to the reign of Severus Alexander and Cassius Dio’s retirement from political life in A.D. 229 Cassius Dio, a Roman senator, provides a valuable eyewitness account of this turbulent period, which was marked by the assassination of Caracalla; the rise of Macrinus, Rome’s first equestrian emperor, and his subsequent overthrow; the tempestuous, and by all accounts peculiar, reign of Elagabalus; and the continuation of the Severan dynasty under the
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34

Grace, Nancy M., ed. The Beats. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979954.001.0001.

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This volume is the first-ever collection devoted to teaching Beat literature in high school to graduate-level classes. Essays address teaching topics such as the history of the censorship of Beat writing, Beat spirituality, the small press revolution, Beat composition techniques and ELL, Beat multiculturalism/globalism and its legacies, techno-poetics, the road tale, Beat drug use, the Italian-American Beat heritage, Beats and the visual arts of the 1960s, the Beat and Black Mountain confluence, Beat comedy, Beat performance poetry, Beat creative non-fiction, West coast-East/coast Beat communi
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