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Livres sur le sujet « Reflection »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 25 juillet 2025

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1

Wilson, R. N. Reflecting telescope optics. 2nd ed. Springer, 2004.

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2

Mohamed, Misrah, and Radzuwan Ab Rashid. Reconceptualising Reflection in Reflective Practice. Routledge, 2023. http://dx.doi.org/10.4324/9781003374190.

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3

Wilson, R. N. Reflecting telescope optics. Springer Verlag, 1996.

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4

Merritt, Dennis. Reflection. Amziod, 1992.

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5

Miller, Jonathan. On reflection. Edited by Mendes Valerie D and National Gallery (Great Britain). National Gallery Publications, 1998.

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6

Lyons, Nona, ed. Handbook of Reflection and Reflective Inquiry. Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-85744-2.

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Gravelle, Gary T. Reflection. New Life Press, 2003.

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8

Sabbah-ud-Din. Reflection. Hanisara, 2004.

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9

Cotter, Bernadette. Reflection. Project Arts Centre, 1995.

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10

Chamberlain, Diane. Reflection. G.K. Hall and Co., 1996.

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11

Chamberlain, Diane. Reflection. HarperCollins Publishers, 1996.

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12

and, Jalabib Mu'minun. Reflections of Reflection. Blurb, 2020.

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13

and, Jalabib Mu'minun. Reflections of Reflection. Blurb, 2020.

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14

Ghaye, Tony, Sue Lillyman, and Tony Ghayle. Reflection (Reflective Practice). Quay Books,a division of Mark Allen Publishing Ltd, 2000.

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15

Reflection and Reflective Practice. City & Guilds, 2012.

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16

Empowerment Through Reflection (Reflective Practice). Quay Books,a division of Mark Allen Publishing Ltd, 2000.

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17

Staff, Speedy Publishing LLC. Reflection Journal: Personal Reflection. Speedy Publishing LLC, 2015.

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18

Dudley, Brianna. Reflection Journal: Three Reflective Sentence Starters. Independently Published, 2022.

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19

Claybaugh, Scarlett V. Reflection. Page Publishing Inc., 2021.

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20

Chamberlain, Diane. Reflection. Harpercollins, 1997.

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21

Moore, Derrick. Reflection. BookBaby, 2022.

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22

Pruitt, Les. Reflection. Writers Republic LLC, 2022.

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23

Berger, Susanna. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190225100.003.0005.

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This essay discusses a novel category of broadside in which entire systems of logic, natural philosophy, metaphysics, and moral philosophy are represented in a comprehensive manner and coherent format, by showing, on a single page, how individual elements of the system relate to the whole. These broadsides inspired viewers to explore philosophical topics through visually appealing artworks. They functioned to make the activity of learning philosophy and investigating philosophical notions pleasurable and entertaining. In this Reflection, details in two broadsides that present pictorial interpr

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Grant, Roger Mathew. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190225100.003.0010.

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This short Reflection considers the question of how music has the ability to elicit pleasure in its listeners. Although some early modern aesthetic theorists held music low in their estimations because of its perceived lack of mimetic capabilities, later eighteenth-century thinkers took music’s indefinite signification to be its greatest virtue. For critics like Dennis Diderot and Christian Goffried Krause, the difficulty of following and interpreting the sounds of complex music afforded a distinct pleasure. This reflection engages their ideas in the context of the interweaving melodies of J.

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Kring, Ann M., and Amy H. Sanchez. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190225100.003.0012.

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Many people with schizophrenia have the symptom of anhedonia, which refers to diminished experience of pleasure. Interestingly, however, one of the most well-replicated affective science findings in schizophrenia is that people with schizophrenia report experiencing similar (or slightly less) amounts of pleasure and positive emotion compared to those without schizophrenia in the presence of emotionally evocative stimuli (e.g., films, food) and in daily life. If people with schizophrenia experience pleasure and positive emotion, how can they have anhedonia? Our research has shown that people wi

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Glennie, Evelyn. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0001.

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The shape of music is constantly fluid because nothing resonates the same twice. Every sound and shape is born and reborn. When music is printed on the page it takes shape in my imagination with the eye leading the way.As a performer, the environment is my instrument and percussion instruments are my tools to deliver the sound. I can provide all the musical ingredients for the environment I am immersed in. The acoustic will mould the sound meal which is thus delivered to the audience. The members of the audience will have differing perspectives on the sound and shape according to where they ar

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D’Errico, Lucia. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0003.

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There is no optical space in my experience of music. If I leave aside a spontaneous association of pitches with fields of colour (so flat and vibrant, though, that they acquire almost a haptic quality), the role of sight is relegated to the preliminary and purely intellectual moment of musical notation. The shape that delineates itself when listening to or making music is rather the blind density of my own body. It is a body subjected to forces of different magnitude that act from both inside and outside itself....

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Meredith, Anna. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0005.

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Shape is both the most important aspect of my composing and the hardest thing to describe. Before I write any piece, whether a piece for orchestra or an electronic track, I draw a sketch of its contour along a timeline; so my drawers are stuffed with pages of jaggy lines, builds and cuts which help me control my pacing—one of the most important things to me in my music. One of these sketches and its associated composition can be accessed at ...

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Benjamin, George. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0007.

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A few works in the repertoire have a formal contour so simple that it can be recalled in toto after a single hearing. Some, like Borodin’s Steppes of Central Asia, Debussy’s Sunken Cathedral or the first of Berg’s Three Orchestral Pieces, approach from the distance, reach an apogee and then recede. Others merely build inexorably from virtual silence to a cataclysm—Grieg’s ...

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Isserlis, Steven. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0009.

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To perform a piece of music is essentially to tell a story. The task of an interpreter is that of narrator and actor; he or she must relate the tale woven by the composer, not merely portraying, but fully identifying with the characters and their fates. Music, like fiction, needs form and shape in order to be believable or moving. Needless to say, musical forms can be infinitely varied—and perhaps the word ‘story’ is confining it too closely, when so much music might as easily be perceived as a poem, a fantasy, a reverie; but whatever its nature, a composition needs the discipline of a preorda

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Eldridge, Alice. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0011.

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I see music as a very human means of creating, exploring and communicating abstract ideas and emotions. I believe this is made possible through the capacity of organized sound to recruit and coordinate dynamic patterns of interaction across a network of diverse objects and processes distributed across the brains, bodies and worldly objects of musicians and listeners. Reflecting my personal practice as an improvising cellist and my academic interest in digital music, I offer a particular account of some of the roles shape plays in framing and supporting these processes in both acoustic and digi

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Baillie, Max. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0013.

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I tend to translate the abstract stuff of imaginatively conceived sound into other media: pictures, shapes or structures. As long as these translations are also imagined, they remain in a sense abstract, but they give me a bearing, a way to spatially conceive the real-time experience of music and even the memory of it. Whether I am ...

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Desbruslais, Simon. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0015.

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During a rehearsal of Johann Sebastian Bach’s Cantata BWV 51 in Oxford in 2008, a colleague, whom I had invited to listen and to observe, advised quite simply: more shapes. The aim, I believe, was to lift the notes further from the page to create a more nuanced and stylish performance. This suited both the contrapuntal edifice of Bach’s music and the period instruments that we were using. On this occasion I was leading the ensemble and therefore in possession of greater authority than usual. I have nonetheless had similar subsequent experiences of this piece, and of similar repertoire, where I

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Bilson, Malcolm. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0016.

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In a casual conversation in 2001 a very famous pianist asked me, ‘Why is there no dot on the upbeat to the first movement of the Beethoven Piano Sonata in F minor, Opus 2 No. 1’ (Figure R.24). I was taken aback that anyone could ask such a question, as every eighteenth-century source clearly states that all upbeats are short and light unless otherwise marked. One doesn’t put an expressive marking on notes that are akin to articles in speech (...

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Savage, Steven. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0018.

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When I was asked to write about music and shape for this volume I immediately thought of the reverb programmes that I use to add ambience to individual tracks when I am mixing. Reverb presets often come in the form of representations of physical space. General categories might include stadiums, concert halls, churches, theatres, auditoriums, nightclubs, small rooms, etc. Today’s sampling reverbs, which can translate specific acoustical spaces into ambiences that can be used on any sound, include such presets as the Sydney Opera House, St Paul’s Cathedral or the Ryman Auditorium at The Grand Ol

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Applebaum, Mark. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0019.

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The Metaphysics of Notation (2008) is a 72-foot-wide, hand-drawn pictographic score divided into twelve continuous panels.1 It is accompanied by no instruction regarding its interpretation. The work aspires to elicit a musical response from a performer, but despite its profusion of concrete, detailed glyphs it advocates nothing specific about the nature of their aural realization. Furthermore, I heard no sound in my head while composing the piece. This is a radical departure from the approach to composition I was taught, in which the composer’s job is to imagine—preferably with exacting resolu

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Hwang, I.-Uen Wang. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0020.

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In twenty-first-century atonal music, tonality is more than the organization of musical components: it also includes timbres, texture, instrumentation, articulation and additional elements which will be discussed in a moment. In modern art since the era of impressionism, painting has developed towards a synaesthetic scheme in which tonality is considered to be a succession of movements. Modern art also places a greater emphasis on the use of colours to depict emotions. Traditional subjects are often superseded by geometric patterns. Abstract art is thus akin to atonal music, which replaces ton

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Layden, Timothy B. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0022.

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For me every sound has its own shape or form. This sense of shape is like objects in my periphery. They move around me and change in size and structure depending on how the sounds change. The experience is more intense with more complex sounds and when the source of the sound is not visible. I wonder if it is my brain creating the visual for the sound. The shapes seem to reflect the sound: liquid sounds often create fluid bubbly shapes; sharp clanging sounds have more angular shapes like growing crystals; bass sounds are large and expanding. When there is a loud, seemingly singular sound, this

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Hough, Stephen. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0023.

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Musicians are always talking about ‘shape’ in reference to phrasing, but mostly I think they merely mean that something has shape rather than being ‘shapeless’—always a derogatory term. Shape in this sense means direction, a start and a finish with something pleasing in the middle. Seldom are the visual patterns of a draughtsman or an artist relevant to a musician. Nevertheless, only today I was doing an interview and trying to describe to the journalist a CD I recently recorded of music by Scriabin and Janáček. Strange bedfellows, it would seem, despite some parallels in their Slavic origins

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Reuben, Alex. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0024.

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I have a background as a DJ and in art and design. I feel there’s a rhythm in a group of people and how they move, a sense of contagion through improvisation and structure passing from one to another, a group experience. My films feature dance and are directed to and by sound. When I DJed, the music spatially cut up the nightclub for me: it created a sculptural sensation, a form, a conjoined physical, emotional weight....

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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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Holter, Julia. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0027.

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Most of the time I find that once a piece of music I have made has a ‘shape’—or as I say it, has a ‘form’—it is finished, regardless of what shape it is. But it’s hard to say how I know at what point it has a shape—it’s obviously a subjective thing. I think I have in my mind a kind of closed rounded figure whose shape changes continuously, like an amoeba or something. But it can (and always will) stretch and morph into something new with every experience of listening to the piece; all the parts inside are alive and will move around and change. It’s just important that it is closed. That closur

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Amram, David. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0029.

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Music already tells a story. Any good teacher always talks about the shape of the phrase and how that individual moment relates to the whole picture. There’s an arc to a piece of music, just like in classical theatre where there’s a beginning, a middle and an end, and within those three essential areas of any form of expression there’s a presentation of themes and variations, recapitulation, ...

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Pitts, Antony. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0030.

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Today I’m struggling with a piece that should have taken an afternoon to write down. It appeared in the mist when summoned, almost on cue and apparently fully formed, but it has taken another few months to grasp once more the geometry of its form, the ratios and rationality of its quixotic light and shade. The piece is a gift-cum-commission for Edward Higginbottom, at the end of his long tenure at New College, Oxford. It’s a short setting of George Herbert’s ‘Love bade me welcome’ for unaccompanied choir, and from the moment I started working on it, it was clear in my mind that this piece exis

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Lefkowitz, Jeremy B. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0004.

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The legendary Aesop, whom Herodotus (Histories, 2.134) places on Samos in the sixth century BCE, did not write a single fable with his own hand. The fables that have survived under his name were written in the centuries after his death, composed by a diverse set of writers who labeled their stories “Aesop’s” with little concern for historical accuracy. We are left with hundreds of tales and anecdotes scattered across the remains of classical literature, in both Greek and Latin, in prose and in verse, each one with murky origins and dubious links to the life of Aesop....

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Sung, Hou-mei. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0006.

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Representations of animals in traditional Chinese painting are among the oldest known motifs and are filled with rich symbolic implications. Animal paintings make animals a part of the harmonious existence of all living beings in the universe. To the Chinese, animals are more than merely beasts in nature; they are living symbols with philosophical, historical, and metaphorical associations. This explains why in early Chinese painting animals are typically portrayed with distinct attitudes or in particular poses, for example, dragons emerging from the clouds, tigers roaring with the wind, crane

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Roberts, Allen F. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0008.

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Tourist advertisements often depict an Africa filled with an astounding variety of wildlife, to the exclusion of local people (except insofar as they may provide “cultural” performances for safaris). By contrast, over the centuries African artists have depicted few of the domestic and wild animals whose environments they share, and the ones that are chosen are often not those emblematic of Western fantasies. Instead artists have concentrated on a curious menagerie of aardvarks and antelopes, bats and buffalo, pachyderms and pangolins, snakes, spiders, and spotted cats. Why are ...

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Obermaier, Sabine. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0010.

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Animals are pervasive in medieval literature. Yet, as in medieval philosophy, they are rarely considered an object of interest in their own right. Instead they are invoked as part of humankind’s natural environment or as the property or antagonists of humans. They appear as metaphors representing human affairs, as indicators of the status or inner qualities of humans. A key component in the contrast between animals and humans is the (rational) superiority of humans....

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Simpson, James. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0011.

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Medieval literature abounds in stories about animals, of which there are two main, easily distinguished, varieties: animal fables and beast epic.1 Animal fables claim Aesop as their source. They are small narratives in which animals act and speak, with even smaller morals tacked on at the end of the little stories. They involve many animals (e.g., mice, lambs, cocks, foxes, birds, wolves, lions, and frogs). Such stories were used to teach schoolboys both Latin and some commonsense morality into the bargain (e.g., do not overeat; do not overreach; save up for the hard times; justice can be roug

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Muratori, Cecilia. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0015.

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Why is it at all pleasurable to be in the company of animals such as dogs, monkeys, and cats? According to Schopenhauer, it is because of their “complete naïveté” that we find these creatures so amusing.1 But the company of apes, in particular, must have been especially fascinating to Schopenhauer. He longed to see a living specimen of the great ape, and finally succeeded when a young orangutan was put on display at the 1856 autumn fair in Frankfurt am Main. Upon hearing that the same animal had then been sold and transferred to Leipzig, Schopenhauer was indignant to find out that an acquainta

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