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The LNCS Transactions on Modularity and Composition are devoted to all aspects of software modularity and composition methods, tools, and techniques, covering requirement analysis, design, implementation, maintenance, and evolution. The focus of the journal also includes modelling techniques, new paradigms and languages, development tools, measurement, novel verification and testing approaches, theoretical foundations, and understanding interactions between modularity and composition.

This, the first issue of the Transactions on Modularity and Composition, consists of two sections. The first one, guest edited by Patrick Eugster, Mario Südholt, and Lukasz Ziarek, is entitled “Aspects, Events, and Modularity” and includes papers focusing on context-oriented software development, specifications for even-based systems, and development of modular software. The second section, guest edited by Gary T. Leavens, contains journal versions of selected papers from Modularity 2015, which was held in March 2015, in Fort Collins, Colorado, USA. Topics covered by the papers in this section include software unbundling, layer activation in context-oriented programming, modular reasoning in event-based languages, and dynamic dispatch for method contracts using abstract predicates.

software development --- software composition

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The New Work of Composing is a book-length collection whose purpose is to examine the complex and semiotically rich challenges and opportunities posed by new modes of composing, new forms of rhetoric, new concepts of texts and textuality, and new ways of making meaning. In particular, this book explores how digital media are shaping our understanding of scholarly projects within composition studies, including the need toreconsider print-centric conceptions of composing;theorize and illustrate new digital genres and interrogate definitions of authorial identity;consider how digital media change our understanding of (virtual and scholarly) space and place and allow new possibilities for embodiment;explore political implications of using new media in scholarship.Twelve chapters that respond to these objectives were solicited from participants of the 2008 Thomas R. Watson Conference on Rhetoric and Composition and were reviewed by the book’s editors. The book includes a foreword by N. Katherine Hayles and responses to the themes above written by Marilyn Cooper, Paul Prior, Diana George, and Andrea Lunsford. Authors include established scholars in digital writing studies and digital humanities, as well as new voices.

Composing --- digital media --- composition studies --- digital writing

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Die Musik des 20. und bisherigen 21. Jahrhunderts ist geprägt von einer nie dagewesenen Komplexität kompositorischer Ansätze, die mit dem Aufbrechen der herkömmlichen Dur-Moll-Tonalität begann und mit den multimedialen Möglichkeiten des neuen Jahrhunderts noch lange nicht zu Ende ist. Auch die vor allem nach 1950 eingetretene fundamentale Wandlung ästhetischer Positionen aufgrund gesellschaftlicher Umbrüche hat ihre Spuren in der Musik hinterlassen. Der Begriff der Musik entwickelte sich im Laufe des 20. Jahrhunderts zu einem vielschichtigen Topos pluraler Musiken, basierend u.a. auf neuen kompositorischen Mitteln, interkulturellen Begegnungen, unterschiedlichen medialen Zugängen und nicht zuletzt einem Wandel ästhetischer Rezeptionsmechanismen. Im vorliegenden Band werden Referate zu diesem Themenkomplex aus der Rubrik „Freie Referate“ des 15. Internationalen Kongresses der Gesellschaft für Musikforschung, der vom 4.–8. September 2012 in Göttingen unter dem Motto „Musik | Musiken. Strukturen und Prozesse“ stattfand, zusammengefasst. Das Panorama reicht dabei von Fragen nach einer kompositorischen Spätstilistik, kulturellen Austauschprozessen, musikalischen Grenzerfahrungen und intermedialen Exotismen bis hin zu multimedialen Klanginstallationen und Musiktheaterkompositionen und dem damit verbundenen Aufbrechen tradierter Gattungsgefüge.

composition --- 20th century --- 21st century --- compositional strategy

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musique --- esthétique --- poésie --- composition --- compositeur --- avant-garde

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The book explores the relationship of movement and music in film to study the aesthetic principles of audience affect. It begins by a reconstructive analysis and theoretical reflection on the rhythmicity of films – and goes on to show the extent to which the rhythmic dimension of audiovisual images offers access to intersubjective strategies to induce affect in the movie theater.

Film music --- audience affect --- audiovisual composition, empirical film analysis