wolfgang Rihm premiered his latest opera (Dionysus) on 2010. In this fantasy, Rihm has innovatively combined Greek Myths with Nietzsche’s controversial life events and thoughts in a surprisingly delusional manner. The libretto is drawn from the text of Nietzsche's Dionysian-Dithyrambs – the philosopher's final confrontation with the ecstatic god of his own aesthetic theories. Rihm in Dionysus opera utilizes music and orchestral excitations, different types of symbols in stage design and manipulated libretto, in order to express his philosophical perception of Nietzsche’s thoughts. Authors of the present manuscript have previously assessed the libretto and symbols used in the Dionysus opera in a separate study entitled "An analysis of Dionysus opera by Wolfgang Rihm, storytelling and choice of symbols". This paper studies mainly Rihm’s composing TECHNIQUES and his attitude toward musical components specifically in the music of Dionysus opera. Rihm’s music is a combination of contemporary TECHNIQUES incorporated with Mahler and Schoenberg’s agitated passions which were well appreciated by his contemporaries as a movement against Boulez and Stockhausen’s avant-gardism. In 1970, he was considered as a pioneer of the movement known as "new simplicity". Composers who joined this movement, strove for an immediacy between the creative impulse and the musical result (in contrast to the elaborate pre-COMPOSITIONAL planning characteristic of the avant-garde), with the intention also of communicating more readily with audiences. In some cases, this meant a return to the tonal language of the 19th century as well as to traditional forms and instrumental combinations which had been avoided for the most part by the avant-garde. Among the composers most closely identified with this movement, only Wolfgang Rihm has established a significant reputation outside Germany. Rihm’s music shows a tendency towards late-romantic music and prominent composers including Wagner, Strauss, Mahler and Berg. His COMPOSITIONAL thoughts have remained unchanged throughout his career. He describes each of his works as "free-standing part of a kind of work in progress". Regardless of the medium utilized (large orchestra, small ensemble or solo instruments), Rihm astonishingly manipulates sound characteristics. Meanwhile, he develops a unique personal definition of musical elements and concepts including sound space, sound sign and generative pole which are discussed in this manuscript. Since he has a specific method to progress a musical idea, Rihm’s music cannot easily be categorized using traditional formal perspectives; this does not imply that his works are completely formless. The sense of progression in his music is not regarded as "development", because development in its traditional meaning sustains a thematic root which is normally applicable to a distinct part of a piece. This study mainly focuses on generative poles, which Rihm has embedded in music of Dionysus. To achieve this goal, authors partially benefited from an article by Richard McGregor, entitled "Interpreting COMPOSITIONAL process in Wolfgang Rihm’s Chiffre cycle". In addition, other important components of his music such as rhythm, meter, tempo, orchestration and instrumentation are briefly mentioned and finally his attractive glimpse at tonal music (a tonality that appears and fades away like a phantom) is discussed.

The main purpose of this paper is analyzing pitch-class organization and COMPOSITIONAL TECHNIQUES in “ Dialogues” , a piece composed by Elliott Carter. Written in 2003, the piece has been composed for piano and chamber orchestra. In the first part, the authors have studied the ways in which the composer has represented his harmonic language, as well as the manners that he has pursued in order to organize pitch-classes: Utilizing some sets having unique properties, such as sets (“ chords” in his own word rather than “ sets” ) which are two all-interval tetrachords, (0146) and (0137) with Forte names of 4-Z15 and 4-Z29 and all-trichord hexachord (012478), with Forte name of 6-Z17. Another kind of sets have been presented which have a significant role through the piece, and those are aggregates. These four sets (as the composer himself named them “ key chords” ) have a structural role in the harmony of the piece. Except the sets mentioned above, there are some sets which have a graphical phenomenon: symmetry on the circle diagram. We can summarize the utilization of symmetric sets in two ways. First, using a symmetric set as a superset of one of the key chords. In this way, we can separately consider the importance of the superset on the one hand, and its key chord subset on the other. Second, we can find one of the key chord subsets as the subset of the symmetric superset. There is a priority of using symmetry over using key chords or their subsets in the second way. It also has been asserted that the above sets interactively have been combined together and the ways Carter has used these sets in the piece have been reviewed and classified all together. We can follow some of his used procedures in the piece such as adding or removing pitch-classes and consequently augmenting or diminishing intervals, key chords transformations, key chords as subsets as well as utilizing invariance between all-trichord hexachords. In the second part, some other TECHNIQUES have been presented which demonstrate how Carter makes use of them as COMPOSITIONAL possibilities in the piece. Using key chords in the shape of vertical blocks as well as melodies are the most common ways in which Carter combines key chords together. In addition, we can follow three employed methods the composer has exerted aggregates. First, which is similar to serial music, the pitch-classes have been used without repetition to form an aggregate. In the second, we find repeated pitch-classes. In the third, some sets present incomplete aggregates lacking one or two pitch-classes (semi-aggregates). It may be logical to consider the third way as a combination of the first and the second categories. The third method is also most typically found in sets composed in vertical or horizontal structures. Both combinations are other TECHNIQUES that provide new combinations which can lead to larger sets such as Key chords, subsets, or even aggregates. It has been tried in almost every part of this paper to simplify the complexity of the piece with the analytical examples taken from the “ Dialogues” score.

Second language learners have difficulty in vocabulary learning since many English words have two or more meanings especially when they occur in idioms or expressions and deciding the correct meaning is demanding for EFL learners. So, this study aimed at investiating how 54 Persian students of English at intermediate and advanced levels which included 28 advanced students and 26 intermediate students, used their first language knowledge to comprehend and produce 3 types of English idioms, namely COMPOSITIONAL, semi-COMPOSITIONAL, and non-COMPOSITIONAL ones. COMPOSITIONAL idioms, which are totally word for word translation of English idioms in learners mother tongue, like: Be on the tip of one’s tongue. Semi-COMPOSITIONAL idioms which are syntactically or semantically similar but differ in one or more words, such as: for a rainy day. Non-COMPOSITIONAL idioms which are totally different in translation from learners mother tongue, for example, drive someone up the heel. The students were divided into 4 groups; 2 experimentals and 2 controls. A pretest which included both comprehension and production tests was administered to each group. Then, the experimental groups received the treatment in the form of small conversations, but the control groups did not receive any treatment. In the last session all groups received an immediate posttest. After one month, a delayed posttest was adminstered. For the analysis of the data, a t-test and ANOVA were employed. Results in the four groups showed that COMPOSITIONAL idioms had the highest correct responses, followed by semi-COMPOSITIONAL idioms, and non-COMPOSITIONAL idioms were the most difficult to comprehend and produce. In addition, in all groups students performed better in comprehension rather than production test.

Tissue nutrient status of high yielding plant populations can be a reference norm for evaluation of growth and achievement of optimal yield. COMPOSITIONAL reference norms derived from generic models are important. Yield data of 382 sugar beet fields was analyzed and, using mathematical approach, cumulative variance ratio function[Fic()], and chi-squared distribution function, the low (n1= 259) and high (n2= 123) yielding subpopulations were separated from each other. Cutoff yield was obtained at 53.980 t.ha-1. Critical chi-squared value was found to be 7.3 and was confirmed by using data of leaf samples from 38 fields and Cate-Nelson statistical procedure. Preliminary CND norms of different elements were found as follows: V*N=3.442±0.145, V*P=0.765±0.139,V*K =3.197±0.187, V*Zn=-3.691±0.306, V*Fe=-3.317±0.321, V*Cu=-4.377±0.233, V*B =-3.487±0.293, V*S=1.359±0.283, V*Rd=6.589±0.076. Later, nutrient sufficiency range and critical intervals norms and nutrient indexes for CND were determined using analysis results of 38 sugar beet tissue samples. Satisfactory results were obtained when data of many fertilizer trials were investigated to arrive at preliminary validation of norms and indexes. These norms, indexes, nutrient sufficiency ranges, and critical intervals can be used for prediction of growth, yield, and nutrition disorders of sugar beet.