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Thematische Bibliographien / Composition (music)

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Auswahl der wissenschaftlichen Literatur zum Thema „Composition (music)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Composition (music)"

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Guntriana, Kadek, und Garwa I Ketut. „Music Composition Kaliyuga | Komposisi Musik Kaliyuga“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 3 (25.08.2023): 263–72. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2092.

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Kaliyuga merupakan salah satu zaman paling akhir di antara Yuga lainnya pada suatu siklus perkembangan zaman Agama Hindu di Bali, yang dikenal dengan nama Catur Yuga. Zaman Kaliyuga disebut dengan zaman kegelapan atau disebut juga dengan zaman kehancuran. Karya tabuh kreasi ini terinspirasi dari sisi negatif sifat manusia pada zaman Kaliyuga, yang pada diri manusia raganya dipenuhi dan dikuasai oleh sifat Adharma. Pencipta menciptakan karya tabuh kreasi yang berjudul Kaliyuga dengan menggunakan media ungkap barungan gamelan Gong Kebyar. Pencipta memiliki ketertarikan untuk mentransfomasikannya kedalam sebuah karya tabuh kreasi baru, yang menggunakan metode penciptaan dari Alma M. Hawkins untuk dapat mewujudkan karya ini. Adapun tiga tahapan penting yang harus dilalui dari metode tersebut yaitu tahap penjajagan/eksplorasi, tahap percobaan/improvisasi, dan tahap pembentukan/forming. Metode tersebut pencipta gunakan sebagai acuan atau landasan dalam minciptakan karya tabuh kreasi ini. Manfaat dari terciptanya karya ini agar pencipta dapat menambah pengalaman berkarya dan karya ini diciptakan bertujuan sebagai Karya Tugas Akhir pencipta dalam menempuh studi program sarjana di Institut Seni Indonesia Denpasar.

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Bisma, I. Wayan Arya, und I. Wayan Suharta. „Music Composition “Entik” | Komposisi Musik “Entik”“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 4 (15.12.2022): 257–65. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1203.

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Pertumbuhan akar selalu berkembang membentuk cabang-cabang baru sehingga terbentuk fisik yang sangat unik dengan jalinan-jalinan yang tidak teratur yang menjadikan bentuk fisik akar tersebut terlihat rumit. Fenomena tersebut merangsang pikiran penulis untuk mentransfernya kedalam bentuk karya seni komposisi karawitan yang berjudul Entik. Fenomena tersebut diinterpretasikan dengan mengolah cakupan nada, jalinan-jalinan pola dan jalinan-jalinan antar instrumen, pengembangan fungsi instrument, ritme, tempo dan dinamika yang diolah secara minimalis, yang dipresentasikan menggunakan media ungkap gamelan semarandhana.. Penciptaan karya ini direalisasikan menggunakan metode penciptaan Panca Sthiti Ngawi Sani, yang terdiri dari lima tahap penciptaan, yaitu: Ngawirasa, Ngawack, Ngarancana, Ngewangun dan Ngebah. Kata Kunci: akar, entik, karawitan

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Ekalawaya, I. Gede Mekel, I. Nyoman Kariasa und I. Wayan Diana. „Music Composition Ngiyang | Komposisi Musik Ngiyang“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 4 (15.12.2022): 249–56. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1199.

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Ngiyang merupakan penggabungan dari dua kata yang menjadi satu yaitu ngibur dan melayangan. Tujuan dari garapan ini, yaitu ingin mendalami lebih jauh terhadap komposisi karya tabuh kreasi baru gong kebyar yang sudah penata rancang dan bagaimana cara penata dapat menumbuhkan sesuatu hal baru didalam bentuk garapan ini sebagai eksperimen yang penata lakukan. Karya seni karawitan Ngiyang ini tercipta melalui metode yang dijalani dengan proses kreatifitas yang selalu berkaitan dengan waktu, tempat, situasi dan kondisi tentunya diimbangi dengan pengalaman penata didalam dunia Seni Karawitan sehingga mampu mencapai keberhasilan dalam menciptakan suatu karya seni. Tahap penciptaan karya Ngiyang dilaksanakan bersama 36 musisi, menggunakan media ungkap gong kebyar. Hasil dari karya ini terunggah atau tersiar di media sosial dengan menggunakan aplikasi Youtube dengan durasi 14 menit 41 detik.

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Adiputra, Kadek Agus Pusaka, und Tri Haryanto. „Music Composition Makules | Komposisi Musik Makules“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 2 (23.05.2022): 86–96. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i2.406.

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Karya musik Makules dilatar belakangi dengan melihat suatu fenomena dimana dewasa ini para komposer di Bali khususnya yang ada di lingkungan penata yakni di daerah Tabanan dalam menciptakan komposisi musik baru lebih dominan mengolah elemen-elemen musik seperti ritme, melodi, dinamika, dan harmoni. Sedikit komposer yang mengolah warna suara atau timbre. Dari fenomena tersebut penata mendapatkan inspirasi melakukan sesuatu yang berbeda. Obsesi mengantarkan pada abstraksi pemikiran dengan ketertarikan ingin mengolah warna suara, menciptakan kesan baru dengan mongolah timbre atau warna suara sebagai kiblat penciptaan. Maka dari itu dibuatlah sebuah karya karawitan dengan bentuk musik eksperimental dengan judul Makules. Makna dari judul Makules adalah dilihat dari kata Makules yang berarti berganti kulit, dimana penata menggunakan judul sesuai dengan pengertiannya yang berarti ganti kulit. Proses pergantian kulit dan kembali menggunakan kulit yang baru merupakan transformasi ide central penciptaan komposisi karya dengan membahasamusikkan Gamelan Gender Wayang dengan mengolah sesuatu yang sudah ada sebelumnya (tradisi), diremajakan atau ditransformasikan menjadi bentuk pengolahan baru yang tetap berpijak pada tradisi.

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Harahap, Irwansyah. „MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”“. MELAYU ARTS AND PERFORMANCE JOURNAL 2, Nr. 2 (20.01.2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music). Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure

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Ming, Tsao. „Music Composition Today“. Revista Vórtex 8, Nr. 1 (06.03.2020): 1–10. http://dx.doi.org/10.33871/23179937.2020.8.1.1-10.

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Munoz, Enrique, Jose Manuel Cadenas, Yew Soon Ong und Giovanni Acampora. „Memetic Music Composition“. IEEE Transactions on Evolutionary Computation 20, Nr. 1 (Februar 2016): 1–15. http://dx.doi.org/10.1109/tevc.2014.2366871.

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De Felice, Clelia, Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino und Rosalba Zizza. „Splicing music composition“. Information Sciences 385-386 (April 2017): 196–212. http://dx.doi.org/10.1016/j.ins.2017.01.004.

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Sumerjana, Ketut. „Psychophysiological Responses to “Yogyakarta Nyaman” Music Composition“. Journal of Music Science, Technology, and Industry 2, Nr. 1 (15.01.2019): 125. http://dx.doi.org/10.31091/jomsti.v2i1.608.

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Humans are always trying to be healthy. When they are sick, they will seek and find medication and methods that are suitable for their physiological and psychological conditions. One of the unique medication and methods in the treatment process is to use music to intervene such psychophysiological conditions. Some studies used modulated high frequency (HFCs) in inducing participants (respondents)’ condition, and in fact obtaining good results. But the use of these objects in the previous studies is still a single sound chosen from the width of the music frequency range, not yet directed towards music. One type of music that is quite interesting is MIDI as the music is derived from sampling sound composition which turns out to have a fairly wide frequency region, one of which is the ultrasonic region as found in my musical project “Yogyakarta Nyaman”. Physically, in the medical world, ultrasonic sound frequencies are used in intervening physiological conditions. Based on the description above, the focus of this study is to use “Yogyakarta Nyaman” in the psychophysiological responses of the respondents. The method used is quantitative with 18 respondents divided into nine men and nine women. Data are collected from structured interviews where the results are converted into numbers to give a numerical description. The results of the study showed that “Yogyakarta Nyaman” was able to intervene in the physiological and psychological conditions of the respondents with fcount > ftable. The fcount value is 5.179 greater than ftable around 3.86. Manusia selalu berusaha sehat. Ketika sakit, mereka akan mencari serta menemukan pengobatan dan metode yang sesuai untuk kondisi fisiologis dan psikologis. Salah satu pengobatan dan metode yang unik dalam proses pengobatan adalah menggunakan musik untuk memberikan campur tangan terhadap kondisi psychophysiologicalnya. Beberapa studi lain menggunakan frekuensi tinggi modulasi (HFC) dalam merangsang kondisi peserta dan telah mendapatkan hasil yang baik. Tetapi penggunaan benda-benda ini hanya berupa satu suara yang dipilih dari lebar kisaran frekuensi musik dan bahkan tidak diarahkan ke musik. Salah satu jenis musik yang begitu menarik adalah MIDI sebagai musik yang berasal dari sampel suara komposisi yang ternyata memiliki wilayah frekuensi cukup lebar, salah satunya adalah wilayah ultrasonik dalam proyek musikal penulis yang berjudul “Yogyakarta Nyaman”. Secara fisik, dalam dunia medis, frekuensi suara ultrasonik digunakan dalam intervensi kondisi fisiologis. Berdasarkan uraian di atas, fokus dari studi ini adalah untuk menggunakan “Yogyakarta Nyaman” untuk mendapatkan tanggapan psikofisiologis para peserta. Metode yang digunakan adalah kuantitatif dengan responden 18 yang dibagi menjadi sembilan laki dan sembilan perempuan. Pengumpulan data yang digunakan adalah wawancara di mana hasilnya dikonversi ke dalam angka untuk memberikan gambaran numerikal. Hasil penelitian menunjukkan bahwa “Yogyakarta Nyaman” mampu memberikan campur tangan bagi kondisi fisiologis dan psikologis responden dengan fhitung > ftabel. Nilai fhitung adalah 5.179 lebih besar dari ftabel sekitar 3.86.

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Kariasa, I. Nyoman, und I. Kadek Tunas Sanjaya. „Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 1 (23.06.2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.

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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical composition is divided into three stages which are taken from the concept of Alma M. Hawkins in the book Creating Through Dance, namely exploration, improvisation, and formation. Ngegong's music artwork is embodied in the form of a contemporary musical composition frame that takes the elements of sound and musicality into consideration. Contemporary music has the connotation of new works composed using various sound sources, both traditional and non-traditional instruments or all objects that can produce sound or sound according to needs.

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Dissertationen zum Thema "Composition (music)"

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Stylianou, Constantinos Yerolemou. „Music composition“. Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.

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Bunch, M. R. B. „Composition, music“. Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.

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1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, Pictures at an Exhibition. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes. 5. Mattinata. Choral work for solo mixed voices a capella (Soprano, Alto, Tenor, Bass). Approximate duration: 8 minutes. 6. Rose Serenades. Three pieces for piano solo: Claire; …looks, my love…; “When I can Dance…” Approximate duration: 12 minutes 7. Two pieces inspired by the Düben family of organists: - Skara, for string quartet - “Prinz Regent: Tyska Kyrkan (Swedish Prelude)”, for organ. Approximate duration: 11 minutes 8. Five O’Clock. Chamber work for small ensemble (Flute, Clarinet in A, Percussion [Sleigh Bells, Claves, Sand Block, Glockenspiel, Bongo Drums], Piano, Violin, Violoncello. Approximate duration: 16 minutes.

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Benson, John Stuart. „Music composition“. Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.

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Carvalho, Sara. „Music composition“. Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.

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Renwick, Brendon. „Music composition“. Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.

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MacMillan, James. „Music composition“. Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.

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The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree of external pre-planning. This provides an ever-increasing security of control over my material and, I believe, a greater sophistication and facility of expression. Within this general concern there emerges one other major trait: a desire to give expression to received cultural characteristics from my own background, which is Scottish and Celtic, This is achieved either by absorbing some element of Celtic traditional music or by employing some extra-musical subject matter as an ingredient, ie: a poem as a setting or as an influence, or some quasi-programmatic handling of natural or cultural phenomena from my native country. However, the ultimate purpose in this was not to write ‘national' music (ie: any notion of parody is studiously avoided), but paradoxically to attain an individual voice.

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Cashian, Philip. „Music composition“. Thesis, Durham University, 1996. http://etheses.dur.ac.uk/10284/.

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Carcas, Gillian Ruth. „Music composition“. Thesis, Durham University, 1995. http://etheses.dur.ac.uk/10193/.

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Archbold, Paul. „Music composition“. Thesis, Durham University, 1998. http://etheses.dur.ac.uk/10188/.

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The attached portfolio is a selection of works that I have composed since October 1990. The selection includes most of the concert music written in this period but excludes the incidental music that I wrote for three productions of Astra Theatre (Woyzeck, Macbeth arid Th~e White Scourge), and incidental music to The Beggar's Opera (written for the St Magnus Festival, Orkney). Two chamber works, with which I was never satisfied, are also omitted: Catch for Three for three oboes, composed for a project for children with special needs and Chimaeric Visions for free bass accordion and percussion. The group of works submitted display several common characteristics; a fascination with instrumental colour and the variety of blends and hues available within an ensemble, a concern for shaping gesture at a motivic and a dramatic level, an interest in metaphor and metonymy in language and music and the possibility of drawing a connection between both art forms, the role of composition processes and structures in determining the perception and comprehension of a work and finally the engagement of the performer in the realisation of the-'virtual' music of the score. This commentary is intended to explore these issues in relation to my work but cannot, for reasons of scope and space, be an authoritative dissertation on each subject. I am aware of the dangers of appropriating terms and concepts from disciplines outside music and have attempted to outline the points of contact in my introductory chapter.

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Mulvey, Grainne. „Composition portfolio : ten compositions and commentaries“. Thesis, University of York, 1998. http://etheses.whiterose.ac.uk/10860/.

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Bücher zum Thema "Composition (music)"

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Cormier, Stephen M. Modal music composition. 3. Aufl. Arlington, VA: Inman & Artz Publishers, 2010.

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Cormier, Stephen M. Modal music composition. Arlington, VA: Inman & Artz Publishers, 2004.

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Winsor, Phil. Automated music composition. Denton, Tex: University of North Texas Press, 1989.

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Brindle, Reginald Smith. Musical composition. Oxford ; New York: Oxford University Press, 2002.

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Young, Gregory, und Steve Roens. Insights into Music Composition. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205869.

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1918-, Mehta R. C., Indian Musicological Society und Seminar on "Bandish-the Key Concept to Music and its Forms" (1990 : Bombay, India), Hrsg. Composition in Indian music. Bombay: Indian Musicological Society, 1993.

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Jarrett, Scott. Music composition for dummies. Hoboken, N.J: Wiley, 2008.

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Robert, Morris. Composition with pitch-classes: A theory of compositional design. New Haven: Yale University Press, 1987.

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Brindle, Reginald Smith. Musical composition. Oxford: Oxford University Press, 1986.

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Caesar, Rodolfo. The composition of electroacoustic music. Norwich: University of East Anglia, 1992.

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Buchteile zum Thema "Composition (music)"

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Manzo, V. J. „Algorithmic Composition“. In Teaching Electronic Music, 103–19. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-8.

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Cope, David. „Algorithmic Music Composition“. In Patterns of Intuition, 405–16. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9561-6_19.

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Dostál, Martin. „Evolutionary Music Composition“. In Handbook of Optimization, 935–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-30504-7_37.

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Barrett, Natasha. „Spatial music composition“. In 3D Audio, 175–91. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429491214-9.

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Warwick, Jacqueline. „Composition“. In Music, Gender, and Sexuality Studies, 38–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003042655-3.

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Zattra, Laura. „Collaborating on composition“. In Live Electronic Music, 59–80. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-4.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari und Moujhuri Patra. „Seminatural Composition“. In Computational Musicology in Hindustani Music, 97–101. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_9.

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Young, Gregory, und Steve Roens. „Building Upon Prior Music“. In Insights into Music Composition, 27–31. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205869-5.

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Thesen, Thomas Paul. „Music and Sound“. In Composition for the 21st ½ century, 435–51. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22148-19.

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de Alencar, Marcelo Sampaio. „Study of Melody and Composition“. In Music Science, 179–85. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-15.

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Konferenzberichte zum Thema "Composition (music)"

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Armitage, Joanne, und Ng Kia. „Multimodal Music Composition“. In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.7.

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Wiriyachaiporn, Panida, Kankawee Chanasit, Atiwong Suchato, Proadpran Punyabukkana und Ekapol Chuangsuwanich. „Algorithmic Music Composition Comparison“. In 2018 15th International Joint Conference on Computer Science and Software Engineering (JCSSE). IEEE, 2018. http://dx.doi.org/10.1109/jcsse.2018.8457397.

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3

Fu, Tao-yang, Tsu-yu Wu, Chin-te Chen, Kai-chu Wu und Ying-ping Chen. „Evolutionary interactive music composition“. In the 8th annual conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1143997.1144301.

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Kikuchi, Junki, Hidekatsu Yanagi und Yoshiaki Mima. „Music Composition with Recommendation“. In the 29th Annual Symposium. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/2984751.2985733.

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5

Chiu, Shih-Chuan, und Man-Kwan Shan. „Computer Music Composition Based on Discovered Music Patterns“. In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

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Sulyok, Csaba, Andrew McPherson und Christopher Harte. „Corpus-taught Evolutionary Music Composition“. In European Conference on Artificial Life 2015. The MIT Press, 2015. http://dx.doi.org/10.7551/978-0-262-33027-5-ch102.

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Yang, Yi-Hsuan. „Automatic Music Composition with Transformers“. In ICMR '21: International Conference on Multimedia Retrieval. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3463946.3469111.

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Wainiya, Wasin, und Pitikhate Sooraksa. „Chen's Attractor in Music Composition“. In 2017 21st International Computer Science and Engineering Conference (ICSEC). IEEE, 2017. http://dx.doi.org/10.1109/icsec.2017.8443903.

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Suzuki, Ryohei, Takashi Watanabe und Takashi Iba. „Music Composition Patterns: A Pattern Language for Touching Music“. In EuroPLop '22: 27th European Conference on Pattern Languages of Programs. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3551902.3565071.

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Oliveira, Vinicius César, und José Henrique Padovani. „Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.

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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.

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Berichte der Organisationen zum Thema "Composition (music)"

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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, Dezember 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.

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Haddad, Joanne. Reproduction of 'Good Reverberations? Teacher Influence in Music Composition since 1450'. Social Science Reproduction Platform, Mai 2022. http://dx.doi.org/10.48152/ssrp-4zww-p927.

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.

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