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1
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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Velloso, Rodrigo Cicchelli. „Electroacoustic music composition“. Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338057.
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Crutchley, Ian Joseph. „D.Phil. music composition“. Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245869.
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Beiert, Michael. „Portfolio of compositions, with accompanying composition commentary“. Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2042979/.
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The following chapters describe compositional methods applied to the compositions of the portfolio (Volume I), which consists of eight works for instruments and electronic sound, as well as one purely electronic piece. The main concern in all these works is aspects of open form and, to a lesser extent, indeterminacy during performance. I highlight the research I have undertaken in preparation for each of the compositions, show how all of these pieces are progressively linked by my evolving interest in open form, and place them in context with works by other composers, past and present, who have employed similar, or different, experimental procedures. Volume II, the composition commentary, includes a technical appendix, explaining the different software processes for the individual works, and a recourses appendix containing recordings of all of the nine compositions, as well as all of the Max patches, Max for Live devices and sound files I have programmed and created for the electronic parts of the pieces.
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Morgan, Louise Anne. „Children's collaborative music composition : communication through music“. Thesis, University of Leicester, 1998. http://hdl.handle.net/2381/31262.
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The present research looks at peer collaboration and creativity, an area largely neglected by previous peer collaboration researchers, where goals are ill-defined and measures ambiguous. In previous (science based) peer collaboration research, the crucial factor promoting group productivity appears to be the 'social instrument of language'. Groups achieving intersubjectivity, or mutual understanding, through dialogue out-perform those groups who do not. The returning theme is one of sharing ideas verbally with other group members, arguing through alternatives and providing justifications for accepted and rejected solutions. It was suggested that in collaborative music composition tasks an alternative medium exists for the communication of ideas and for the establishment of a shared understanding of the task, namely communication through the music itself. It was hypothesised that, rather than talking about their ideas, children would be more likely to try them out directly on the musical instruments. It was also predicted that this form of interaction would be significantly related to group productivity.;The present research also considers three key gender issues: firstly, the recurring finding by previous researchers that boys in mixed gender groups take control of the task by dominating verbally and non-verbally over the girls; secondly, suggested differences between the genders in communicative styles; and thirdly, the relative productivity of single gender and mixed gender groups.;Three studies were carried out with children aged 9-10, working in groups of four of varying gender compositions. Each study involved a distinct type of music composition task. Evidence was provided for the occurrence of interaction through music, and its importance for group productivity was found to be dependent on the nature of the task. Important gender differences were observed, including female domination in mixed gender groups. The implications of these findings are discussed in relation to previous peer collaboration research and classroom practice.
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Sammoutis, Evis. „PhD in music composition“. Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428424.
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Yu, ChÅ ng. „Computer generated music composition“. Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.
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Tibbetts, Tracey D. „Computer generated music : a methodology for computer music composition“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.
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This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochastic processes and computer decision making. Although there is no clear dividing line between levels of computer/composer interaction, it is possible to characterize the degree to which the computer has provided outcomes for a given work, from low-level random generation of pitches to high-level Markovian chain distributions.Department of Computer Science
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Prince, Lloyd T. „Composition portfolio“. Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002318.
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Richard, Paul Christian Patrice. „Composition portfolio“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017548.
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Stringer, John. „Composition“. Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387767.
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Koo, Chat-po, und 顧七寶. „Six music compositions“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210831.
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Koo, Chat-po. „Six music compositions /“. [Hong Kong] : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1341821X.
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Caesar, Rodolfo. „The composition of electroacoustic music“. Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412262.
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Thiebaut, Jean-Baptiste. „Sketching music : representation and composition“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.
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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs across musical genres ranging from classical music to contemporary electroacoustic composition. We describe the processes involved in sketching activities within the framework of distributed cognition and distinguish an intermediate representational role for sketches that is different from what is ‘in the head’ of the composer and from the functions of more formal musical notations. Using evidences from the case studies, we argue in particular that as in other creative design processes, sketches provide strategically ambiguous, heterogeneous forms of representation that exploit vagueness, indeterminacy and inconsistency in the development of musical ideas. Building on this analysis of the functions of sketching we describe the design and implementation of a new tool, the Music Sketcher, which attempts to provide more under-specified and flexible forms of ‘sketch’ representation than are possible with contemporary composition tools. This tool is evaluated through a series of case studies which explore how the representations constructed with the tool are interpreted and what role they play in the compositional process. We show that the program provides a similar level of vagueness to pen and paper, while also facilitating re-representation and re-interpretation, thus helping bridge the gap between early representations and later stages of commitment.
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Martin, Pastor Fernando. „Composition portfolio and music analysis“. Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/349471/.
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This PhD thesis consists of eight middle-size compositions and a written commentary. Each of the pieces explores a different pitch system. In Chapter 1, the aesthetic behind these pieces is discussed. This is based on the transformation of a single unifying sonority; every note has a function both in the moment and on a large scale. This implies a hierarchy that is established through techniques derived from Schenker and Lerdahl’s analytical methods, which are also explained. The following chapters apply these methodologies in the analysis of the eight pieces, unveiling a good deal of techniques and compositional issues derived from those presumptions. Momentum for 4 percussionists deploys rhythmic gestures, patterns, and regular pulsations. The piece has a ‘moment form’, where the materials are in constant transformation and the concept of balance emerges as a compositional issue. Knots in Time for ensemble makes use of a functional harmony constructed by analogy with the tonal system. In Looking forward/backward for ensemble modal and serial techniques merge with harmonic fields and pitch-class set techniques. The ‘solution’ to this puzzle is found through an extension of Schenker’s reduction techniques so that each of these conflicting systems belongs to a deeper or a more superficial level of the music. Across 1000 Oceans for String Trio is an instance of geometry applied to music since it uses quasi-symmetric and symmetric chords as a means to create tension and relaxation in the phrasing. Hasta dentro de un solo, Nunca más solos for scordatura violin is a synthesis of the previous compositional techniques. Fractal for 2 pianos is based on the fractal geometry. Interlude for piano and instrument uses registration as a structural element. In both cases, the geometric organization is enhanced to create an ‘organic’ form. ‘Organicism’ and ‘fractality’ are also compared, hypothesizing that Romantic writers had in mind a fractal model when discussing their ideas. Finally, Genesis Songs represents a hypertext in which several musical traditions coexist in a collage typical of the postmodern aesthetic, which is also discussed. These disparate materials challenge the classical conception of autonomous work or opus perfectum et absolutum.
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Blackburn, Manuella. „Portfolio of electroacoustic music composition“. Thesis, University of Manchester, 2010. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-electroacoustic-music-composition(3a1d224f-5d60-4fa8-8049-1e7c1f937b3f).html.
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This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester. The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley’s spectromorphology (1997). In its intended function, this tool provides the listener of electroacoustic music with thorough and accessible sets of vocabulary to describe sound events, structures and spaces. The use of this descriptive tool need not stop here. Fortunately, and often unconsciously for the composer, it does not, since all composers create music that is spectromorphological with or without an awareness of its presence at work. In a reversal of conventional practice, my research approaches spectromorphology from an alternate angle, viewing the vocabulary as the informer upon sound material choice and creation. In this reversal, vocabulary no longer functions descriptively; instead the vocabulary precedes the composition, directing my compositional pathway in each piece. This new application, used as a method for selecting and creating sound in the creation of each portfolio work, is an attempt at systemisation and an effort to partly remedy the seemingly endless choice of possibilities we are faced with when beginning a new work.
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Wilkins, Keyna Rose. „Astronomical Phenomena in Music Composition“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17095.
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Space is the next frontier for humankind. In recent years, its sounds and images have increased in quality due to technological advances, providing rich pickings for composers. This thesis explores astronomical phenomena in music composition with a focus on my composition portfolio. Beginning with the history of astronomy as a source of music inspiration, from Plato to Björk, this paper analyses my portfolio, the composition method and the ways in which space influences can be clearly demonstrated. The portfolio consists of five solo and piano accompanied works, one trio and a music theatre chamber work. Astronomical influences are shown in the use of sounds of nebulae, stars and galaxies based on electro-magnetic waves through a spectrograph, (courtesy of astronomer Paul Francis) and use of space images and concepts. These are incorporated into the compositions as accompanied sound, as a source of pitch material, contours of space images informing melodic shapes, as well as use of astrophysical concepts in a broader sense.
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Willgoss, Richard Adrian. „Creativity in Art Music Composition“. Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20586.
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This thesis investigates what it means to call art music composition creative. Research into the concept of creativity has taken place mostly in science-based disciplines and is reviewed for its relevance. Discussions on what may constitute the foundations of creativity in music are conducted. Musical creativity is not bounded by normativity, consistency, truth-boundedness, optimization or effability for its recognition and is largely aesthetic. Current research methods are mainly explanatory, objective and analytic, and necessarily fall short in understanding musical creativity. It thereby undermines the validity of these methods when used to justify one’s understanding. The undermining invariably takes place by disrupting logical and reasonable expectations. The significance of this research is that it attempts to find and describe essences of the subject matter, the effect of which actually disrupts grounds for finding essences in the first place. It no longer seeks to explain creativity in musical composition. This thesis argues that creativity in art music composition is better understood through philosophical phenomenology than through analysis, where evidence as experience and description naturally includes aesthetic considerations. What composers say is made potentially helpful to understand their musical creativity. They are approached using an interview technique where problem solving, truth-boundedness, optimization and reasonable causality are set aside as essential precepts. Responses are interpreted intuitively to reveal essences present. Trains of thought that reveal essential properties in interview content are intuited. They show that communication is a prominent essence to motivation for being creative. Perceptual attitudes and experiences are often provoked by disruption to sonic expectation. Creativity in art music composition then becomes a generic initial step in the way it communicates and inspires through playing with musical expectation.
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Spyrou, Alexandros. „Liquid identity in music composition“. Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7032.
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The question of identity in music composition is interrelated with the condition of musical material and form and the qualities which make musical ideas traceable. The mechanisms for creating musical identity during much of the modern period were based on the elements of pitch, rhythm, harmony and form.
Until the twentieth century musical identities were regulated according to traditional systems. The advent of modernism in music was marked by the new solid identities, timbre and texture to the foreground as significant identity-bearing musical elements, and at the same time saw blurring of the traditional concepts of identity. The avant-garde movements of the post-World-War-II period in particular challenged the established identity concepts by liquefying the very essence of the musical work. The modern conceptual tools need to be replaced with new ones in order to address the current state of precariousness of musical material and form. In my original composition for sinfonietta entitled rh, I propose liquid identity as a new concept of musical identity.
Liquid identity is based on a new image of musical sound which embodies the internal difference of sound in a self-existing conceptual model. In a state of liquidity all hierarchies flatten and the concept of development is rendered obsolete. The composer then writes constantly “in the middle” and compositional decisions are taken here and now. Consequently, the process of composition becomes a creative anarchic praxis without an end goal.
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van, den Broek Koen Alexander. „Composition Portfolio“. Thesis, University of Canterbury. Music, 2015. http://hdl.handle.net/10092/10774.
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Enrolling in Masters in a natural progression for me as a composer. This follows directly on from my other tertiary study: First Class Honours Degree in Composition from University of Canterbury; Diploma in Jazz from CPIT Jazz School majoring in Composition and Arranging.
My body of work includes compositions for the Silencio Ensemble, a ten piece new-music ensemble, which I was the co-founder and musical director/conductor of ('05-'09). I have received several grants from Creative New Zealand including grants in 2008 and 2013 for 'Still Standing Silent' a work composed for mixed discipline ensemble (classical and jazz) and contemporary dancers. This work premiered in Christchurch in November 2009. In 2010, I received funding to work with well-known Sydney chamber ensemble 'The Song Company' utilizing a text by a fellow Dutch New Zealander, Riemke Ensing.
Recent creative projects have included performances of Still Standing Silent for the Body Festival; a commission for The Christchurch Youth Orchestra; and Totally Weill for the Christchurch Arts Festival.
At this time the proposed works in my master’s portfolio would include:
• Violin Duo
• A large Song Cycle (50mins approx.) for singer and chamber ensemble
• A short orchestral work
• Another piece - otherwise yet to be determined
I would like to continue to compose in my unique aesthetic of jazz-like timbres and freely-atonal harmonies. In recent years, I have realised how in my work I have often been dealing with the effects of time on music. I often juxtapose freedom and structure, starkness with flowing sounds in an attempt to break free from the constraints of time. I would like to further research this idea and come to a new place/idea around time and music.
Another feature of my work is that I have enjoyed collaborating with specific musicians and composition–specific ensembles. This has resulted in some highly successful works and excellent learning experiences for me as a composer and musician. I plan to continue to develop this aspect of my practice during my master’s year.
Recently I have had the opportunity to explore working with text and as a result have developed a special and unique relationship with poet Riemke Ensing. As a result of the artistic rapport we share and the highly enjoyable experience I had of setting her work for The Song Company, one of the major works I will submit this year will be a song cycle based on her collection of poems, Storm Warning.
My core reason for being a composer is the hope or belief that music can raise the consciousness of humanity to a higher plain. In recent years I have begun to doubt this and question the point of ‘being’ a composer as distinct from working as a composer. This philosophy is something I would like to further explore both conceptually and in the work that I will submit in my portfolio this year.
I have been awarded a UC master’s scholarship for my study during 2014 for which I am extremely grateful.
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Chanter, Tim Martin. „Composition portfolio“. Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8136.
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Rao, Madhuri Preeti. „Senior Composition Thesis“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/812.
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I had performed a recital of my compositions on April 22, 2016. This thesis is a portfolio of all of my compositions, including the program from my recital, program notes for each piece, and all scores. My senior recital consisted of two distinct halves. The first half was an exploration of abstract, theoretical, and experimental concepts in Western Art Music. The second half was an exploration in synthesizing the Carnatic music system with Western Art Music styles. This half was also an experiment in reversing musical orientalism, which has been historically prevalent in Western Art Music.
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Wynne, Donovan. „Composition portfolio“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1003121.
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Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
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Fells, Nicolas A. „Composition folio“. Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242161.
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Ghisi, Daniele. „Music across music : towards a corpus-based, interactive computer-aided composition“. Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066561/document.
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Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sélectionner et de générer du contenu musical grâce à un ensemble d'interfaces graphiques manifestant une approche exploratoire à la composition. Ses modules abordent, entre autre, la visualisation de bases de données, la segmentation et l'analyse des partitions, la synthèse concaténative, la génération musicale à travers la modélisation physique ou géométrique, la synthèse "wave-terrain", l'exploration de graphes, les automates cellulaires, l'intelligence distribuée et les jeux vidéo. Pour terminer, cette thèse traite de la question de savoir si la représentation classique de la musique, démêlée dans l'ensemble standard des paramètres traditionnels, est optimale. Deux alternatives possibles aux décompositions orthogonales sont présentées : des représentations de partitions fondées sur les "grains", qui héritent les techniques de la composition basée sur corpus, et des modèles d'apprentissage automatique non supervisés, fournissant représentations de la musique "agnostiques". La thèse détaille aussi ma première expérience d'écriture collaborative au sein du collectif /nu/thingThe reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective
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Bearden, Stephanie. „Wanderer : an original composition /“. Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
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Ingimundardottir, Gudrun 1963. „Dawn (Original composition)“. Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291376.
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Rothacker, Kurt Van Meter 1964. „Paean (Original composition)“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291824.
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This original composition is primarily in the key of C and is in a style of expanded tonality. Although the work loosely follows an established formal structure, the harmonic changes exist freely within this structure and occur more as modal changes rather than diatonic. The structure of the work is a loose sonata form including introduction, transitions and retransitions, and coda.
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Ghisi, Daniele. „Music across music : towards a corpus-based, interactive computer-aided composition“. Electronic Thesis or Diss., Paris 6, 2017. http://www.theses.fr/2017PA066561.
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Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sélectionner et de générer du contenu musical grâce à un ensemble d'interfaces graphiques manifestant une approche exploratoire à la composition. Ses modules abordent, entre autre, la visualisation de bases de données, la segmentation et l'analyse des partitions, la synthèse concaténative, la génération musicale à travers la modélisation physique ou géométrique, la synthèse "wave-terrain", l'exploration de graphes, les automates cellulaires, l'intelligence distribuée et les jeux vidéo. Pour terminer, cette thèse traite de la question de savoir si la représentation classique de la musique, démêlée dans l'ensemble standard des paramètres traditionnels, est optimale. Deux alternatives possibles aux décompositions orthogonales sont présentées : des représentations de partitions fondées sur les "grains", qui héritent les techniques de la composition basée sur corpus, et des modèles d'apprentissage automatique non supervisés, fournissant représentations de la musique "agnostiques". La thèse détaille aussi ma première expérience d'écriture collaborative au sein du collectif /nu/thingThe reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective
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Buitendag, Kingsley Alexander. „A short composition portfolio“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002297.
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Field, Ambrose Edmund. „Electroacoustic composition“. Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.
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The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in developing a coherent compositional approach for the integration of natural sounds into complex musical hierarchies. Simulated sonic environments are identified as being effective in this aim, as it is possible for the composer to exert considerable control over the development of their individual sounding elements. The characteristics that define simulation, and the interaction between sound sources and spaces were analysed. The notion of context bonding was introduced, which aims to link Smalley's concept of surrogacy' to a sound's extrinsic connotations. Discovery strategy is a practical methodology that was developed whilst composing the creative work that accompanies this dissertation. By using a set of structural devices called steering processes, it aims to assist first-time listeners in decoding the structural characteristics of a work. Steering processes couple simple and easily recognisable rhetorical codes of communication to a clear underlying sub-structure. Discovery strategy techniques do not attempt to simplify works for easy listening. Moreover, they allow the potential for more listeners to access the inner structural details of a piece. As the creative folio demonstrates, this can result in a musical surface that is highly distinctive and energetic.
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Baracskai, Zlatko. „Composition portfolio“. Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1739/.
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This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the presented compositions are to be found on the attached DVD, along with a range of programs coded to support composition is briefly discussed in the Appendix. All the expressed views are personal convictions; my music serves no other purpose than to reflect onto one observing it. The attached software is free to use and distribute provided it is appropriately referenced.
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Jensen, Johannes Høydahl. „Evolutionary Music Composition : A Quantitative Approach“. Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-14036.
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Artificial Evolution has shown great potential in the musical domain. One task in which Evolutionary techniques have shown special promise is in the automatic creation or composition of music. However, a major challenge faced when constructing evolutionary music composition systems is finding a suitable fitness function.Several approaches to fitness have been tried. The most common is interactive evaluation. However, major efficiency challenges with such an approach have inspired the search for <i>automatic</i> alternatives.In this thesis, a music composition system is presented for the evolution of novel melodies. Motivated by the repetitive nature of music, a <i>quantitative</i> approach to automatic fitness is pursued. Two techniques are explored that both operate on frequency distributions of musical events. The first builds on <i>Zipf's Law</i>, which captures the scaling properties of music. Statistical <i>similarity</i> governs the second fitness function and incorporates additional domain knowledge learned from existing music pieces.Promising results show that pleasant melodies can emerge through the application of these techniques. The melodies are found to exhibit several favourable musical properties, including rhythm, melodic locality and motifs.
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Garcia, Jérémie. „Supporting music composition with interactive paper“. Phd thesis, Université Paris Sud - Paris XI, 2014. http://tel.archives-ouvertes.fr/tel-01056992.
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This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal and adaptable structures on paper in which they can express and explore musical ideas. I first present three field studies (Chapter 3) with contemporary composers that examined the use of paper and the computer during the composition process and how linking the two media supports exploration of musical ideas. I then describe a participatory design study that investigates the use of formal musical representations (Chapter 4) for creating new paper interfaces that extend computer-aided composition tools. I introduce Paper Substrates (Chapter 5), interactive paper components that provide modular structures for interacting with personal representations of computer-based musical data. I detail tools that we created to develop paper applications with the Paper Substrates approach. Several examples illustrate the creation of personal structures and musical content that can still be interpreted by computer-aided composition software. I then describe a structured observation study with 12 composers who used Polyphony to compose a short electroacoustic piece (Chapter 6). Polyphony is a unified user interface that integrates interactive paper and electronic user interfaces for composing music. The study allowed us to systematically observe and compare their compositional processes. Finally, I report on a research and creation project with the composer Philippe Leroux during the composition of his piece Quid sit musicus (Chapter 7). Several work sessions with the composer and a musical assistant lead to the design of new paper- based interfaces for generating composition material, synthesizing sounds and controlling the spatialization from handwritten gestures from calligraphic gestures over an old manuscript.
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Waters, Simon. „Electroacoustic music : composition beyond the acousmatic“. Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338056.
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Hargreaves, Jonathan James. „Music as communication : networks of composition“. Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11086/.
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Oberholtzer, Josiah W. „A Computational Model of Music Composition“. Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463123.
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This thesis documents my research into formalized score control, in order to demonstrate a computational model of music composition. When working computationally, models provide an explicit formal description of what objects exist within a given domain, how they behave, and what transformations they afford. The clearer the model becomes, the easier it is to extend and to construct increasingly higher-order abstractions around that model. In other words, a clear computational model of music notation affords the development of a clear model of music composition. The Abjad API for Formalized Score Control, an open-source software library written in the Python programming language and making use of the LilyPond automated typesetting system for graphical output, is presented as such a computational model of music notation. My own compositional modeling work, extending Abjad, is introduced and analyzed in the Python library Consort. A collection of five scores, each implemented as Python packages extending these software libraries, are included. Three of these scores, "Zaira," "Armilla" and "Ersilia," rely on Consort as their compositional engine, and are presented along with their complete sources. These scores demonstrate my development as a composer investigating the role of computation in music, and display a variety of large-scale structures and musical textures made possible when working with such modeling tools.Music
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Yelkenci, Serhat. „Algorithmic Music Composition Using Linear Algebra“. Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10275073.
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Sound, in its all forms, is a source of energy whose capabilities humankind is not yet fully aware of. Composition - the way of aggregating sounds into the form of music - still holds to be an unperceived methodology with lots of unknowns. Methodologies used by composers are generally seem as being innate talent, something that cannot be used or shared by others. Yet, as any other form of art, music actually is and can be interpreted with mathematics and geometry. The focus of this thesis is to propose a generative algorithm to compose structured music pieces using linear algebra as the mathematical language for the representation of music. By implementing the linear algebra as the scientific framework, a practical data structure is obtained for analysis and manipulation. Instead of defining a single structure from a certain musical canon, which is a type of limiting the frame of music, the generative algorithm proposed in this paper is capable of learning all kinds of musical structures by linear algebra operations. The algorithm is designed to build musical knowledge (influence) by analyzing music pieces and receive a new melody as the inspirational component to produce new unique and meaningful music pieces. Characteristic analysis features obtained from analyzing music pieces, serves as constraints during the composition process. The proposed algorithm has been successful in generating unique and meaningful music pieces. The process time of the algorithm varies due to complexity of the influential aspect. Yet, the free nature of the generative algorithm and the capability of matrical representation offer a practical linkage between unique and meaningful music creation and any other concept containing a mathematical foundation.
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Khan, Adil H. „Artificial intelligence approaches to music composition“. Thesis, Northern Kentucky University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549922.
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Music composition using Artificial Intelligence is a well-established area of study with research dating back over six decades. From the time the mathematical model of computation was developed by Alan Turing in the 1940s, the question of whether computers can be built to match human level intelligence has been debated. Creativity is certainly considered to be a sign of intelligence, and many areas of Artificial Intelligence have pursued ways to emulate the creative spark found in humans. Music Composition via Artificial Intelligence falls into this category. This thesis explores the application of Artificial Intelligence approaches towards the goal of composing music by implementing three approaches found in Artificial Intelligence and studying their results.
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Mayall, Jeremy Mark. „Composition Portfolio“. The University of Waikato, 2006. http://hdl.handle.net/10289/2398.
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The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live electronic effects are utilized to expand the sonorities and textures obtained from a solo bassoon in The Effect of Bundled Sticks on Sounds. Today is the Tomorrow takes this idea further, being a completely electronic work mixing live musical performance (turntables) with pre-recorded sounds, these interacting with live video and prepared animation. De Feo, inspired by graffiti artists, was written for a virtuoso pair of performers in the unusual combination of alto saxophone and viola, with no electronics being required. The Big Fat Jazz Bastard Theme Song and Espacio were written for particular performers and approaches to music making, while Saturday Afternoon and Late Night Specials are film scores. Swamp Treasures and Bungamucka - the Alarmist were commissioned for theatrical productions and thus were designed to fulfil specific functions determined by the stage directors. By way of contrast, ...seconds unwind...generated noise...racecar... is an abstract work that utilizes the sophistication and subtleties of timbre, rhythm and texture available from a professional chamber orchestra.