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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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Adu-Gilmore, Leila. „Accessing marginalized musics through adaptable, culturally sustaining music technology modules“. Journal of Popular Music Education 7, Nr. 3 (01.09.2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.
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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, technology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.
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Ihsan, Andi. „STRUKTUR MUSIKAL POMPANG: SUATU KAJIAN BENTUK DAN KOMPOSISI MUSIK TRADISIONAL DI KABUPATEN MAMASA“. JURNAL IMAJINASI 6, Nr. 2 (09.12.2022): 144. http://dx.doi.org/10.26858/i.v6i2.38729.
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Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis bentuk dan komposisi musik Pompang sebagai salah-satu musik tradisional yang ada di kabupaten Mamasa. Penelitian ini adalah penelitian analisis deskriptif dengan pendekatan kualitatif. Pengumpulan data dilakukan melalui observasi, studi dokumen, dan wawancara, yang selanjutnya dianalisis dengan cara mereduksi data, display dan selanjutnya verifikasi data. Hasil penelitian menunjukkan bentuk lagu pada musik pompang di kabupaten Mamasa terdiri atas dua bentuk yaitu (1) bentuk lagu dua bagian dan (2) bentuk lagu tiga bagian. Komposisi musik popang terdiri atas tiga komponen besar yaitu alat musik suling, alat musik pompang dan alat musik gendang. Kata kunci: Bentuk music; Komposisi; Musik tradisional AbstractThis study aims to describe and analyze the form and composition of Pompang music as one of the traditional music in Mamasa district. This research is a descriptive analysis research with a qualitative approach. Data was collected through observation, document study, and interviews, which were then analyzed by reducing data, displaying and further verifying data. The results showed that the form of the song in the pompang music in Mamasa district consisted of two forms, namely (1) a two-part song form and (2) a three-part song form. The composition of popang music consists of three major components, namely the flute, the pump and the drum. Keywords: Musical form; Composition; Traditional music
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Zhang, Yifei. „Utilizing Computational Music Analysis and AI for Enhanced Music Composition: Exploring Pre- and Post-Analysis“. Journal of Advanced Zoology 44, S6 (05.12.2023): 1377–90. http://dx.doi.org/10.17762/jaz.v44is6.2470.
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This research paper investigates the transformative potential of computational music analysis and artificial intelligence (AI) in advancing the field of music composition. Specifically, it explores the synergistic roles of pre-analysis and post-analysis techniques in leveraging AI-driven tools to enhance the creative process and quality of musical compositions. The study encompasses a historical overview of music composition, the evolution of computational music analysis, and contemporary AI applications. It delves into pre-analysis, focusing on its role in informing composition, and post-analysis, which evaluates and augments compositions. The paper underscores the significance of these technologies in fostering creativity while addressing challenges and ethical considerations. Through case studies, evaluations, and discussions, this research offers insights into the profound impact of computational music analysis and AI on music composition, paving the way for innovative and inclusive musical expressions.
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Sanjaya, Singgih. „New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra“. International Journal of Creative and Arts Studies 5, Nr. 2 (26.12.2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.
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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Ardi, Ardi Gunawan, und Santosa Hendra. „Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur”“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 3 (25.08.2023): 295–305. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2072.
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Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
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Wiguna, I. Wayan Srutha, und I. Komang Sudirga. „Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 3 (06.09.2022): 209–16. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i3.1169.
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Tajen Jangkrik terdiri dari dua kata, yaitu tajen yang berarti sabung, dan jangkrik merupakan serangga kecil yang bunyinya nyaring. Tajen Jangkrik merupakan karya seni karawitan Bali yang menggambarkan mengenai proses permainan judi adu jangkrik. Karya ini mengangkat fenomena pemuda serta orang tua di Bali zaman dulu atau sekarang, khususnya di Desa Kesiman yang memainkan adu jangkrik untuk berjudi atau taruhan. Karya ini akan diwujudkan ke dalam bentuk karya karawitan inovatif dengan media ungkap Gamelan Semarandana dan Gamelan Selonding. Adapun permasalahan yang akan dibahas adalah bagaimana cara mentransformasikan ide adu jangkrik ke dalam dua barungan gamelan Bali, yaitu Semarandana dan Selonding. Tujuan dari penciptaan karya ini adalah sebagai kritikan melalui karya seni karawitan Bali kepada masyarakat bahwa permainan judi ini tidak baik dilakukan, dapat merugikan diri sendiri karena adanya taruhan dan merugikan makhluk hidup yang digunakan sebagai sarana permainan. Metode yang digunakan pada proses penciptaan karya adalah metode penciptaan dari Alma M. Hawkins dengan tiga tahap di dalamnya, yaitu tahap penjajagan, tahap percobaan dan tahap pembentukan. Rekomendasi yang dapat diberikan adalah bagaimana cara penata dalam menggabungkan dua barungan gamelan dengan teknik, bahan dan karateristik yang berbeda menjadi satu karya utuh. Dari rekomendasi tersebut semoga bisa menjadi inspirasi sebagai acuan untuk karya selanjutnya. Kata kunci: Tajen, Jangkrik, Inovatif, Semarandana, Selonding
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Wijasa, I. Pande GedeYudista, und Ni Putu Hartini. „Music Composition Alun Segara | Komposisi Musik Alun Segara“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 4 (15.12.2022): 311–18. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1120.
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This work is entitled Segara Square. Alun Segara is a utterance of someone's words inspired by the stylist himself to make a piece of musical art in the form of a composition, as a requirement for the final assignment of an undergraduate course at the Indonesian Art Institute, Denpasar. Alun Segara was inspired when the stylist went to the beach. Alun Segara in the true sense is a big wave. In discussing this word, it is a word of speech from the village community on the island of Nusa Penida, especially the people of Nusa Penida when the community will sail to the sea to find bad weather, that word is the typical language used by the community when the weather is bad at sea. From this incident, the stylist wanted to make it into a composition. In this work, the stylist makes a creative percussion by showing the composition of the shape of the waves and transforming it into a new musical composition using the Gong Kebyar barungan. The stylist describes this phenomenon in the form of a new creative percussion entitled Alun Segara. A new piece of music that the stylist picked up directly, the stylist saw it directly on the beach of Nusa Penida, which inspired a musical composition so that a creative percussion composition was realized. This work, of course, does not leave elements of Balinese gamelan playing in general. This work processes musical elements such as: tempo, rhythm, dynamics, melody, and harmony. It is from this element of music that the stylist creates rhythmic and melodic works.
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Anggayanto, Iketut yogi, und Tri Haryanto. „Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 3 (03.07.2023): 161. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i3.358.
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Reboisasi adalah karya musik yang terinspirasi dari lingkungan sekitar yang dahulunya asri hingga terjadinya penebangan pohon secara liar, serta berkeinginan untuk mencoba menanam Kembali. Kary aini menggunakan media ungkap Gender Wayang sebagai instrumen pokok serta penambahan empat buah instrumen suling dan satu tungguh Gong Pulu sebagai instrumen pendukung. Reboisasi merupakan komposisi musik inovatif yang cenderung mengungkap ide-ide atau gagasan baru walaupun masih berpedoman dengan unsur-unsur tradisi yang ada. Dalam penggunaan panggul sebagai alat pemukul karya Reboisasi menggunakan satu panggul yang memiliki dua fungsi secara bersamaan, yaitu penata memodifikasi panggul gender pada bagian kekembangan panggul dengan menambahkan karet pada permukaannya yang membentuk setengah lingkaran. Secara Teknik bermain Gender memadukan dua style yang berbeda antara Sukawati dan Kayumas dengan tujuan untuk mencari nuansa suara yang berbeda. Metode penciptaan yang dipergunakan menggunakan metode yang dikembangkan oleh Alma Hawkins dengan tiga tahapan dalam berkarya, yaitu tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukaan (Forming). Karya ini didukung oleh 9 (Sembilan) orang penabuh dengan durasi waktu 11 menit
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Budi Pramana, I. Putu Riangga, und I. Wayan Suharta. „Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 4 (03.07.2023): 290–98. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.371.
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Komposisi Konfrontasi adalah komposisi musik yang mengacu pada representasi dari salah satu bentuk konflik, yang mendeskripsikan sebuah peristiwa dimana seseorang memancing tindakan atau argumen yang berlawanan dari orang lain yang dianggap lawan secara terang-terangan. Dalam musik, konfrontasi diibaratkan sebagai sebuah kata yang mendeskripsikan pergerakan kalimat-kalimat musik yang dinamis dan cenderung disharmonis. Konfrontasi diwujudkan berdasarkan kesinambungan karakter gamelan Gong Kebyar sebagai media ungkap, yakni karakter dinamis. Konfrontasi diwujudkan dengan tujuan untuk meningkatkan pengetahuan dan keahlian penata untuk membangun kemampuan menciptakan komposisi kontemporer berdasarkan pemikiran sederhana pada relevansi karakteristik gagasan dengan karakteristik Gong Kebyar. Dalam mewujudkan komposisi Konfrontasi, penata menggunakan metode penciptaan Panca Sthiti Ngawi Sani yang terdiri atas: Ngawirasa (Inspirasi), Ngawacak (Eksplorasi), Ngarancana (Konsepsi), Ngawangun (Eksekusi), dan Ngebah (Penyajian). Komposisi Konfrontasi disajikan sebagai sebuah komposisi kontemporer dengan struktural bagian yang terdiri atas tiga bagian dengan menitikberatkan pada konsep kontras dan selaras. Komposisi kontemporer merupakan sebuah komposisi musik yang tidak hanya sekedar menganggap bebas tanpa mempertimbangkan ketentuan bersifat konvensional atau melupakan tradisi.
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Ydiarta, I. Wayan. „Music Composition Tegak Anyar | Komposisi Musik Tegak Anyar“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 3 (06.09.2022): 240–48. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i3.382.
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Ketertarikan penata terhadap patet-patet muerupakan salah satu yang melatar belakangi karya ini. Jika di akumulasikan setiap patet memiliki nada 3(ding), 4(dong), 5(deng), 7(dung) dan1(dang)nya masing-masing. Berarti dalam tujuh patet penata mendapatkan tujuh nada 3 (ding), tujuh nada 4 (dong) dan seterusnya sampai nada 1 (dang). Ditambah lagi penata melihat peluang dimana pada akhir-akhir ini belum terdapat sebuah karya yang menggunakan media ungkap gamelan Semar Pegulingan Saih Pitu dengan judul Tegak Anyar. Tegak Anyar terbentuk dari dua suku kata yaitu Tegak dan Anyar, dimana Tegak yang artinya duduk, juga terdapat Bahasa istilah yaitu ruang atau lahan dan Anyar berarti baru. Tegak Anyar diartikan penata ingin memberikan sebuah ruang baru terhadap media yang penata gunakan yaitu Semar Pegulingan Saih Pitu dengan bentuk tabuh kreasi baru. Penata berimajinasi untuk mengolah patet-patet yang terdapat dalam gamelan Semar Pegulingan Saih Pitu. Pada umumnya, penggunaan patet-patet tersebut biasa untuk merubah suasana, karena setiap patet memiliki kesan bunyi yang berbeda-beda. Tujuan utama penata ialah ingin mengajak masyarakat mengetahui bagaimana perkembangan seni karawitan Bali dengan manfaat memperkaya warna karawitan Bali serta memberi trobosan baru dalam berkarya. Karya ini menggunakan sebuah metode yang diciptakan oleh Alma M. Hawkins dalam buku Creating Trough Dance. Dimana penciptaan sebuah karya seni perlu menggunakan tiga tahapan yaitu eksplorasi, improvisasi dan pembentukan. Karya Tegak Anyar diwujudkan dalam bentuk Tabuh Kreasi yang mempertimbangkan unsur musikalitas.
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Budimahendra, I. Putu Agus Dodik, und Kadek Suartaya. „Music Composition Saka Luang | Komposisi Musik Saka Luang“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 1 (01.03.2023): 116–21. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i1.1159.
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Karya komposisi tugas akhir “Saka Luang” ini merupakan karya yang terbentuk dan tergolong komposisi Karawitan Inovatif. Terbentuknya judul ”Saka Luang” tersebut penata terinspirasi dari bangunan Palinggih Menjang Saluang yang dapat di artikan, Saka yang berarti Pilar atau adegan (warna, 1988:252). dan Luang yang berarti eka atau tunggal (Ariana, 2016:49). Jadi “Saka Luang” penata artikan sebagai satu pilar memusatkan pikiran sehingga menjadi Luang dimana Luang yang dimaksudkan adalah satu. Karya ini beranjak dari Teknik Leluangan, Penafsiran ide dan Teknik Leluangan tersebut dituangkan dalam media ungkap Gamelan Semar Pagulingan Saih Pitu agar bisa memainkan patet sesuai dengan suasana dan nuansa yang ingin dicapai. Proses kreativitas yang digunakan pada tahap penciptaan karya ini menggunakan metode yang ditulis oleh I Wayan Diana Putra yang disebutkan oleh Senen dari tahap penciptaan I Wayan Beratha yang berpegang teguh pada tiga proses yaitu, Nguping (peniruan), Menahin (memperbaiki), dan Ngelesin (menghaluskan).
Kata Kunci: Semar Pagulingan , Leluangan, Saka Luang.
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Haryanto, Tri, und I. Gede Yudana. „Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 1 (23.06.2023): 1–10. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.147.
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Kehidupan makhluk hidup (manusia) merupakan sesuatu yang diawali dengan berbagai proses dan tahap-tahap pertumbuhan dan perkembangan. Seperti tahapan embrio sebagai jasad hidup yang masih dalam tingkat perkembangan (pertumbuhan) awal, belum mempunyai bentuk yang jelas, akan menjadi sesuatu. Dari proses ini, penata angkat menjadi garapan yang berjudul embrio, dengan medium gamelan Semar Pagulingan Saih Pitu dan Selonding style Tenganan, dengan durasi 10-15 menit. Garapan karya embrio dibagi dalam 4 (empat) bagian, tiap bagian mewakili fase embrionik yang masing-masing fase memiliki ciri tersendiri. Proses pertumbuhan dan perkembangan tersebut terbagi menjadi beberapa tahapan yakni mulai dari fertilisasi yaitu pertemuan gamet jantan dan betina, pembelahan sel pada tahapan morula dan blastula, kemudian gastrula membentuk 3 (tiga) lapisan, serta yang terakhir organogenesis yang membentuk organ makhluk hidup (manusia) baru.
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I Made Yudi, Darmawan, und Sadguna I Gde Made. „Music Composition Banyu Milir | Komposisi Musik Banyu Milir“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 2 (13.06.2023): 138–45. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.2076.
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Subak is an organization owned by farming communities in Bali that specifically regulates the management or irrigation system/irrigation of rice fields traditionally. Banyu Milir composition uses instruments such as drums, reong, kajar, ceng-ceng ricik, jublag, jegog, gong, kemong, flute and there are two additional instruments, namely the kempur and cedugan drums. Through the creation of this work, the stylist wants to develop a pattern that has existed before, this development is in accordance with the musical elements of the stylist's interpretation, namely expressing something that is in the stylist's mind that will be poured into the gamelan that has been determined by the stylist. Banyu Milir's innovative musical work is elevated to a work as a reflection and a message to us that water is an important element that cannot be separated from living things. The process of composing Banyu Milir's innovative musical works has gone through five stages, namely the Inspiration Stage (Ngawirasa) The Exploration Stage (Ngawacak) The Conception Stage (Ngarancana) The Execution Stage (Ngawangun) The Production Stage (Ngebah), Banyu Milir's innovative musical work consists of three main parts, namely part one, part two and part three. This piece is supported by 17 musicians from Sanggar Mekar Seruni with a duration of approximately 12 minutes.
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Craig, Dale A. „Trans–Cultural Composition in the 20th Century“. Tempo, Nr. 156 (März 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.
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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).
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Pratama, Yuda, Yon Hendri und Hafif HR. „Tafsir Ritual Pemujaan Dewi Saraswati Bali Menjadi Komposisi Musik Ilustrasi Dalam Garapan Musik Multimedia (The Interpretation of The Ritual of Devotion Goddess Saraswati Bali Became an Illustrative Composition of Music In Multimedia Music)“. Scoring: Journal of Film Music 1, Nr. 1 (28.07.2023): 19. http://dx.doi.org/10.26887/scoring.v1i1.3399.
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ABSTRAKArtikel ini memuat tentang karya musik ilustrasi yang berangkat dari prosesi Ritual Pemujaan Dewi Saraswati yang dilaksaanakan di Bali pada setiap tahunnya yang dilakukan pada pagi hari. Pengkarya menghadirkan suasana sesuai alur cerita dari tahap persiapan hingga tahan prosesi ritual,. Tujuan dari penulisan artikel ini adalah untuk mewujudkan komposisi musik ilustrasi dalam bentuk garapan multimedia dengan mengambil ide musical dari mantra pemujaan terhadap Dewi Saraswati. Metode pencitaan yang digunakan dalam penggarapan karya ini adalah metode penciptaan A.M. Hawkins yang terdiri atas tiga tahap yaitu ; (2) Tahap explorasi , (2) tahap eksperimen, (3) perwujudan. Penggarapan komposisi musik ilustrasi ini menghasilkan komposisi musik multimedia yang berjudul “ Ilustrasi of Music “Ritual Pemujaan Saraswati dalam bentuk free formKata Kunci:Ritual Pemujaan Dewi Saraswati; Musik Ilustrasi; Musik MultimediaABSTRACTThis article contains an illustrated piece of music that departs from the procession of the Ritual Worship of Dewi Saraswati which is held in Bali every year which is done in the morning. The creators present the atmosphere according to the storyline from the preparation stage to the ritual procession. The purpose of writing this article is to create an illustrated musical composition in the form of a multimedia work by taking the musical idea from the mantra of worship of Dewi Saraswati. The creation method used in the creation of this work is A.M. Hawkins which consists of three stages namely; (2) Exploration stage, (2) experimental stage, (3) embodiment. The cultivation of this illustration music composition resulted in a multimedia music composition entitled "Illustration of Music" Saraswati Worship Ritual in free form Keywords: Goddess Saraswati Worship Rituals; Illustrated Music; Multimedia Music.
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Pramana, I. Putu Riangga Budi, Hendra Santosa, I. Saptono, I. Gede Yudarta und I. Wayan Sutirtha. „Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion“. Gondang: Jurnal Seni dan Budaya 7, Nr. 2 (05.12.2023): 338. http://dx.doi.org/10.24114/gondang.v7i2.49581.
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This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the style of fusion music, by combining the values of Bali characteristics with Western music values presented by JGF (Jes Gamelan Fusion). It turns out that in her composition, Windha is still thick with Balinese karawitan practices, where various elements of music, the practice of music playing techniques, ornamentation, and even the structure of the music are still Balinese style. Two types of gamelan as the basic foundation of music fusion, namely Jegog gamelan and Semar Pagulingan Saih Pitu gamelan, have certainly given rise to sound color perspectives and instrumentation techniques as a creative force for composition creation. Windha has also made hybrid music in a fusion style which turned out to be an alternative to combining Western and Eastern music (Nusantara).
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Paigude, Kasturi. „Analysis of an Indian Classical Music Composition“. International Journal of Membrane Science and Technology 10, Nr. 1 (11.10.2023): 605–15. http://dx.doi.org/10.15379/ijmst.v10i1.2623.
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This research aims to enable analysis of Indian classical music compositions by studying different elements of a composition of vocal music using a statistical method. Indian classical music is an art which is passed on to the next generation through an oral tradition and is mastered by practicing it orally and by listening to it. Writing music has been very minimal in Indian classical music tradition and is essential mainly for the reference purpose. Traditionally, analysis of an Indian classical composition too is done by listening to a composition and by studying its notation. Only medium paced compositions are analyzed in this research. The new method that I have suggested in this research can be used to check whether the results of analyzing a composition traditionally can match the results of analyzing a composition by using the statistical method. This research is a novel way of analyzing a few elements of a composition visually using its graphical representation. Using this method, an individual who understands mathematics and statistics but has a limited understanding of music can attempt to analyze certain elements of a composition. The prominent elements that are analyzed are: Mukhada-beginning of a composition, Sam swara- the swara on which the first beat of a taal is kept, Sthayi and Antara- the two parts of a composition, Taal-a cycle of beats, Laya- distance between two beats of a taal, Raagaroop- a melodic framework for improvisation in Indian classical music and Sahitya- Text of a composition. I have analyzed three elements out of seven using the standard deviation, mean and the graphical representation. The elements are Mukhada, Sthayi-Antara and the Laya. The rest of the elements are analyzed by listening to the composition and by studying its notation.
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özbek, hanefi. „Turkish Music and Music Therapy Composition-1“. JOURNAL OF ANATOLIAN MEDICINE 1, Nr. 3 (2022): 11–22. http://dx.doi.org/10.5505/anadolutd.2022.88597.
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Asplund, Jonas. „Compositionism and digital music composition education“. Journal for Research in Arts and Sports Education 6, Nr. 3 (30.08.2022): 96–120. http://dx.doi.org/10.23865/jased.v6.3578.
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This article aims to explore the sociomaterial relational activities within digital music composition education via the posthumanist concepts compositionism and assemblage. The study is an attempt at a nonlinear and non-reductivist understanding of educational activities where matter, nature, and culture shape performative practices. Engaging with Latour and Actor-Network Theory (ANT) and its onto-epistemological manifest as compositionism, the explorations also find impetus from posthumanist thinking, Barad’s intra-action, Haraway’s becoming-with, and post-qualitative inquiry. Four Year 9 classes in a Swedish compulsory school took part in the composing activity and the research intervention. During a four-week participation period, the music composition lessons were video-recorded. Sociomaterial transcriptions of the recorded lessons were transformed into assemblage compositions to explore the outcomes and becomings that emerged. What these sociomaterial compositions brings to the fore is the hybridity of digital music composition outcomes in learning activities.
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Menard, Elizabeth A. „Music Composition in the High School Curriculum“. Journal of Research in Music Education 63, Nr. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Adorno, Theodor W. „Music, Language, and Composition“. Musical Quarterly 77, Nr. 3 (1993): 401–14. http://dx.doi.org/10.1093/mq/77.3.401.
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Yang, Xiaohan. „Implementation Of Machine Learning and Artificial Intelligence for Music Composition“. Highlights in Science, Engineering and Technology 85 (13.03.2024): 578–84. http://dx.doi.org/10.54097/8nepqh36.
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With the rapid developemnt of machine learning techiniques, it has been widely adopyed in various fields. This paper explores the models and applications of machine learning in music composition. It traces the evolution of computer music from its early days with electronic music pioneers to its contemporary implementations, showcasing the integration of cutting-edge technologies. Various models and techniques employed in music composition, including rule-based systems, deep learning, and stochastic composition methods, are thoroughly examined. Furthermore, significant challenges posed by copyright issues are addressed, along with potential solutions to overcome them. Looking ahead, one envisions a future where computer music achieves greater emotional depth, accessibility, and customization despite inherent complexities. Advances in copyright management and licensing systems are expected to diversify the pool of musical compositions available for training machine learning models, resulting in more emotionally resonant and diverse computer-generated music. This study sheds light on the potential of combining computer music with machine learning, providing valuable insights into the intricate world of music composition and technological innovation for future music creators and enthusiasts.
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Khair, Muhammad Alfian Nur. „Digitization and Development of Pantok Melody Themes Tongkek Using Leon Stein's Theory Approach“. Tamumatra : Jurnal Seni Pertunjukan 6, Nr. 1 (31.12.2023): 1–16. http://dx.doi.org/10.29408/tmmt.v6i1.20938.
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ABSTRACTThis paper presents a study on the composition of traditional music performance in Pancor Village, East Lombok, Indonesia with a focus on the creation of digitalized compositions based on traditional music. The study employs the approach of Leon Stein's theory of composition, which emphasizes the importance of understanding the cultural and historical context of musical works in order to create innovative and meaningful compositions.The study involves field research, where traditional music performances in Pancor Village are recorded, transcribed, and analyzed using Stein's approach to composition. The analysis focuses on identifying the characteristic elements of traditional music, such as melody, rhythm, and instrumentation, and exploring how these elements can be integrated with digital technology to create new compositions.The study also involves experimentation with digital tools, such as software synthesizers, digital audio workstations, and other music production tools, while adhering to Stein's approach to composition. These tools are used to create digitalized compositions based on the traditional music of Pancor Village, with the aim of exploring the creative possibilities of combining traditional music with modern technology, while maintaining the cultural and historical context of the original works.The results of the study show that the integration of traditional music with digital technology while employing Stein's approach to composition, can lead to the creation of innovative and compelling musical works that are relevant to contemporary audiences. The digital compositions created in this study demonstrate how traditional music can be transformed and reimagined in new and exciting ways, while still respecting the cultural and historical context of the original works.This study contributes to the ongoing conversation on the preservation and development of traditional music and demonstrates the potential of integrating traditional music with modern technology using a theoretical framework that emphasizes cultural and historical context. It also highlights the importance of understanding and respecting the cultural and historical significance of traditional music, and the role that technology can play in preserving and evolving these musical traditions.
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Ardiyanto, Yoga, Elizar Elizar und Ediwar Ediwar. „“Five Of Quin” Eksplorasi Nada Pada Pola Ritme Pengantar Lagu Randai Kuantan Di Kabupaten Kuantan Singingi Provinsi Riau“. Jurnal Musik Etnik Nusantara 1, Nr. 1 (01.07.2021): 57. http://dx.doi.org/10.26887/jmen.v1i1.2014.
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Five Of Quin” ini adalah sebuah karya komposisi musik yang terinspirasi dari pola ritme pengantar lagu musik Randai Kuantan Kabupaten Kuantan Singingi, Provinsi Riau. Pengkarya melakukan analisa dan eksplorasi nada dari pola Tersebut sehingga menghasilkan sebuah interval nada baru yaitu A,B,Cis,E,Fis, dan nterval nada baru inilah yang menjadi fokus pengkarya Dalam penggarapan karya ini. Tujuan dari pembuatan karya ini adalah Untuk Melakukan sebuah inovasi (pembaruan) yang berawal dari sebuah Kesenian tradisional di berbagai aspek garap kedalam sebuah komposisi musik yang sesuai dengan konsep yang ditawarkan. Dalam penciptaannya, Pengkarya menggunakan beberapa metode penciptaan, yaitu Observasi, Eksplorasi, Diskusi, Kerja Studio, dan Perwujudan. Komposisi musik ini digarap dengan menggunakan pendekatan popular dengan genre EDM (Electronic Dance Music) dan subgenre house music. Kata Kunci: house music; EDM; five of quin; quin, five ABSTRACT"Five Of Quin" is a music composition works that was inspired by the rhythm pattern of the introduction to the Randai Kuantan music song, Kuantan Singingi Regency, Riau Province. The artist analyzes and explores the tone of the pattern so as to produce a new tone interval, namely A, B, Cis, E, Fis, and it is this new tone interval that is the focus of the author in the making of this work. the purpose of making this work is to carry out an innovation (update) that starts from a traditional art in various aspects of working into a musical composition that is in accordance with the concept offered. In its creation, the creator uses several methods of creation, namely Observation, Exploration, Discussion, Studio Work, and Embodiment. This musical composition was composed using a popular approach with the EDM (Electronic Dance Music) genre and house music subgenre.Keywords: house music; EDM; five of quin; quin; five
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Darmayasa, I. Ketut Agus, und Kadek Suartaya. „Music Composition “Sekar Layu” | Komposisi Musik Inovatif “Sekar Layu”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 4 (03.07.2023): 224–33. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.422.
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Budaya lokal (Bali) telah banyak mempengaruhi pola pikir, sikap, perilaku dalam berinteraksi dengan lingkungan sekitarnya. Lekatan konsep-konsep berkehidupan dalam bermasyarakat di Bali sudah menyelimuti keseluruhan yakni terkandung rasa dalam melakoninya. Olahan rasa senang-sedih, suka-duka, sudah barang tentu dimiliki manusia pada umumnya berdasarkan pengalaman masing-masing. Rasa yang penulis alami dalam menjalani kehidupan mendaut penulis untuk menjadikan ide dalam sebuah garapan komosisi musik inovatif.
Sebagaimana telah penulis paparkan, perjalanan cinta kasih empiris yang penulis alami telah menginspirasi, dan memotivasi ketersentuhan bathin penulis untuk menciptakan rangkaian nada-nada yang melahirkan karya inovatif. Kandungan esensial dari empiris tersebut telah menyulut api kreativitas penulis, dan selanjutnya mendistribusikan api itu dengan bingkai tajuk Sekar Layu.
Sekar Layu bagi penulis sebentuk ruang rekreasi yang diaplikasikan kedalam sebuah komposisi musik inovatif. Meminjam seperangkat pisau metodologi penciptaan yang dirasa tepat mengupas hakikat Sekar Layu. Metode yang penulis aplikasikan di antaranya tahap eksplorasi, improvisasi, dan pembentukan. Motif instument sape (alat musik Kalimantan) dan motif leluangan yang dituangkan kedalam barungan Gamelan Semar Pagulingan saih pitu menjadi media ungkap dalam garapan ini. Semua kerangka pikiran tersebut dilebur menjadi satu bagian integral yang tak terpisah pula dengan garapan. Semoga pencerahan (katarsis), menjadi buah yang berfaedah bagi penulis dan semua pendukung yang terlibat dalam garapan komposisi musik inovatif Sekar Layu.
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Herdianto, Ferry, Yusnelli Yusnelli und Freddy Antara. „KOMPOSISI MUSIK BADONDONG BAIBO DALAM MUSIK INSTRMENTAL“. Gorga : Jurnal Seni Rupa 10, Nr. 1 (18.05.2021): 115. http://dx.doi.org/10.24114/gr.v10i1.24912.
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The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the method of creation is carried out in three stages, namely; 1) data collection stage, 2) creation stage and 3) evaluation stage. This composition can be concluded that; a) creating musical compositions derived from regional arts has its own difficulties, where the creator must understand and explore the arts of the area, b) badondong is a new musical composition that is adapted from the melodies and vocals of badondong baibo in the Danto area of East Kampar district, c) the tone of the composition this music is a modified "nandung-nandung" melody without reducing the basic "nandung-nandung" melody, d) this badondong baibo vocal is sung by a vocalist to show the main theme in the creation of this musical composition, e) this composition is in the form of an orchestra format, f) This badondong is a musical composition with a lot of development, and is presented in the context of performing arts.Keywords: badondong, baibo, composition, music. AbstrakRumusan penciptaan komposisi ini diwujudkan dalam sebuah pertunjukan yaitu musik instrumental dan vokal yang mengangkat kesenian badondong baibo menjadi sebuah pertunjukan musik instrumental yang kreatif dan inovatif dalam bentuk komposisi musik dengan format orketra. Dimana rumusan penciptaan menggunakan prinsip-prinsip ilmu musik konvensional. Sedangkan tujuan penciptaan ini adalah 1) untuk menghadirkan kesenian badondong baibo dengan konteks dan fungsi yang berbeda ke dalam komposisi musik modern dan mengembangkannya dengan menggunakan teknik konvensional, 2) untuk merealisasikan ide musikal yang di inspirasi dari kesenian badondong baibo dan menjadikannya sebuah komposisi musik yang baru. Sedangkan metode penciptaan dilakukan dengan tiga tahap yaitu; 1) tahap pengumpulan data, 2) tahap penciptaan dan 3) tahap evaluasi. Secara aris besar kompisisi ini dapat disimpulkan bahwa; a) menggarap sebuah komposisi yang berangkat dari sebuah kesenian bukanlah perkara yang mudah, selain harus memahami, kita juga dituntut untuk mempelajari latar belakang dari kesenian tersebut, b) badondong adalah komposisi musik baru yang bersumber dari melodi vocal badondong baibo yang terdapat didaerah Danto kecamatan Kampar Timur, c) material komposisi ini adalah potongan-potongan melodi “nandung-nandung” yang dikembangkan dengan tidak menghilangkan nuasa melodi pokok “nandung-nandung”, d) vokal dari badondong baibo dibawakan oleh seorang vokalis untuk memperkenalkan tema pokok dalam penggarapan komposisi ini, e) komposisi digarap dengan format orkestra dalam sebuah pertunjukan seni, f) badondong ini adalah sebuah komposisi musik yang dicipatkan dengan menggunakan banyak pengembangan, dimana komposisi musik ini dihadirkan dalam konteks prtunjukan.Kata Kunci: badondong, baibo, komposisi, musik. Authors:Ferry Herdianto : Institut Seni Indonesia PadangpanjangYusnelli : Institut Seni Indonesia PadangpanjangFreddy Antara : Institut Seni Indonesia Padangpanjang References:Aziza, M. R., Soemardiono, B. (2013). Canon, Sebuah Teori Musik sebagai Tema Objek Rancang Sekolah Tinggi Seni Pertunjukan Indonesia. Jurnal Sains dan Seni Pomits. 2(2), __ _ __ .Amanriza, dkk. (1989). Koba Sastra Lisan Orang Riau. Pekanbaru: Dinas Kebudayaan dan Pariwisata Provinsi Riau.Baran, Stanley J. (2011). Pengantar Komunikasi Massa: Literasi Media dan Budaya, Edisi Kelima Buku Satu. Jakarta: Salemba Humanika.Banoe, Pono. (2003). Kamus Musik. Yogyakarta: Kanisius.Esten, M. (1990) Sastra Indonesia dan Tradisi Subkultur. Bandung: Angkasa.Lailia, D. R. (2016). Tinjauan Harmoni Pada Karya Musik “True Love Of Family”. Jurusan Pendidikan Sendratasik: Fakultas Bahasa dan Seni Universitas Negeri Surabaya.Jamalus. (1988). Pengajaran Musik Melalui Pengalaman Musik. 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Filsafat Seni, Penerbit ITB: Bandung.Wang, A. (2014, May). The Expression of Emotion and Feeling in Music Composition. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14) (pp. 636-638). Atlantis Press.Turek, Ralp. (1988). Concepts and Application. New York: The University of Akron.Yohana, N., & Husmiwati, K. (2015). Kaidah interaksi komunikasi tradisi lisan basiacuang dalam adat perkawinan Melayu Kampar Riau. Jurnal Penelitian Komunikasi, 18(1), 43-56.
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Zhang, Shuang. „Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models“. Wireless Communications and Mobile Computing 2022 (26.05.2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.
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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
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Gumilar, Teguh, und Rendi Alhusaini. „Kajian Musikologis Terhadap Komposisi Musik Angklung Toel dan Maqam Hijaz“. PROMUSIKA 11, Nr. 1 (11.04.2023): 19–29. http://dx.doi.org/10.24821/promusika.v11i1.9202.
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Studi ini bertujuan untuk menunjukan komposisi musik yang menggunakan konsep musik islam dengan kaya fungky. Maqam hijaz merupakah salah satu dari tujuh irama seni membaca Al-Qur’an yang terdapat pada sumber yang dikaji. Hijaz dalam irama memiliki makna doa, panggilan, dan mengingat-ingat sesuatu. Metode yang digunakan dalam penciptaan karya ini adalah pengembangan dasar dari tangga nada maqam hijaz ke dalam bentuk karya musik dengan penggabungan antara dua jenis musik, yaitu musik Timur Tengah, dan musik gaya funky. Karya angklung toel dan maqam hijaz, diketahui bahwa karya musik ini dapat menciptakan suatu hal baru dalam pengkolaborasian antara musik Timur Tengah dan musik gaya funky sebagai pengembangannya, dan diwarnai dengan progresi-progresi akornya yang terdapat pada karya ini. Gaya seni membaca Al-Qur’an dapat dikembangkan atau diaplikasikan ke dalam bentuk karya musik bambu.AbstractMusicological Study of Angklung Toel and Maqam Hijaz Music Composition. This study aims to show a musical composition that uses the concept of Islamic music with a funky richness. Maqam Hijaz is one of the seven rhythms of the art of reading the Qur'an found in the sources studied. Hijaz, in rhythm, has the meaning of prayer, calling, and remembering something. The method used in creating this work is the essential development of the Maqam Hijaz scales into the form of musical works by combining two types of music, namely Middle Eastern music and funky style music. The results of the musical works that have been made show that this work can create something new in the collaboration between Middle Eastern music and funky style music as its development, and is coloured by the chord progressions found in this rich. The art style of reading the Qur'an can be developed or applied as bamboo musical works.Keywords: Maqam, Hijaz, Music, Bamboo
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Park, Young-Ju, und Soo-Jin Lee. „Classic Music and A.I. for automated music composition“. Semiotic Inquiry 61 (30.12.2019): 69–94. http://dx.doi.org/10.24825/si.61.3.
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Reese, Sam, und M'aud Hickey. „Internet-Based Music Composition and Music Teacher Education“. Journal of Music Teacher Education 9, Nr. 1 (September 1999): 25–32. http://dx.doi.org/10.1177/105708379900900105.
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Mikawa, Makoto. „FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL'S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE“. Tempo 68, Nr. 270 (04.09.2014): 57–67. http://dx.doi.org/10.1017/s0040298214000369.
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AbstractIndifferent to the aesthetic dispute between the Parisian musique concrète and the Cologne elektronische Musik schools in the mid twentieth century, Mauricio Kagel took a synthetic approach to his second electroacoustic composition Antithese by combining these compositional principles. His aim was not to offer an eclectic solution to the controversy, but to express his musico-political and musico-social commentary. A close observation of Kagel's sketches, archived at the Paul Sacher Foundation, suggests that his choice of compositional materials and painstaking structural plan were shaped by his critical view of the politics of electroacoustic music.
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Pietrowicz, Mary, Danish Chopra, Amin Sadeghi, Puneet Chandra, Brian Bailey und Karrie Karahalios. „CrowdBand: An Automated Crowdsourcing Sound Composition System“. Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 1 (03.11.2013): 121–29. http://dx.doi.org/10.1609/hcomp.v1i1.13080.
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CrowdBand, a sound composition system, demonstrates how a crowd can create works that meet requested criteria and fulfill the aesthetic character given by keyword description and examples. CrowdBand allows flexibility in music composition in terms of duration of the music, completion time and cost of music composition by giving the requestor two modes - thrifty and normal. CrowdBand’s workflow divides the composition task into three sections: requesting fundamental sounds, assembling sounds into compositions, and evaluating the results. Based on the crowd workers’ responses, we conclude that crowdsourced workers who are non-musicians can design sound and create novel sound compositions through CrowdBand. We also conclude that CrowdBand gives the musically-untrained crowd workers the ability to use common compositional techniques, such as sound layering, vertical stacking of sounds to create harmonic effects, related melodic lines (contrapuntal techniques), and transitions between aesthetic notions, or sound themes. Finally, we show improved, faster results with successive simplification and examples.
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De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino und Rocco Zaccagnino. „Understanding the structure of musical compositions: Is visualization an effective approach?“ Information Visualization 16, Nr. 2 (25.07.2016): 139–52. http://dx.doi.org/10.1177/1473871616655468.
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Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.
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DuPree, Mary Herron. „Mirror to an Age: Musical America, 1918–30“. Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.
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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styles of American composition. It was a period when traditionalism, modernism and jazz-influenced composition were each passionately defended and condemned not only in the music journals but in the pages of most of the general intellectual magazines.
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BOENN, GEORG, MARTIN BRAIN, MARINA DE VOS und JOHN FFITCH. „Automatic music composition using answer set programming“. Theory and Practice of Logic Programming 11, Nr. 2-3 (22.02.2011): 397–427. http://dx.doi.org/10.1017/s1471068410000530.
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AbstractMusic composition used to be a pen and paper activity. These days music is often composed with the aid of computer software, even to the point where the computer composes parts of the score autonomously. The composition of most styles of music is governed by rules. We show that by approaching the automation, analysis and verification of composition as a knowledge representation task and formalising these rules in a suitable logical language, powerful and expressive intelligent composition tools can be easily built. This application paper describes the use of answer set programming to construct an automated system, named Anton, that can compose melodic, harmonic and rhythmic music, diagnose errors in human compositions and serve as a computer-aided composition tool. The combination of harmonic, rhythmic and melodic composition in a single framework makes Anton unique in the growing area of algorithmic composition. With near real-time composition, Anton reaches the point where it can not only be used as a component in an interactive composition tool but also has the potential for live performances and concerts or automatically generated background music in a variety of applications. With the use of a fully declarative language and an “off-the-shelf” reasoning engine, Anton provides the human composer a tool which is significantly simpler, more compact and more versatile than other existing systems.
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Li, Ze, Qing Huang, Xinhao Yang, Qing Chen und Li Zhang. „Automatic Composition System Based on Transformer-XL“. Applied Sciences 14, Nr. 13 (01.07.2024): 5765. http://dx.doi.org/10.3390/app14135765.
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An automatic composition system that includes music generation and music assessment is designed in this paper. In terms of music generation, we modify the Transformer-XL model for generating music. The Mask mechanism based on Transformer-XL is improved to make the attention of model tend to pay on the bidirectional information, so that the generated popular piano music forms a coherent whole. In terms of music assessment, we combine objective and subjective assessment to judge the generated music in a comprehensive way. Meanwhile, we put forward a new objective assessment method, namely the piano roll classification scoring network. It converts music into pictures and uses classification models in the CV, enabling the network itself to classify and score the generated music. The assessment results from subjective and objective experiments show that by improving the Mask mechanism of Transformer-XL, the model is trained to be better and the generated music could achieve the effect of imitating the real music.
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Wang, Yu. „Music Composition and Emotion Recognition Using Big Data Technology and Neural Network Algorithm“. Computational Intelligence and Neuroscience 2021 (16.12.2021): 1–11. http://dx.doi.org/10.1155/2021/5398922.
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To implement a mature music composition model for Chinese users, this paper analyzes the music composition and emotion recognition of composition content through big data technology and Neural Network (NN) algorithm. First, through a brief analysis of the current music composition style, a new Music Composition Neural Network (MCNN) structure is proposed, which adjusts the probability distribution of the Long Short-Term Memory (LSTM) generation network by constructing a reasonable Reward function. Meanwhile, the rules of music theory are used to restrict the generation of music style and realize the intelligent generation of specific style music. Afterward, the generated music composition signal is analyzed from the time-frequency domain, frequency domain, nonlinearity, and time domain. Finally, the emotion feature recognition and extraction of music composition content are realized. Experiments show that: when the iteration times of the function increase, the number of weight parameter adjustments and learning ability will increase, and thus the accuracy of the model for music composition can be greatly improved. Meanwhile, when the iteration times increases, the loss function will decrease slowly. Moreover, the music composition generated through the proposed model includes the following four aspects: sadness, joy, loneliness, and relaxation. The research results can promote music composition intellectualization and impacts traditional music composition mode.
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Millas Coffie, Mark. „A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’“. Journal of Advanced Research and Multidisciplinary Studies 4, Nr. 3 (03.07.2024): 23–42. http://dx.doi.org/10.52589/jarms-4xpt3m5p.
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It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.
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Nevels, Daniel L. „Using music software in the compositional process: A case study of electronic music composition“. Journal of Music, Technology and Education 5, Nr. 3 (01.01.2013): 257–71. http://dx.doi.org/10.1386/jmte.5.3.257_1.
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Parker, Sylvia. „Béla Bartók’s Arab music research and composition“. Studia Musicologica 49, Nr. 3-4 (01.09.2008): 407–58. http://dx.doi.org/10.1556/smus.49.2008.3-4.10.
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In 1913 Béla Bartók traveled to Algeria to research Arab folk music. He took with him the most modern technological device then available, the Edison phonograph, and recorded Arab peasants performing their music. Analysis of his ensuing scholarly documentation and free composition reveals the inspiration Bartók drew from Arab folk music, not only in his treatment of traditional musical elements — melody, rhythm, and harmony — but also in novel incorporation of exotic timbre, scales, drum modes, ululation, and exorcism. This paper elucidates diverse musical elements with examples from authentic folk music and Bartók’s compositions. What emerges is a remarkably comprehensive image of Arab music, seen through the lens of Béla Bartók’s unique scholarship and creativity.