Relevant bibliographies by topics / Composers

Academic literature on the topic 'Composers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Composers"

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Maestri, Eric. "An Exploratory Inquiry into the Relationship between Temporality and Composition." Organised Sound 25, no. 2 (August 2020): 179–86. http://dx.doi.org/10.1017/s1355771820000084.

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In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, think in the future – their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s theory of mimesis is helpful in analysing this dialogical mechanism through the notion of ‘temporal configuration’. By drawing on this theoretical framework, I interviewed five composers in order to make explicit the imbrication of the composer’s and listener’s temporalities in the musical work. This exploratory inquiry allowed for a concrete analysis, articulated in the words of the composers, of how they conceive the relationship between their compositional temporality and that expressed by their work.
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Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

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This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures similar to Clynes's composer-specific patterns, and also in a deadpan version. Listeners representing a wide range of musical experience judged to what extent each computer performance had the composer's individual expression, relative to the deadpan version. Listeners showed an overall preference for the Beethoven and Haydn pulses. The pattern of pulse preferences varied significantly among individual pieces, but little among different composers. These results indirectly support the general notion that expressive variation is contingent on musical structure, but they offer little evidence in support of fixed, composer-specific patterns of expressive microstructure.
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Daniele, Joseph R., and Aniruddh D. Patel. "Stability and Change in Rhythmic Patterning Across a Composer’s Lifetime." Music Perception 33, no. 2 (December 1, 2015): 255–65. http://dx.doi.org/10.1525/mp.2015.33.2.255.

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Historical trends in the rhythm of Western European instrumental classical music between ∼1650 and 1950 have recently been studied using the nPVI equation. This equation measures the average degree of durational contrast between adjacent events in a sequence (such as notes in a musical theme). These historical studies (e.g., Daniele & Patel, 2013, Hansen et al., in press) have relied on assigning each composer’s music a mean nPVI value in order to search for broad historical trends across composers. Here we address how mean nPVI might vary across different compositional periods within a composer’s lifetime, focusing on four famous composers whose lives have been demarcated into different epochs by historical musicologists, and who were part of Daniele and Patel’s original study: J. S. Bach, Mozart, Beethoven, and Brahms. For these composers, we find that the mean nPVI does not vary dramatically across compositional periods. Nevertheless, there are interesting trends within the lifetime of each composer which reflect the larger ‘rising nPVI’ trend seen across all Austro-German composers studied by Daniele and Patel (2013). These findings demonstrate the utility of studying historical patterns in musical rhythm at two distinct timescales: within the lifetimes of individual composers, and across composers from divergent musical eras.
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Xintong, Wang. "VIOLA MINIATURE BY REBECCA CLARKE." Arts education and science 2, no. 35 (2023): 76–83. http://dx.doi.org/10.36871/hon.202302076.

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The work of English composers of the first half of the XXth century, who actively composed for viola, is little known to music lovers. The now popular English composers L. Tertis and W. Wilton were most prominent in large-form works for viola (primarily in the genres of sonata and concerto with orchestra). One of the pioneers of chamber music for this instrument is the talented, but now almost unknown composer and violist Rebecca Clarke, who established the viola miniature as a distinctive and striking artistic phenomenon. The relevance of the study lies in the urgent need to introduce into musicology the information about the creative heritage of composers who created those works for viola that reveal the multifaceted artistic possibilities of this instrument. The purpose of the article is to illuminate the creative heritage of R. Clarke in the genres of miniature for viola and piano. Objectives of the article — to present the main biographical information about the composer; to show the importance of the viola in the development of the composer's style; to comprehensively analyze R. Clarke's miniatures for viola and piano. The author attempts to explore the composer's language, which is based on romantic traditions and heavily influenced by C. Debussy. The article focuses on R. Clarke's significant contribution to affirming the performance potential of viola in the chamber repertoire. The materials of the article can be used both by teachers of viola class and chamber ensemble as educational and didactic material, and by concert musicians to enrich their own performing repertoire.
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Berio, Luciano. "Composers." Tempo, no. 155 (December 1985): 57–58. http://dx.doi.org/10.1017/s0040298200022014.

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Collins, Nicolas. "Our Crowd—Four Composers Pick Composers." Leonardo Music Journal 19 (December 2009): 7–8. http://dx.doi.org/10.1162/lmj.2009.19.7.

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Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (August 1, 2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

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Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confirmation bias by building on the framework of music theory, queer musicology, and queer theory. The article demonstrates this theoretical framework using an interview of a transgender composer to supplement an analysis of their contemporary choral piece. By analyzing the work with the added context of the composer's statements about their own music, the author paints a more complete picture of the work, one that reinvests music analysis with the trans voice behind the composition.
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Panteleeva, Yulia N. "«The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music»." Contemporary Musicology, no. 2 (2019): 70–89. http://dx.doi.org/10.56620/2587-9731-2019-2-070-089.

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The article «The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music» is devoted to the theme of composer musicology – a concept that has become central to the series of collections «The Composer’s Word». This musicology project arose in the Gnessins Russian Academy of music in 2001. The article offers a general view of the concept of the collection, the materials published in the books — «The Composer’s Word» / «Slovo kompozitora» (2001), «The Composer’s Word: Thoughts on Music»/ «Slovo kompozitora: mysli o muzyke» (2011), «The Composer’s word and the Composer as seen by others»/ «Slovo kompozitora i o kompozitore» (2016). The texts published in the collections reflect both the Russian musical tradition and the foreign one. Among the authors are composers of the past (A. Scriabin, L. Sabaneev, A. Nikolsky, N. Cherepnin) and the present (E. Denissov, N. Korndorf, A. Larin, V. Tarnopolsky, V. Kikta, K. Volkov, A Batagov, I. Sokolov, and others.). Texts by foreign composers (O. Messiaen, K. Stokhausen, P. Boulez, L. Nono, J. Xenakis, S. Reich, J. Aperghis, M. Stahnke, and others) are presented in translations. The article also gives an idea of the genres in which the composer’s word is captured, and on the themes raised by the creators.
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Yoffe, Mark. "Progressive Rock from the Union of Soviet Composers." Arts 13, no. 3 (May 7, 2024): 83. http://dx.doi.org/10.3390/arts13030083.

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This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers’ interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled “Flemish Legend” by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled “On the Wave of My Memory” composed by pop composer David Tukhmanov, based on the poems of poets with a “decadent” reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times.
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Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (November 18, 2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.

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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.
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Dissertations / Theses on the topic "Composers"

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Hultgren, Ralph Harold. "Why do I compose? An Autoethnographic Examination of a Composer's Compositional Process." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367247.

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Why do I compose? is an autoethnographic examination of this composer's compositional process. It interrogates that process in an intimate and highly personal manner with an unashamed focus on the impact life events have had on him and his family. It unpacks not only the compositional outcomes but considers how the works then impacted upon others - conductors, performers and those who experience the work as audience members or listeners to recordings. The submission includes a substantial folio of original compositions that range from works for young musicians to professionals. Included are the compositions themselves, with sketches/ manuscript scores and published editions/ as well as1 where possible, audio and video recordings. A detailed synopsis of each work is given which includes data such as the type of ensemble/ the duration, the date of the composition/ the commissioner (if a commissioned work)1 as well as outlining the context for the creation of the work/ the premiere/ and publication. These synopses also link to specific responses to the work from others and1 at times/ personal reflections from the composer.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Roast, Thomas R. "Composers of Norwich cathedral 1620-1819." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302073.

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Schröder, Gesine. "Mendelssohn - a model for young composers." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61678.

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In der zweiten Hälfte des 19. Jahrhunderts spielte Mendelssohns Musik in Kompositionslehren noch eine keineswegs unbedeutende Rolle. Insbesondere in deren Abteilungen zur sogenannten freien Komposition, soweit sie Fragen der musikalischen Form und der Orchestration betrafen, wurde Mendelssohn oft zitiert. Vor allem in Salomon Jadassohns Kompositionslehre erlangte sein Werk Modellcharakter. Der Beitrag zeigt, wie dieser Lehrer am Leipziger Konservatorium im späten 19. Jahrhundert auf der einen Seite Mendelssohns musikalische und ästhetische Haltung fortwirken lassen wollte, wie er sich jedoch andererseits bereits vorsichtig von gewissen Aspekten des Mendelssohnschen Komponierens distanzierte. Aus um 1900 geschriebenen Lehren verschwindet Mendelssohns Name zusehends ebenso wie die Namen jüdischer oder französischer Komponisten wie Halévy oder Meyerbeer
In the second half of the 19th century Mendelssohn’s music played a prominent role in treatises upon composition. Especially the volumes on socalled „free composition“, including recommendations concernig musical forms, instrumentation and orchestration, often quote from his works. Mendelssohn claimed the figure of a model-composer. The paper concentrates on Mendelssohn as a model for young composers, as it was given by teachers at the Leipzig conservatoire. Treatises upon musical forms and instrumentation, written by Mendelssohn’s successors at the conservatoire show how the teachers on the one hand try to continue Mendelssohn’s compositional attitude and on the other hand try to part themselves from certain aspects of Mendelssohn’s music
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Capra, Carlos Augusto. "Music for clarinet by Argentinean composers /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Gregg, Thomas Andrew. "Song composers and their poetry choices : an analysis of the literary background and textual selections of twelve composers." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241188637.

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Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.

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Crossen-Richardson, Phyllis Jane. "Neglected cello repertoire of twentieth century English composers." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/1382.

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Sandvik, Jan. "Examination concert : Interpreting music by three different composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.

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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39 

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

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Willison, Lemke Ann. "Singing Goethe’s Praises. Goethe Songs by Women Composers." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71966.

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Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.

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Books on the topic "Composers"

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Holmes, John L. Composers on composers. New York: Greenwood Press, 1990.

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V, Raghavan. Composers. Edited by India. Ministry of Information and Broadcasting. Publications Division. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 2000.

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Gammond, Peter. Classical composers. New York: Crescent Books, 1994.

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Plantamura, Carol. Woman composers. Santa Barbara, Ca: Bellerophon Books, 1994.

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Jan, Fielden, ed. Composers' letters. London: Marginalia Press, 1994.

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Eve, O'Kelly, and Contemporary Music Centre, eds. Irish composers. 5th ed. Dublin: Contemporary Music Centre, 1997.

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Eve, O'Kelly, and Contemporary Music Centre (Ireland), eds. Irish composers. 8th ed. Dublin: Contemporary Music Centre, 2000.

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1933-, Gowri Kuppuswamy, and Hariharan M. 1951-, eds. Great composers. Trivandrum, India: CBH Publications, 1994.

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Jonathan, Grimes, and Contemporary Music Centre (Ireland), eds. Irish composers. Dublin, Ireland: Contemporary Music Centre, 2006.

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Maria, Mascheroni Anna, Marchesi G, Melanotte Alberta, Orselli C, Rescigno Eduardo, Tedeschi Rubens, and Thorne Stephen (Tr ), eds. Classic composers. Leicester: Magna Bks., 1993.

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Book chapters on the topic "Composers"

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Fallows, David. "Composers." In Henry V and the Earliest English Carols: 1413–1440, 88–91. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315610900-13.

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Anne Bentley, Christa. "“Poet-Composers”." In The Routledge Companion to Popular Music Analysis, 416–25. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315544700-28.

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Nain, Sumit, and Moshe Y. Vardi. "Synthesizing Probabilistic Composers." In Foundations of Software Science and Computational Structures, 421–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-28729-9_28.

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Barker, Paul Alan, and Maria Huesca. "Composers and Singers." In Composing for Voice, 14–43. Second edition. | New York; London: Routledge, 2018. | Series: Routledge voice studies series: Routledge, 2018. http://dx.doi.org/10.4324/9781315277172-2.

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Barker, Paul Alan, and Maria Huesca. "Singers on Composers." In Composing for Voice, 227–46. Second edition. | New York; London: Routledge, 2018. | Series: Routledge voice studies series: Routledge, 2018. http://dx.doi.org/10.4324/9781315277172-8.

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Wanke, Riccardo D. "Composers and performers." In Sound in the Ecstatic-Materialist Perspective on Experimental Music, 76–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003132387-4.

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Calcraft, Raymond, and Elizabeth Matthews. "On major composers." In Joaquín Rodrigo, 40–100. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032030043-3.

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Arnold, Ben. "American Composers Respond." In Music and War in the United States, 276–90. New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315194981-17.

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Fitzgerald, Gerald, and Robert Tuggle. "Composers and Librettists." In Annals of the Metropolitan Opera, 27–38. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-11976-9_2.

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Ihas, Dijana, Miranda Wilson, and Gaelen McCormick. "The Etude Composers." In Teaching Violin, Viola, Cello, and Double Bass, 238–42. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003154938-37.

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Conference papers on the topic "Composers"

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BENTLEY, A., T. ENDRICH, R. ORTON, and T. WISHART. "THE COMPOSERS' DESKTOP PROJECT." In Reproduced Sound 1986. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/22311.

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RUSINOVA, O. A. "NATIONAL SCHOOL OF BURYAT COMPOSERS: THE 80TH ANNIVERSARY OF UNION OF COMPOSERS." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-210-212.

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Kazantseva, Liudmila. "Russianness in the Works of European Composers." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.15.

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Smith, Benjamin J. "Composing Composers: Design Instruction for Student Empowerment." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.5.

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This paper develops topics on architectural instruction in three ways: (1) analysis of authenticity in the design studio, (2) evaluation of high- and low-level intentions, and (3) proposing an advanced studio developing design sensibility. Design education balances technique and sensibility. Students need skills to communicate their work effectively. They also need freedom to be creative with their ideas. Learning self-reliance empowers students’ connection to discourse. Methods for design instruction need to be robust enough to accommodate alternative approaches for production.
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Mo, Fan, Xingchao Wang, Shuaijun Li, and Huihuan Qian. "A Music Generation Model for Robotic Composers." In 2018 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2018. http://dx.doi.org/10.1109/robio.2018.8665078.

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Costa, Lucas F. P., and Andrés E. Coca S. "Characterization and identification of twelve-tone composers." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4465.

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The individualism of each composer is shaped in an inherent way to his personality, aiming for recognition of particular form through the own songs. In this way, it is possible to categorize a musical subgenre at a deeper level by identifying the composer from his works. However, the characteristics of each composer are so varied that they are difficult to identify. In this paper it is proposed to use machine learning to classify works of twelve-tone music according to the composer, under the hypothesis that in choosing the twelve-tone series a part of his signature was reflected. Experimental results showed promising performance and confirmed the existence of a relation between composer and series.
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Kim, Chiheon, Doyup Lee, Saehoon Kim, Minsu Cho, and Wook-Shin Han. "Generalizable Implicit Neural Representations via Instance Pattern Composers." In 2023 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2023. http://dx.doi.org/10.1109/cvpr52729.2023.01136.

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MEYER, J. "REFLECTIONS ON THE SPATIAL SOUND IMAGINATION OF COMPOSERS." In Auditorium Acoustics 2015. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16152.

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Agafița, Mihail. "Spanish baroque guitar: theoretical landmarks." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.22.

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Th e purpose of the article is to elucidate the evolution of the fi ve-string guitar in Spain during the Baroque period. It acquires a multidimensional character: interpretation techniques are developed, the repertoire is enriched, there is a plethora of talented performers and composers who promote new trends in the Spanish guitar practice. Th e author studies three major innovations of the time that led to the essential change of the guitar practice: the replacement of the polyphonic style with the homophone-harmonic one; introduction of a new notation system – Alfabeto; the formation of the Spanish composers’ school. Treatises written by J.C. Amat, G. Sans, L. R. de Ribayaz, S. de Murcia are analyzed as well as the time repertoire composed by famous performers and composers. Th e most important features of the Spanish baroque guitar style are revealed in the conclusions: favorite genres, typical guitar texture, etc.
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Zaozerskikh, Alena, and Mariya Chikhachyova. ""Memory of Culture" in Memorial Music by Siberian Composers." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.109.

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Reports on the topic "Composers"

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Trenchard, Michael E., Stephanie A. Myrick, Maura C. Lohrenz, Marlin L. Gendron, and Jessica L. Watkins. Moving-Map Composers System Version 3.4P Installation Guide and Training Manual. Fort Belvoir, VA: Defense Technical Information Center, April 2004. http://dx.doi.org/10.21236/ada422654.

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Trenchard, Michael E., Stephanie A. Myrick, Maura C. Lohrenz, Marlin L. Gendron, and Jessica L. Watkins. Moving-Map Composers System Version 3.4P Acceptance Test Procedures Developed for the Finnish Air Force. Fort Belvoir, VA: Defense Technical Information Center, July 2002. http://dx.doi.org/10.21236/ada405745.

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Trenchard, Michael E., Stephanie A. Myrick, Maura C. Lohrenz, Marlin L. Gendron, and Jessica L. Watkins. Moving-Map Composers System Version 3.4P Acceptance Test Procedures Developed for the Finnish Air Force Modification for FIAF MMC System Without DMUI/DMU. Fort Belvoir, VA: Defense Technical Information Center, November 2004. http://dx.doi.org/10.21236/ada429998.

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

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Lubell, Joshua. SCAP composer user guide. Gaithersburg, MD: National Institute of Standards and Technology, February 2020. http://dx.doi.org/10.6028/nist.ir.8290.

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Nachtigall, Susan D., and Beth A. Brucker. Requirements Composer: User's Manual. Fort Belvoir, VA: Defense Technical Information Center, October 2004. http://dx.doi.org/10.21236/ada480136.

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Lubell, Joshua. SCAP Composer User Guide. Gaithersburg, MD: National Institute of Standards and Technology, 2022. http://dx.doi.org/10.6028/nist.ir.8290-upd1.

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Nachtigall, Susan D., and Beth A. Brucker. Layout Composer User's Guide: Through Beta Version 0.22. Fort Belvoir, VA: Defense Technical Information Center, November 2004. http://dx.doi.org/10.21236/ada478062.

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You might also be interested in the extended bibliographies on the topic 'Composers' for particular source types:
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