Relevant bibliographies by topics / Composers (people in music)

Academic literature on the topic 'Composers (people in music)'

Author: Grafiati
Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Composers (people in music)"

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Yaremchuk, Olena. "The Polystylistics of Svyatoslav Lunyov’s Paraliturgical Music." NaUKMA Research Papers. History and Theory of Culture 6 (June 21, 2023): 65–71. http://dx.doi.org/10.18523/2617-8907.2023.6.65-71.

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Paraliturgical music is a sophisticated expression of the composer’s pure faith, acquired through knowledge of his craft in historical and technical progress. Many examples of sacred music have come down to us from the past, and most of them were in the territory of modern Ukraine, along with works by Russian composers that are still a priority in some churches. One way to rethink this topic is to study the work of Ukrainian composers, particularly in the context of paraliturgical music. One example is the work of contemporary Ukrainian composer Svyatoslav Lunyov. While many scholarly studies have been analyzing liturgical genres and music in the liturgy in various aspects, including canonical music and the work of S. Lunyov, the question of the place of the choral symphony “Strasna Sedmytsia” in the context of paraliturgical music remains unresolved. Due to its scientific novelty, the study of Lunyov’s choral symphony in the context of Ukrainian paraliturgical music became the subject of a special musical and cultural analysis for the first time. Since the beginning of the twenty-first century, the spiritual revival has become more and more important. The historical path of development of church culture, which was deliberately almost destroyed at the beginning of the last century, is being rehabilitated as a result of the establishment of church-state relations. Currently, sacred music is subject to very mixed opinions among scholars, composers, church leaders, philosophers, and people of different faiths. Music based on the canonical texts that form the basis of the church rite but interpreted by contemporary composers seems impossible to introduce into the service on an everyday level. Such music is defined as “paraliturgical.” Today, there are many different examples of music of this genre, as almost all academic composers turn to.
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Babcock, David. "Korean Composers in Profile." Tempo, no. 192 (April 1995): 15–21. http://dx.doi.org/10.1017/s0040298200004071.

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Ancient, ornately carved palaces in the midst of a megalopolis, the spirituality of delicate green Koryo celadon, an archaic traditional music as pungent (and delicious) as kimchi – once experienced, never forgotten. Add to these the city of Kyongju, called the ‘museum without walls’, the many reminders of a long history of suffering under Japanese oppression and the uninterrupted excellence of its poetry and visual arts, and one begins to feel Korea's special quality. The country is prosperous; education in all fields, including the arts, is given high priority. Contemporary life is vibrant and intense; the people possess a seemingly boundless capacity for hard work as well as for celebration, festivity, ceremony and mourning – and for music-making. Hardly surprising, then, that the compositional scene in the Republic of South Korea is booming, to say the least.
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Cameron, Catherine M. "Fighting with Words: American Composers' Commentary on Their Work." Comparative Studies in Society and History 27, no. 3 (July 1985): 430–60. http://dx.doi.org/10.1017/s0010417500011518.

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In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.
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Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.

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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.
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Mehr, Norman, and Lu Elrod. "Two! Four! Six! Eight! How do we Appreciate? Music Appreciation – Perceiving it, Understanding it." British Journal of Music Education 3, no. 2 (July 1986): 129–33. http://dx.doi.org/10.1017/s0265051700005271.

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An accountable program of elementary classroom music must have an educational function. In other words, it must perform an educational service. This involves more than the singing of songs or the attempt to hold the interest of children with ‘fun’ activities.The educational assumption behind most elementary classroom music programs is that the children through their musical experiences in the classroom will somehow learn to ‘appreciate’ music. The term ‘appreciate’, however, is vague and means different things to different people. Does it mean that children will learn to love the music of the masters by listening to great music on recordings and being told stories about the meaning of the music and the lives of composers? Does appreciating music mean identifying instruments and labeling the form? Does it mean identifying the composer and the period of the music from hearing it? Does it mean naming a certain number of composers and a certain number of the works of each? Does it have anything to do with preference for and liking of the music of the masters?
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Guo, Shaoying, and Mengqi Shao. "The Composer-Philosopher as a Key Figure of Musical Aesthetics (by the Example of Tchaikovsky’s Spiritual Endeavor)." Problemy muzykal'noi nauki / Music Scholarship, no. 3 (2023): 35–46. http://dx.doi.org/10.56620/2782-3598.2023.3.035-046.

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The focus of the authors’ scholarly interest is turned to composers-philosophers and philosophers-composers as the crucial figures of musical aesthetics realized in the space of phenomenology. The attention bestowed on such artists makes it possible to approach the understanding of music as an endeavor of transcending, which forms by itself the highest value. Neglecting the latter in the process of mastery of the art of music leads people to “one-dimensionality,” making them admittedly on the decline. When immersing in the inner world of the composer-philosopher or the philosopher-composer, the recipient, essentially, studies the depths of his or her own self, actualizing the dialogue of the artist and the valuator. The criteria for the genuine character of such a dialogue is formed particularly by the process of transcending, under the sign of which music appears in the guise of a meta-philosophical genre. When mastering the dialectics of being realized by musical means of expression, the human being acquires a unity of essence and existence. The authors turn to the personality of Piotr Ilyich Tchaikovsky, considering it appropriate to examine him as a composer-philosopher. Constructing a system of argumentation, they turn their attention towards the great musician’s reading circle, his cultural preferences and antipathies, his students, who manifested themselves in the sphere of philosophical knowledge and in the sphere of the art of music, as well as the musical compositions which have reflected the master’s philosophical ideas. In conclusion, it is emphasized that the study of the musical legacy of the composers-philosophers and the philosophers-composers would help overcome the discontinuity between life and art, when music, remaining aside from the everyday realities experienced by the human being, turn out to be incapable of inspiring him to spiritual wakefulness. As a result, its mission is narrowed down to adornment of everyday life, which inevitably leads to the primitivization of music itself and of the individuals consuming it. Turning to the experience of being of the composers-philosophers would make it possible to overcome this vicious circle.
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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 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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Ibragimov, Abdupatto Ahmadjonovich, Konstantin Konstantinovich Shalankov, and Fatima Yaqubjon Kizi Jumanazarova. "THE PEDAGOGICAL SIGNIFICANCE OF THE WORK OF MODERN UZBEK COMPOSERS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (December 1, 2021): 77–81. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-16.

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The development of culture and art in our society is based on specific trends. In this regard, music culture has entered an important stage of development, which contributes to the growth of spiritual and cultural consciousness of the people. earns. The teacher-student tradition is unique to our nation and is still used in practice by many master artists.
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Odunuga, Adeola Funmilayo, and Isaac Yekini-Ajenifuja. "Social Transformation of Africa through Music: The Nigerian experience." Journal of Educational and Social Research 8, no. 2 (May 1, 2018): 109–14. http://dx.doi.org/10.2478/jesr-2018-0021.

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Abstract Music has been found to be an instrument used in transforming lives because of its effectiveness as an agent and medium of transmitting information to the populace. It is used to pass crucial information, impart knowledge, soothe emotions, and affect lives. Music affects the ways and manner of its hearers positively and negatively, hence, it is expedient that people get right information through a good channel and medium. Music composers, performers and producers should be careful of what is composed and performed in order to achieve the desired result. This paper seeks to enlighten music composers and producers on the need to judiciously use music as an instrument of transformation in Africa and other world cultures. The use and effect of music on human being was traced from antiquity to date through library sources. It discovers that some of the recent music composition and performance in Nigeria and some other world cultures are not good enough for consumption. It recommends a viable music teacher education that will impart adequate knowledge on the music teacher trainee which will in turn transforms the music consumers.
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K, Nagendran. "Urisol That Conveys Musical Meaning in the Purananuru." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 321–28. http://dx.doi.org/10.34256/irjt22s250.

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In the middle of this century, Tamil isai Renaissance was achieved and tamil isai sangathar brought in a number of musical instruments. Tamil people are innisai of their pandai Yazh. Music in Tamil isai Sangam is the music of Pandai Yazh. Music research was conducted at the Tamil isai Sangam and music tamil scholars and composers gathered. From the grammars they had learned, they spoke of the handkerchief, the sleep, and the sound. Tamil is composed by all tamil people and tamil is played by tamil artist nall isai. The aim is not to tell the passionate history of the Tamil isai Renaissance. There is a feeling that the word music is given in the sense of music. But the history of the word music is remarkable. It provides not one thing but many things. Its appearance is also delicious and the aim here is to explain them.
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Dissertations / Theses on the topic "Composers (people in music)"

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Chaplin-Kyzer, Abigail. "Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157558/.

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The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."
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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.

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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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Poon, Yan Chee. "Does music make coming home easier? : musical and sociological analyses of selected compositions commemorating the 1997 return of Hong Kong to the People's Republic of China." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/443.

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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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Schimpf, Peter John. "A transcultural student, teacher, and composer : Henry Cowell and the music of the world's peoples /." Abstract and electronic version Publication number: AAT 3248815 Electronic version, 2006. http://proquest.umi.com/pqdweb?did=1268603461&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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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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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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Curlette, William Bruce. "New music for unaccompanied clarinet by Soviet composers /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923198808.

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Rakena, Te Oti. "The synthesis of Polynesian and western traditions in contemporary New Zealand composers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Nies, Carol. "STRUCTURAL ISSUES IN LUTOSLAWSKI'S SYMPHONY NO. 4." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991311116.

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Books on the topic "Composers (people in music)"

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Karwaszewska, Monika. Andrzej Dobrowolski: Muzyka czystej formy. Gdańsk: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku, 2017.

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Bauer, Helen. A guide to classical music for young people. New York: Hal Leonard, 2009.

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Stanley, John. Classical music: An introduction to classical music through the great composers & their masterworks. Pleasantville, N.Y: Reader's Digest Association, 1994.

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Mania, Grzegorz, and Piotr Różański. Władysław Żeleński i krakowski salon muzyczny: Tożsamość kulturowa w czasach braku państwowości. Kraków: Stowarzyszenie Polskich Muzyków Kameralistów, 2017.

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Bauer, Helen. A guide to classical music for young people. New York: Hal Leonard, 2009.

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Nazif, Basir, ed. Yusaf Rahman, komponis Minang. Bandung: Lubuk Agung, 2007.

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Southern African Music Rights Organisation. Princess Magogo: A portrait. Braamfontein, South Africa: Southern African Music Rights Organisation, 2003.

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Kibirova, S. N. Nizamdin Kibirov: Muzykant, kompozitor, narodnyĭ instrumentalist, pedagog. Sankt-Peterburg: Izd-vo UTPALA, 1995.

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author, Çetin Esra, ed. XIX. yüzyıl Ermeni müzisyenlerin klasik Osmanlı müziği'ne katkıları. Ankara: Gece Akademi, 2019.

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Vasudevan, T. S. Carnatic music composers. Chennai: T.V. Sundaravalli, 2008.

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Book chapters on the topic "Composers (people in music)"

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Smith, Neil Thomas. "3. Roundtable 2: Documenting Change." In Classical Music Futures, 59–80. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.03.

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This chapter considers three recent sets of best-practice guidelines that address urgent areas requiring change within the UK classical music sector and beyond: the way that organisations work with composers; the representation of women at all levels of the music industry; and the way organisations work with neurodiverse artists and participants. Each document seeks to crystallise practical steps that organisations can take to begin bringing about change in these areas. At the same time, the documents themselves become vital parts of the efforts to make change happen. The authors describe both the contents and the goals of their documents, as well as the way in which they were created. The aim is to provide a practical insight for people who may wish to create or use such guidelines, but also to critically assess the role of such documents in processes of change
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Stolze, Maximilian, and Helmut Hlavacs. "InvisibleSound: An App Enabling Blind People to Compose Music." In Entertainment Computing – ICEC 2017, 38–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66715-7_5.

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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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Amos, Jonny. "Production Music and Media Composers." In The Music Business for Music Creators, 282–88. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003452119-43.

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Kildea, Paul. "The Artist and his Medium: Composer and Listener (1946)." In Britten on Music, 61–66. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0024.

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Abstract I expect most of you have read about composers of the past and know something about the kind of lives they lived. You will have noticed how in each country and in each period these lives varied-how some composers were attached to courts and their works were written to order to please the taste of their rich patrons; how some were attached to famous churches and had to compose cantatas each week to fit the calendar of church festivals; how some were attached to theatres and had to produce operas to the taste of the theatre directors. If you feel that such harnessing of the creative vision is all wrong just let me remind you that these systems produced such giants as Bach, Haydn and Mozart. Perhaps also you have noticed that in the 19th century another kind of composer sprang up, who was more independent and composed music to please himself only and who sometimes, as a result of this, had a very hard life and often chose to starve in a garret rather than pander to the whims and fancies of other people. The 19th century also produced great composers. I should like to talk to you this morning about the kind of life the composer leads in the 20th century so that you can compare this with the lives of earlier composers.
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Evison, Fiona. "From Art Music to Heart Music." In The Oxford Handbook of Community Singing, 936–56. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197612460.013.48.

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Abstract This chapter explores the place of relational composition in community singing. During in-depth interviews aimed at revealing views and experiences, 33 composers and community music leaders offered insight into the valuable roles that composers can play in participatory music-making. Using grounded-theory methodology, the author theorizes that community composers write and facilitate music-making in ways that benefit both the community and themselves. Composers become a part of a community through a continuum of compositional activities reflecting various levels of creative input and control. This requires multi-skilled, relationship-based compositional practices, which are enhanced by non-traditional training. Community composers’ practices reflect a shift in thinking and values from those often associated with art music, resulting in relational purposes for composition that balance, or even prioritize, the well-being of people with the musical product. Relational composition is applied in the context of participatory singing, where it results in inclusive, creative music that emotionally impacts both the singers and composer.
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Kildea, Paul. "The Artist-to the People (1963)." In Britten on Music, 233–35. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0070.

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Abstract I must admit that right up to my departure for the Soviet Union I was beset with doubts whether our musical art, which has developed in national traditions different from those of Russia, would be understandable and acceptable to Soviet audiences. I am glad that my anxieties were dissolved at the very first concert. Soviet audiences are unusually musical-this I knew beforehand-but are also remarkable for the enviable breadth of their musical appreciation. They are a wonderful public.PRAVDA: What do you think, Mr Britten, about the role of the composer, and the artist in general, in present day society?BRITTEN: I think that one of the fundamental dangers in creative artistic work in our day lies in the tendency of a certain section of composers and other artists towards a departure from themes prompted by real life, towards abstract experimentation in their workshops. Instead of serving as a creative laboratory for the artistic interpretation of reality, the workshop of a different type of artist is turned into the well known ‘ivory tower’ in which he seals himself tightly off from the real world.In general I think that ‘art for art’s sake’ cannot exist. One of the principal social obligations of the artist consists of the moulding, education and development of the artistic taste of the people. Nor do I accept the division of audiences into the ‘elite’ and all the others. The works of Mozart, Bach and Shakespeare are understandable both to the former and the latter. Obviously the main point is not who the artist chooses to address himself to in his work, but what he has to say to people.
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Knyt, Erinn E. "The Goldberg Variations Revisited." In Johann Sebastian Bach's Goldberg Variations Reimagined, 71–110. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197690659.003.0004.

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Abstract This chapter provides the first overview of multi-author compositions based on Johann Sebastian Bach’s Goldberg Variations. Instead of creating a single work that is the culmination of a lifetime of achievement and experience, as Bach did, several composers collectively present diverse contemporary perspectives on the music and techniques of Bach. Although multi-composer re-compositions might not display the same type of structural unity as Bach’s original, the pieces nevertheless explore and capitalize on aspects of stylistic variety that are inherent in Bach’s composition. Many of the multi-author collaborations, which are not usually simple direct reinterpretations of an authoritative text or a composer’s intentions, can also be seen as encompassing circular textual dialogues as Bach’s music becomes generative and an infinite or open text in which multiple people, including subsequent (re)-composers and performers enter into mutual textual conversations about the pieces.
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Hirshberg, Jehoash. "The Immigrant Composers Traniform the Musical Scene." In Music in the Jewish Community of Palestine 1880–1948, 157–83. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198162421.003.0010.

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Abstract The already-limited compositional activity in the field of concert music during the 1920s nearly came to a halt with Joel Engel’s death and Jacob Weinberg’s emigration to the United States in 1927.1 The renewed prospect of the arrival of first-rank Jewish composers was welcomed by the ideological circles in the Yishuv, as when rumours spread that Arnold Schoenberg, “the founder of the modern school … who became famous all over the world, considers immigration to our country … Perhaps very soon out of Zion shall go forth music? … Let the lost sons return to their people’.2
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Kildea, Paul. "Freeman of Lowestoft (r95r)." In Britten on Music, 108–11. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0036.

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Abstract Your Worship, members of the Council, ladies and gentlemen: when I was first told that I was going to receive this great honour today, I was flattered, thrilled and touched-but also, I must confess-rather surprised. I am afraid that in my ignorance I had always imagined that Freedoms of Boroughs were given to people like politicians, statesmen and warriors-eminent and highly respectable people-and not at all such dubious creatures as artists or composers. But although I feel myself quite unworthy of the wonderful things you’ve heard said about me, or read about me, this afternoon, in one way I feel I must congratulate this Borough of Lowestoft for having chosen to honour a composer to-day rather than a statesman! If a composer made such a mess of his work as most politicians here and abroad make of theirs,-well ...But seriously, I should like to thank the Borough of Lowestoft for the great and rare compliment it pays to Art generally, by so honouring me, a humble composer, this afternoon. To be made Honorary Freeman of the Borough of Lowestoft is one of the loveliest things that could ever happen to me. It puts, as it were, an official seal on my connection with this little corner of England-where I was born, and where I have spent so many years of my life.
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Conference papers on the topic "Composers (people in music)"

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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Etinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.

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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical characteristic of the tools used, particularly modern digital audio workstations. Ultimately, it is tested whether the task- technology fit (TTF), a well-established information systems theory model is a good predictor of the intention to use digital audio workstation systems by music artists. By applying the PLS-SEM method, results show that TTF positively influences music artists' intention to use DAWs.
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Qiu, Yao, Jinchao Zhang, Huiying Ren, Yong Shan, and Jie Zhou. "Humming2Music: Being A Composer As Long As You Can Humming." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/840.

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Creating a piece of music is difficult for people who have never been trained to compose. We present an automatic music generation system to lower the threshold of creating music. The system takes the user's humming as input and creates full music based on the humming melody. The system consists of five modules: 1) humming transcription, 2) melody generation, 3) broken chord generation, 4) accompaniment generation, and 5) audio synthesis. The first module transcribes the user's humming audio to a score, and then the melody generation module composes a complete melody based on the user's humming melody. After that, the third module will generate a broken chord track to accompany the full melody, and the fourth module will create more accompanying tracks. Finally, the audio synthesis module mixes all the tracks to generate the music. Through the user experiment, our system can generate high-quality music with natural expression based on the user's humming input.
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Rudenko, Svetlana, and Mads Haahr. "Psychogeography with Jack B. Yeats Art Sounding Gallery: Augmented Reality Locative Experience for Blind People." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001639.

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Sensory Substitution Devices (SSDs) are a relatively novel concept, based on the idea of the multisensory brain. Research on synaesthesia and sensory pairings has revealed that sensory modalities of the brain are interconnected. Nature has demonstrated examples of people who have lost one sense, which has then been substituted by increased ability in another, for example the case of Daniel Kish who navigates like a bat (Burgess, 2021) by clicking of the tongue (echolocation principle). To find a methodology for translating information from one sense to another, or substitute one sense with another is the principle for all SSDs. A number of approaches to assistive technologies for different impairments have been developed, for example for blind people, such as the vOICe “seeing with sound” and EyeMusic Apps, which convert visual images and colours into sound. While most SSDs are focused on functionality to offer life assistance, such as for navigation, little or no work has been done to include the blind into the emotional world of Visual Arts, despite the fact that there are 45 million blind people in the world (Amir Amedi). In this paper, we present an audio GPS based walking app that presents a translation of the visual expression of artworks by sound/music to deliver the emotional content of the paintings to blind people. The music is composed for six artworks of Irish artist symbolist Jack B. Yeats (1871-1957), specifically reflecting on shapes, colours and emotional content of painting by composer experienced in audio-visual synchronisation via synaesthesia (Rudenko and Córdoba Serrano, 2017). The project is centred around the development of a new methodology for multisensory design (MSD) through the design, implementation, and evaluation of a locative art experience with Augmented Reality (AR), hosted by Haunted Planet Studios (director Mads Haahr).
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Alonso-Monasterio, Pau, and Laura Uixera Cotano. "Community School Museums as a tool for education." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15054.

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Community Schools Museums (COSMUS) is an initiative that has been developing an approach to school education from a perspective of multi-dimensional diversity, creativity and community involvement under the Erasmus+ programme in six different countries (Portugal, Greece, Italy, Romania, Poland and Turkey) and in different kinds of schools (arts, music, primary school, high school, VET).This initiative, relies on different educational and multicultural principles, such as the European Youth Charter on Inclusion and Diversity in Education or the European Education Area, and uses a combination of three dimensions that compose the new concept of Community School Museum.The first dimension refers to the local community in which each of the schools is located. This not only enhances concepts such as local traditions, society, or sense of belonging, but also connects with them and involves them in the school activity and curricula content.The second dimension is the school, where education curricula and physical space interact to support those types of knowledge that are essential to sustaining human development, using critical thinking, using creativity or cooperation to promote multicultural meanings.The third dimension is the museum, understood as a flexible tool acting as a communication channel (bi-directional), with elements that act as significance bearers. It uses the approach of learning by doing in order to learn to be, one of the four pillars of learning. It also employs the recommendations of the International Committee for Education and Cultural Action and applies the seven areas of the UNESCO Creative Cities Network.Results of the Community School Museum projects show a sound diversity of approaches, which points to the success of the methodology, given that diverse educational, social and cultural contexts give rise to diverse museum contents and designs. One of these results focuses on vernacular heritage.
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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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Taylor, Stephen. "From Program Music to Sonification: Representation and the Evolution of Music and Language." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.060.

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Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.
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Lopes, Marcelo Garcez, and Helena Lucia Sobral Alves da Cunha. "Educational Program “To Practice Safety Is to Value Life”." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64327.

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Accidents which resulted in lost work time: using a different concept to deal with safety, focusing directly on the behavior of the worker, leading the worker to a sharper perception of the risks and thus enabling a change of behavior towards a safer attitude. “Sounds and Links” Project: the programmatic content was made through musical dynamics because music has the power to evoke feelings, stimulating the participants to live intrapersonal and interpersonal relationships in order to promote safe behaviors. The methodology used was: • “Andragogic (adult education) Model”; • multidiscipline language; • Methodology of “experiencing and living”; and • Focus on the day-by-day situations of work and life. The project was applied to four groups with 60 people, consisting of employees from TRANSPETRO and its contractors, other group with 60 people, composed by leaders, and one group with all participants of the five groups for the general closing session. Expected Results and consequences of the Project: • to turn the concept of safety as a real value to the worker; • to preserve the integrity and to value the life; pursuit a lasting and stable changing of behavior, based on a safety culture; and • to support the management safety system and reduction of the accidents.
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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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SANZHIEVA, L. N. "MUSIC OF COMPOSERS OF BURYATIA IN THE COUNTRY AND THE WORLD." 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/10.30792/978-5-7925-0521-6-2018-213-216.

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Reports on the topic "Composers (people in music)"

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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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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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xiao, xixi, siqi qin, jingjie zhou, and Shibo Zhang. Optimizing music interventions for people with dementia from caregivers’ perspective: A systematic review of qualitative research. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, April 2023. http://dx.doi.org/10.37766/inplasy2023.4.0107.

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Näslund-Hadley, Emma, María Mercedes Mateo-Berganza Díaz, Emma Strother, and Danielle S. Parrillo. The Power of Music Education: Unlocking the Talent of Latin American and Caribbean Youth. Inter-American Development Bank, September 2023. http://dx.doi.org/10.18235/0005159.

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The IDB supports youth empowerment through music education in Latin America and the Caribbean. This note draws on conversations with beneficiaries, project team leaders, and partner organizations about music as an engine of social inclusion and economic development. It highlights successful initiatives, including a program focused on music entrepreneurship among young people in Colombia, an all-female orchestra and a choir for women's rights in Guatemala, young luthiers crafting stringed instruments in Peru, and a program preventing violence through music education for children and their families in Nicaragua.
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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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Hizo - Bendezu, Genna, and Claudia Otazu - Aldana. Efficacy of music therapy for the control of anxiety and fear in pediatric patients aged 4 to 6 years who come to the dental office for the first time - a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, March 2023. http://dx.doi.org/10.37766/inplasy2023.3.0118.

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Review question / Objective: Will music therapy be effective compared to other modalities for the control of dental anxiety and fear in pediatric patients aged 4 to 6 years who come to the dental office for the first time? Condition being studied: Music therapy is a non-pharmaceutical intervention used in medical and educational settings to provide feelings of physical and mental well-being. Therefore, people who receive music therapy experience greater motivation and ability to develop defense mechanisms against anxiety. The population group of greatest interest are children from 4 to 6 years of age, who are the ones who experience the greatest anxiety and fear when going to a dental office.
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Freeman, Jodie, Anna Klingele, and Ursula Wolf. Effectiveness of music therapy, aromatherapy, and massage therapy on people in palliative care with end-of-life needs: A systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, November 2023. http://dx.doi.org/10.37766/inplasy2023.11.0087.

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Hearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Di Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner, and Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.

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Dementia is an illness with complex health needs, varying between individuals and increasing in severity over time. Approaches to use technology to aid people with dementia are often designed for a specific environment and/or purpose, such as the RadioMe system, a system designed to detect agitation in people with mild dementia living in their own home and calming them with music when agitation is detected. Both the monitoring and intervention components could potentially be beneficially used outside of the own home to aid people with dementia and carers in everyday life. But the adaptation could put additional burdens on the carer, as many decisions and the handling of the data and software could rely on their input. In this paper we discuss thoughts on the potential role of the carer for adaptations of specified system’s expansion to a larger ecosystem on the example of RadioMe.
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