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Journal articles on the topic 'Creative composition'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Folkestad, Göran, David J. Hargreaves, and Berner Lindström. "Compositional Strategies in Computer-Based Music-Making." British Journal of Music Education 15, no. 1 (March 1998): 83–97. http://dx.doi.org/10.1017/s0265051700003788.

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Recent technological developments and the increasing impact of the media mean that listening to music and creative music making constitutes a major and integrated part of many young people's lives.The aim of the present article is to describe the process of computer-based composition, and how this is perceived by young composers. This paper describes a three-year empirical study of 129 computer-based compositions by 15 to 16-year-olds. Computer MIDI-fti.es were system- atically collected covering the sequence of the creation processes step by step; interviews were carried out with each of the participants; and observations were made of their work.All the participants succeeded in creating music, and in the subsequent analysis, six qualitatively different ways of creating music were identified which could be divided into two main categories: HORIZONTAL and VERTICAL. These categories, devised by the authors in this context, refer to compositional strategies, not to structures in the music itself. In the horizontal categories composition and arranging are separate processes, whereas in the vertical categories composition and arranging are one integrated process.

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2

Rohmatullah, Mohamad. "Musical Composition of Introverts dan Ekstroverts’ Extramusical Idea." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 125–33. http://dx.doi.org/10.31091/jomsti.v3i2.1152.

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Purpose: Humans have different personalities, namely introverts and extroverts. Program music is one of the compositional techniques whose purpose is to describe something in the creation of music through the analogy of meaning. Research methods: This creation research uses the Practice-Led Research method. Data obtained through a literature study approach, then the data is associated with music through an analogy process. Results and discussion: The creative process in creating music is very diverse, one of which is through extra-musical ideas. In the realm of music creation other disciplines can be used as music creation ideas. Psychology and music can be related through listening and feeling. The musical works created are vocal and piano works about introverts and extroverts. Implication: The implications of this research creation are expected to trigger the idea of creating music more broadly, especially across scientific disciplines.

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3

Borisenko, T. S. "Compositional and production competence of the head of the choreographic team." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 117–24. http://dx.doi.org/10.30725/2619-0303-2020-3-117-117-124.

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The professional competence of the head of the choreographic collective is a single complex of interdependent and inextricably linked individual types of competencies, each of which requires a meaningful approach to the process of their formation, formation and development. The presented results of the analysis of modern research in the fi eld of improving the professional training of future leaders of the choreographic collective for professional pedagogical activity prove that the implementation of the ideas of a competencybased approach in modern choreographic education is the standard of high-quality training of a specialist whose main goal is the formation of professional competent leader of the choreographic team. The artistic and creative competence of the leader of the choreographic collective is an important component of his holistic professional competence, which is characterized by the totality of the former special competencies and the qualities of his personality necessary for solving professional and creative tasks. The study of the specifics of artistic and creative activity, the stages of the work of the baletmeister on the creation and formulation of the dance composition is among the objectives of the study. According to the results of the study, revealing the multifacetedness of the creative processes of creating a choreographic work «from concept to implementation» and characterized by insuffi cient development of the artistic and creative competence of the head of the choreographic collective, the main compositional and production competencies were identified: actual signifi cant structural components and essential characteristics are disclosed. It is concluded that the field of learning to create a dance composition and its staging has been studied a little, and the formation of compositional and production competencies is one of the main tasks facing teachers of special disciplines of universities of culture and art. The presented research results within the framework of this article are intended to use the relevant data as for the professional pedagogical work of the teaching staff : determining the principles for the formation of structural components; identifi cation and implementation of the necessary pedagogical conditions; development of criteria and indicators for diagnosing the formation of compositional and stagesetting competencies, as well as for educational activities of students – future specialists in the process of creating compositions and staging the dance.

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4

Applebaum, Mark. "Existential Crises in Composition Mentorship and the Creation of Creative Agency." Contemporary Music Review 31, no. 4 (August 2012): 257–68. http://dx.doi.org/10.1080/07494467.2012.725809.

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5

Rhoades, Michael. "Exploring the Nexus of Holography and Holophony in Visual Music Composition." Leonardo Music Journal 30 (December 2020): 61–67. http://dx.doi.org/10.1162/lmj_a_01093.

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In this article the author explores the idea that, owing to their shared three-dimensional nature, holophons and virtual holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is within reach. Here, one methodological pipeline is delineated that employs the convergence of holophony, virtual holography and supercomputing toward the creation of visual music compositions intended for head-mounted displays or large-scale 3D/360-degree projection screens and high-density loudspeaker arrays.

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6

Smith, Sophy. "The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines." Organised Sound 12, no. 1 (April 2007): 79–87. http://dx.doi.org/10.1017/s1355771807001677.

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AbstractThis article looks at the compositional processes of hip-hop teams based in the UK, focusing on those that have emerged from the practice of creating team ‘routines’. Turntable teams, such as the Scratch Perverts, the Mixologists and the DMU Crew, do not create their original compositions from within the Western art tradition of an independent artist creating work in isolation, which is then communicated to performers through staff notation. Instead, turntable teams compose and perform as a collective to create original compositions from existing records, and in doing so have developed innovative compositional strategies.To be able to analyse and discuss the creative processes of hip-hop turntable teams it has been necessary to construct my own model framework to enable me to identify similar patterns in the creative processes of the teams discussed. In the article, I discuss and analyse one routine from each of the three teams using this framework, focusing on the emergent process of ‘collective creation’. The article concludes by establishing a number of characteristics of the compositional processes used by UK turntable teams. Until now, scholarship has neglected the music of hip-hop. Previous work on hip-hop music has been concerned with either sociological or cultural and historical aspects. This article offers a new approach to hip-hop scholarship because it focuses on the actual music of turntable teams and the emergent processes that have developed to create it.

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7

Bishop, Wendy. "Suddenly Sexy: Creative Nonfiction Rear-Ends Composition." College English 65, no. 3 (January 2003): 257. http://dx.doi.org/10.2307/3594257.

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8

Snider, Zachary. "Creative Social Commentary in the Composition Classroom." Changing English 20, no. 1 (March 2013): 87–97. http://dx.doi.org/10.1080/1358684x.2012.757053.

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9

TAGGAR, SIMON. "Group Composition, Creative Synergy, and Group Performance." Journal of Creative Behavior 35, no. 4 (December 2001): 261–86. http://dx.doi.org/10.1002/j.2162-6057.2001.tb01050.x.

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10

Lardner, Ted. "Locating the Boundaries of Composition and Creative Writing." College Composition and Communication 51, no. 1 (September 1999): 72. http://dx.doi.org/10.2307/358962.

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11

Albornoz, Alejandro. "Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories." Organised Sound 25, no. 3 (November 30, 2020): 333–43. http://dx.doi.org/10.1017/s1355771820000291.

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This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.

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12

Martozet and Nurwani. "The Transformation of Karo Traditional Dance Movement in Modern Choreography Form Gegeh Gundala-Gundala." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (October 28, 2020): 765–75. http://dx.doi.org/10.33258/biolae.v2i3.330.

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This study aims to form a choreography rooted in the motive movement of the Karo traditional dance in the form of the modern choreography Gegeh Gundala-Gundala. The three basic motives of the Karo traditional dance, namely Ertimbang, Bunga tan kawes kemuhen kudas kuteruh, and Rakut Meteguh are used as the basis for the development of motion with the method of developing the elements of motion, using the constructive dance creation method popularized by Jacqueline Smith such as the process of exploration, improvisation, composition, and evaluation. This creation process has formed a modern choreography rooted in new traditional values such as the theory conveyed by Soedarsono that modern dance is freedom in expressing movement techniques on stage, such as the Gegeh Gundala-Gundala choreography. The method in this research is. While the method of this research uses qualitative methods, describing a narrative study of dance creation including literature study, observation, studio work, and documentation. From the process of creating the Gegeh Gundala-Gundala choreography, a new and unique form was obtained, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala. Obtained a new and unique form, the result of the creative process of exploration, improvisation, composition, and evaluation and supported by the process of developing motion by utilizing elements of motion such as energy, space and time. From these processes a modern choreography was formed, rooted in the traditional Karo dance entitled Gegeh Gundala-Gundala.

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13

Porębski, Adam. "Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.

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It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.

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14

Dubrovin, V. M., and P. A. Chekantsev. "Landscape Painting: Features of Educational Creative Work." Prepodavatel XXI vek, no. 1, 2020 (2020): 200–205. http://dx.doi.org/10.31862/2073-9613-2020-1-200-205.

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Landscape is a traditional genre of easel painting and graphics. In the educational process, this genre is present in theoretical and practical courses in the disciplines of “Drawing”, “Painting” and “Composition”, its elements hold an important place in the Plein air programs. The landscape cannot be simply “copied” from nature, striving to make the image extremely similar to what you see. The authors recommend that students persistently master the methods of practical work on a realistic landscape, complementing them with the study of the theoretical foundations for solving the spatial, compositional, color and tonal problems of the complex art of landscape painting both in the classroom and in the open air.

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15

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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16

Mayall, Jeremy. "Cross-genre Hybridity in Composition: A systematic method." Organised Sound 21, no. 1 (March 3, 2016): 30–39. http://dx.doi.org/10.1017/s1355771815000357.

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This article serves as an introduction to the ‘hybridity table’, which is a systematic compositional tool designed to aid in the creation of balanced cross-genre hybrid music. The hybridity table was developed as part of my doctoral research, and has been utilised in my ongoing creative practice-based research. The article will, in a broad sense, discuss the terms ‘genre’ and ‘hybridity’, drawing from the current literature, and will attempt to clarify how an understanding of these terms was utilised in the development of the hybridity table. Also included is a brief example of the table used in the composition of a short piece – Tracking Forward – as well as a discussion of key considerations for composing hybrid music using this table. Through outlining this new compositional tool it is hoped that this method might be utilised by other composers in their own creation of balanced cross-genre hybrid music.

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17

O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.

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18

Collins, David. "Real-time tracking of the creative music composition process." Digital Creativity 18, no. 4 (December 2007): 239–56. http://dx.doi.org/10.1080/14626260701743234.

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19

Grigorjeva, V. B. "COMPOSITION STUDIES AT CREATIVE FACULTIES OF HIGHTER EDUCATION INSTITUTIONS." Regional problems of architecture and urban planning, no. 13 (December 20, 2019): 195–200. http://dx.doi.org/10.31650/2707-403x-2019-13-195-200.

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20

Blaski, Andrew. "The Philocalia of Origen: A Crude or Creative Composition?" Vigiliae Christianae 73, no. 2 (May 7, 2019): 174–89. http://dx.doi.org/10.1163/15700720-12341384.

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Abstract This article seeks to demonstrate the underlying theological and structural sophistication of the fourth-century Philocalia of Origen, despite its apparent lack of thematic and editorial coherence. In the past, chapter fifteen has been singled out as a particular example of disorder, as it consists of two seemingly unrelated topics: the language of scripture and the flesh of Christ. In response, this article carefully examines chapter fifteen, arguing that the editors of the Philocalia intentionally and carefully placed these topics beside one another in order to reveal that they are both manifestations of one and the same subject: the Word of God.

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21

Sato, Hiromu, Yuya Chiba, Kenji Moriya, and Masahiro Nakagawa. "The Relationship between Creative Inspiration, Self-Evaluated Satisfaction, and Brain Activity During Simplified Music Composition." Journal of the Institute of Industrial Applications Engineers 9, no. 3 (July 25, 2021): 85–90. http://dx.doi.org/10.12792/jiiae.9.85.

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22

Sijbom, Roy B. L., Onne Janssen, and Nico W. Van Yperen. "Leaders’ receptivity to subordinates’ creative input: The role of achievement goals and composition of creative input." European Journal of Work and Organizational Psychology 24, no. 3 (October 8, 2014): 462–78. http://dx.doi.org/10.1080/1359432x.2014.964215.

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23

Sudirga, I. Komang. "Innovation and Change in Approaches to Balinese Gamelan Composition." Malaysian Journal Of Music 9 (September 10, 2020): 42–54. http://dx.doi.org/10.37134/mjm.vol9.4.2020.

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This article addresses newly developed approaches to gamelan composition among Balinese composers by focusing on changes and innovations within tradition. Balinese composers today represent a cross-section of arts communities who collectively have produced some of the most innovative gamelan compositions in nearly half a century. Subjected to increasingly cosmopolitan reviews from both conservative and progressive audiences, these composers encapsulate the shifting ideals of a generation who value new aesthetic paradigms that increasingly diverge from the history, tradition and legacy of their traditional Balinese predecessors. In the fiercely competitive world of gamelan group rivalry, struggles and triumphs between contemporary composers have always seen creative boundaries pushed to their limits. I examine some of these triumphs and limitations by examining the creative output of six representative Balinese composers who contend with innovation and its reception in local contexts. I argue that innovations in gamelan serve as benchmarks that demarcate creative spaces and approaches while simultaneously testing the real-world confines of changing traditions.

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24

Van Seters, John. "Creative imitation in the Hebrew Bible." Studies in Religion/Sciences Religieuses 29, no. 4 (December 2000): 395–409. http://dx.doi.org/10.1177/000842980002900401.

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The source of creative composition for many forms of literature was well recognized by literary critics in antiquity to be in the imitation of older literary works and this has been a major concern of literary criticism in modern classical studies as well. It is remarkable, therefore, that so little attention has been given to this subject in biblical studies. Even in the current discussion of intertextuality, the possibility of literary imitation is rarely made the focus of attention. In this article I will lay out what, in antiquity, was regarded as the appropriate use of imitation of the classics for composition of new works, as well as the creation of rival versions of history, and how the notion of imitation to account for similarity can be useful in biblical studies. These issues will be illustrated by a number of examples of imitation in the Hebrew Bible that have often been explained in other less appropriate ways.

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25

Hurh, Paul. "“The Creative and the Resolvent”." Nineteenth-Century Literature 66, no. 4 (March 1, 2012): 466–93. http://dx.doi.org/10.1525/ncl.2012.66.4.466.

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Beginning with the influential readings by Jacques Lacan and Jacques Derrida, poststructuralist fascination with Edgar Allan Poe's detective tales has treated them as fables of analytical method and exposed them as posing an insoluble challenge to totalizing frameworks of interpretive analysis. These studies overlook an excised paragraph from Poe's first detective tale in which Poe displays the debt his model of analysis owes to historical sources. This essay discovers the origins of Poe's model of analysis by recovering its discursive context and argues that the poststructuralist conclusions are anticipated in part by Poe's deliberate attempts to translate that model into narrative. This model, inherited from scientific debates in Renaissance history, defines analysis as comprised of two reciprocal processes—the process of resolution and the process of composition. The first part of this essay addresses the original first paragraph of “The Murders in the Rue Morgue” (1841) and the definition of analysis that its restoration enables. The discoveries there lead to a reading of “The Man of the Crowd” (1841) as a failed first attempt to translate the dynamic processes of resolution and composition into a narrative system. By recovering a first paragraph that the poststructuralist criticism misses, this study finds “The Man of the Crowd” central to Poe's strategies of narrative deferral and yields an important pre-history of the deconstructive critical aporia that is their legacy.

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26

Millà, Arnau. "Soundpainting Sign Language: Possibilities and Connections with Tactileology." Philosophies 6, no. 3 (August 16, 2021): 69. http://dx.doi.org/10.3390/philosophies6030069.

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This article introduce and expose the language of Soundpainting (SP), its background, and how this artistic tool is being used as a language of communication and creation. It also presents the real-time composition and its peculiarities and the power of collective creation as a creative tool and interaction between artistic disciplines. As there are several cases of sensitive and creative languages, such as Soundpainting, that are used to communicate with artificial intelligence, finally, it expose two of them, which are both still in their embryonic state. Both are collaborations and research between SP sign language and Tactileology. Both can lead to creative results that contribute to new ways of perceiving living art, in a sensitive, social and inclusive way.

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27

Bloom, Lynn Z. "Composition Studies as a Creative Art: Teaching, Writing, Scholarship, Administration." College Composition and Communication 51, no. 1 (September 1999): 132. http://dx.doi.org/10.2307/358969.

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28

Stefan, Julia, and Andrew R. Brown. "Generative music video composition: using automation to extend creative practice." Digital Creativity 26, no. 2 (July 15, 2014): 110–20. http://dx.doi.org/10.1080/14626268.2014.932289.

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29

Eve, Martin Paul. "ADAM KOEHLER. Composition, Creative Writing Studies and the Digital Humanities." Review of English Studies 68, no. 287 (March 17, 2017): 1032–34. http://dx.doi.org/10.1093/res/hgx033.

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30

Kanngieser, Anja. "Creative labour in Shanghai: Questions on politics, composition and ambivalence." Subjectivity 5, no. 1 (March 2, 2012): 54–74. http://dx.doi.org/10.1057/sub.2011.25.

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31

Liu, Cheng-Liang, and Shou-Chien Lee. "Methodology for Creative Machine Design Based on Decomposition-Composition Technique." JSME international journal. Ser. C, Dynamics, control, robotics, design and manufacturing 37, no. 2 (1994): 376–83. http://dx.doi.org/10.1299/jsmec1993.37.376.

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32

Collins, David. "A synthesis process model of creative thinking in music composition." Psychology of Music 33, no. 2 (April 2005): 193–216. http://dx.doi.org/10.1177/0305735605050651.

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33

Dahlstedt, Palle. "Thoughts on Creative Evolution: A Meta-generative Approach to Composition." Contemporary Music Review 28, no. 1 (February 2009): 43–55. http://dx.doi.org/10.1080/07494460802664023.

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34

Wu, Si. "FORMING UNDERGRADUATE STUDENTS’ CREATIVE ABILITIES IN COMPOSITION IN ART EDUCATION." Научное мнение, no. 9 (2020): 69–77. http://dx.doi.org/10.25807/pbh.22224378.2020.9.69.77.

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35

Pavlov, Denis N. "Methods for development of creative expression of college students in music composition." Bulletin of Nizhnevartovsk State University, no. 1 (53) (March 20, 2021): 66–73. http://dx.doi.org/10.36906/2311-4444/21-1/09.

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The development of a person's creative self-realization is one of the main guidelines for the modernization of the modern Russian education system. However, an analysis of the content of curricula, programs, the state of the modern practice of teaching students of colleges of culture and arts enrolled in specialties related to musical art, indicates a lack of attention of teachers to the problem of creative self-realization of students. Mastering by students of musical and compositional activity can contribute to their successful mastery of the means of musical expression, finding their own methods of creative self-realization. The author of the article concludes that the process of development of creative self-realization among students of colleges of culture and arts in musical-compositional activity is a gradual transition from self-knowledge and self-assessment by students of their capabilities in the implementation of this activity, through the formation of their skills and abilities of musical improvisation, composing music, developing motivation for self-development, developing creativity, for self-assertion of students and self-assessment of the results of musical and compositional activity. The article presents a methodology for the development of creative self-realization of students of colleges of culture and arts in musical and compositional activities, including: forms of education - small-group, individual and practical classes; forms of extracurricular activities - a music room, a music lecture hall, a creative workshop; teaching methods - observation of music, research, brainstorming, author's introspection, associative, portfolio; techniques - explanations of one's own actions, feedback, reflection; methods and techniques of creative work - combination, transformation, sketch work.

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36

Psheminska, Larysa. "BOLESLAV YAVORSKYI’S MUSICAL AND PEDAGOGICAL IDEAS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 186–91. http://dx.doi.org/10.36550/2415-7988-2021-1-195-186-191.

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The article is devoted to the research and generalization of Boleslav Yavorskyi's musical-pedagogical ideas, a famous pedagogue with encyclopedic knowledge, an organizer of musical education, a pianist, a composer, a musicologist, a conductor, a scientist, an author of the fricative rhythm, a developer of the unique methodological conception of the creative development of a personality. The analysis of B. Yavorskyi's pedagogical activity allows us to understand the significance of his contribution into the theoretical and practical development of mass musical education, allows to broaden the understanding of his experimental studies on the methodological conception of the creative education of a personality, which should be taught through performing and understanding of a music and its perception. In the course of the research the assertion that the introduction of the subject «listening to music» into the practice by B. Yavorskyi became a fundamental process in his system of music education was actualized. According to the scientist, listening to music has a significant impact on the consciousness and behavior of a personality. In the research the author defined and generalized the pedagogical ideas of B. Yavorskyi, which were aimed at the development of thinking and creative abilities of children through: 1) obligatory participation of an any-profile musician in the choir performance; 2) introduction of the subject «Listening to music» into the practice of all educational music establishments;3) acquaintance with the phase-epoch before analysing of the music composition; 4) analysis of the influence of music on the emotional condition of the pupil; 5) intonation and remembering of the main melody of the composition; 6) reproduction of the composition in the drawings and paintings, in literary activity and stagings or dramatizing, using the method of Art Synthesis; 7) selection of the best compositions for listening and analysis; 8) development of speech culture when expressing verbally one’s own impressions of the music composition;9) creation of personal compositions: musical (songs, miniatures for the piano), plastic, painting (drawings), literary (poems, small prose works). There has been made a conclusion that audio, motor, spoken and musical associations are laid into the basis of musical-pedagogical conception of B. Yavorskyi and that the creative approach of the pedagog to the organization of the lessons and the active role of young people in the different genres of art promotes formation of their intellect, outlook, aesthetic and ethical qualities. Summing up, it should be said that musical-pedagogical education at the beginning. XX century was enriched greatly innovative pedagogical ideas of B. Yavorskyi, whose creative method became the basis for the development of the musical-educational upbringing of children and young people in different countries of the world in particular in the pedagogical activity of M. Leontovych, who was a student and follower of B. Yavorskyi.

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Smith, Rob. "What can the Welsh school music sector learn from the community music movement?" Journal of Popular Music Education 5, no. 1 (April 1, 2021): 55–70. http://dx.doi.org/10.1386/jpme_00043_1.

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This article draws on theories of creative development articulated by Sawyer and Green as well as reflecting upon data from case studies of projects run in Wales with community ensembles Wonderbrass, South Wales Intercultural Community Arts and London-based Kinetica Bloco. It proposes a model of learning for music education in Wales that promotes active creative participation and fosters the speaking of a musical language rather than simply the reading of it. In the context of Welsh Government’s recent education review, the article advocates a music policy of creative engagement, with musical materials that go beyond the pedagogy of imitation. Here I propose a creative engagement method that empowers participants to interact with musical materials by creating their own musical statements within a musical style or language, whether through extemporization, improvisation or composition.

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Vasileva, Anna V. "Transformation of approaches to the composition of residential house facades in Moscow in the 1930s." Vestnik MGSU, no. 11 (November 2019): 1418–27. http://dx.doi.org/10.22227/1997-0935.2019.11.1418-1427.

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Introduction. The example of not implemented projects reveals the features of the stages of the formation of the architecture of residential building facades during the 1930s. Despite the considerable attention paid by researchers to various aspects of Soviet residential housing construction, studies on the formation of the architecture of the facades of residential buildings are not presented. Materials and methods. The study applied comparative analysis to the projects, which were not carried out but published in professional journals of the considered period. Results. It is possible to distinguish three stages in the principles of the construction of facade compositions of the houses belonging to the considered period. In the first projects of houses for specialists published in 1932 and 1933, one can identify two main directions of solving the problems of “development of cultural heritage and advanced construction technologies”. For both directions, tiered construction of the composition was typical. The first direction was “quoting” of classical prototypes in relation to the type of apartment building. The second principle of constructing the facade composition for residential buildings was the plastic enrichment and an increase in the number of functional elements inherent in residential architecture. The distinctive feature of the projects of the mid-1930s for both directions was the creation of multitier compositions with an increase in the share of direct use of elements carrying no functional load. Late in the 1930s, houses were transformed from point-to-point construction sites into complexes or parts of mainline ensembles. Both directions gradually mixed into each other due to the replacement of plastic functional elements with decorative ones. Conclusions. Parallelly developing, the approaches to the construction of facade compositions of Moscow residential buildings undergone many transformations during the 1930s. The transformations led from a clear separation of approaches to their almost complete mixing. Stage-by-stage transformation is stipulated by the change in the allocation of new construction sites and by principles of design and construction process organization. Nevertheless, with detailed compositional analysis, one can reveal different approaches to facade architecture formation what suggests that several creative directions are maintained, even under the condition of the directive formation of the unified creative line of Soviet architecture.

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Gioti, Artemi-Maria. "From Artificial to Extended Intelligence in Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 25–32. http://dx.doi.org/10.1017/s1355771819000438.

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This article explores the relationship and disparities between human and computational creativity by addressing the following questions: How well are computational creativity systems currently performing at creative tasks? Could computers outperform human composers? And, if not, is computational creativity a utopia? Automatic composition systems are examined with respect to Boden’s three criteria of creativity (novelty, surprise and value), as well as their assumptions about the nature of creativity. As an alternative to a competitive relationship between human and computational creativity, the article proposes the concept of a distributed human–computer co-creativity, in which computational creativity extends – rather than replaces – human creativity, by expanding the space of creative possibilities.

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Zavadska, Galina, and Asta Rauduvaite. "FORMATION AND DEVELOPMENT OF CHILDREN’S SKILLS OF IMROVISATION AND COMPOSITION AT SOL-FA LESSONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 817. http://dx.doi.org/10.17770/sie2020vol5.5015.

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A lot of music researchers consider musical improvisation and composition to be a mutually supplementing processes (Alperson, 1984; Sloboda, 1988; Sarath, 1996). Improvisation actively stimulates the development of children’s creative abilities. It stirs the imagination, develops musical ear, emotional receptivity, and the skill of embodying images into new consonances, musical colors (Azzara, 2008; Solis & Nettl, 2009; Burton & Taggart, 2011). During the process of improvisation learners spontaneously express their musical ideas and interact with musical content, while during the process of composition it is possible to stop, to think everything over, to correct something and change it. Improvising and composing at sol-fa lessons are classified as kinds of creative music making. This paper is concerned with the analysis of the types of creative tasks at group classes on sol-fa, as well as with the comparison of different approaches to and methods of the formation and development of creative skills in improvisation and composition in the initial stage. Research aim: to determine and characterize the specific features of using improvisation and composition at sol-fa lessons in the initial stage. Research methods: the analysis of pedagogical experience, the comparison of contemporary methodologies for teaching improvisation and composition.

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Proctor, Tony. "Creative problem-solving techniques, paradigm shift and team performance." Team Performance Management: An International Journal 26, no. 7/8 (September 17, 2020): 451–66. http://dx.doi.org/10.1108/tpm-06-2020-0049.

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Purpose This paper aims to consider why creative problem-solving techniques may not always produce useful results and sets out to explain why this might be and what steps should be taken to avoid it happening. The paper provides an understanding of how different creative problem-solving techniques are best suited to gaining insights into problems requiring different degrees of paradigm shift. It argues that team members’ personalities and thinking styles and team composition should be taken into account when using the techniques. It examines the role the facilitator plays in planning and conducting the ideation process. Design/methodology/approach The paper provides simple illustrations of some of the creative problem-solving techniques. It reviews relevant literature and argues how individual differences of team members along with team composition can influence team performance in using the creative problem-solving techniques. Findings Personality, thinking styles and learning styles are relevant to the effective use of creative problem-solving techniques. Team composition, team motivation and mood factors should also be taken into account. The facilitator is key in ensuring the efficacy of the problem-solving process. Originality/value This paper will be helpful to academics who study creative problem-solving as well as informing management practitioners and trainers about the procedures and potential pitfalls to avoid.

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Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (March 7, 2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.

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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active creative partner. A new definition of ubiquitous music is proposed encompassing four components related to the human and the material resources, the emergent properties of musical activities and the design strategies involved in supporting distributed decision making. We highlight the application of embedded-embodied cognition in creative practice, arguing for the adoption of an ecologically grounded framework as an alternative to the mainstream anthropocentric and disembodied acoustic-instrumental paradigms. We discuss the relevance of the new materialist concepts of ecologies and meshworks within artistic creative practice, highlighting the implications of the emergent creativity support methods for context-based composition.

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Cameron, Laura, and Matt Rogalsky. "A Day in Algonquin Park: William W. H. Gunn and the circadian audio portrait." Organised Sound 22, no. 2 (July 12, 2017): 206–16. http://dx.doi.org/10.1017/s1355771817000115.

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This article considers the place of William W. H. ‘Bill’ Gunn in the history of electroacoustic music with a focus on one of his earliest creative forays, the 1955 production ofA Day in Algonquin Park, a composition in the genre of what the authors have dubbed thecircadian audio portrait. In exploring Gunn’s compositional decisions and the political and creative contexts which surrounded them, we detail his sonic practice and make the argument that Gunn was a soundscape composer before the term was coined, a forerunner of the genre indebted to composers connected with the World Soundscape Project. In doing so, we must acknowledge the ways in which the album’s creation and reception play out paradoxical aspects of the wilderness myth, while feeding into the construction of a popular and idealised Canadian identity. We also find his modernist ecological sensibility struggling to articulate a place for human visitorswithinnature: in this, Gunn’s outlook and concerns were not very different from some contemporary soundscape composers. However, this study goes beyond acknowledging a previously ‘unknown father’ of familiar sounds and debates; in contextualising his work with environmental sound as a contribution to the genre of thecircadian audio portrait, we highlight an alternative genealogy for contemporary soundscape composition.

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Coss, Roger G. "Creative Thinking in Music: Student-Centered Strategies for Implementing Exploration Into the Music Classroom." General Music Today 33, no. 1 (April 25, 2019): 29–37. http://dx.doi.org/10.1177/1048371319840654.

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Research suggests that exploratory experiences in the music classroom are a crucial developmental stage as students begin making the kinds of decisions required of them during composition and improvisation. The aims of this article are to (1) articulate a rationale for exploratory learning experiences in the music classroom and (2) outline practical strategies for using exploration as a foundation for compositional and improvisational development. Drawing on the research of Peter Webster, John Kratus, and Maud Hickey, this article outlines group and individual strategies for setting up a listening walk, introducing students to invented notation, scaffolding exploratory learning experiences in the classroom, and provides resources for extending these lessons into composition and improvisation instruction. Embedding exploration into the music classroom empowers students to develop the mental flexibility, disposition, and skills needed for improvising and composing.

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Tanzi, Dante. "The Cultural Role and Communicative Properties of Scientifically Derived Compositional Theories." Leonardo Music Journal 9 (December 1999): 103–6. http://dx.doi.org/10.1162/096112199750316884.

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The role of science in the processes of musical creation is justifiable as a method of formalizing knowledge used for expressive purposes. The understanding of musical phenomena, however, should not be reduced to cognitive aspects or entrusted to a purely descriptive iteration; certain creative functions of musical composition go beyond the many degrees of control offered by the technologies of knowledge. The necessity of comparison with the cultural orientation of an audience, sometimes considered secondary by some, must remain integral. Our interest in qualitatively new creative and intellectual acts must not abandon the dialectical character of musical communication, which involves, among other things, a shared linguistic universe.

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Wu, Hao, Yueli Li, Zhenjiang Miao, Yuqi Wang, Runsheng Zhu, Rongfang Bie, and Yi Wang. "Creative and high-quality image composition based on a new criterion." Journal of Visual Communication and Image Representation 38 (July 2016): 100–114. http://dx.doi.org/10.1016/j.jvcir.2016.02.011.

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SUZUKI, Shintaro, Takeshi TAKENAKA, and Kanji UEDA. "1403 Co-creative Composition Using Serial Cord Generation with Reinforced Learning." Proceedings of Design & Systems Conference 2005.15 (2005): 162–65. http://dx.doi.org/10.1299/jsmedsd.2005.15.162.

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Bown, Oliver. "Experiments in Modular Design for the Creative Composition of Live Algorithms." Computer Music Journal 35, no. 3 (September 2011): 73–85. http://dx.doi.org/10.1162/comj_a_00070.

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Hohmaier, Simone. "Analysis-play-composition: Remarks on the creative process of György Kurtág." Contemporary Music Review 20, no. 2-3 (January 2001): 39–50. http://dx.doi.org/10.1080/07494460100640161.

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Ghosh, Reeta. "FORECASTING OF COLOURS IN CREATIVE COMPOSITION OF TEXTILE FABRIC AND FASHION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3520.

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Colour is the most enriched and endless form of human life. It reflects our mood and more importantly, it has more influence and effect on our lives than we realize. How can we define colour, a reality, a feeling that creates energy, enthusiasm, potential, anger, affection, passion andmany other feelings in us. If we are in pleasant feeling, colour fills us with the feel of joy and happiness and in contrary to this if we are unhappy and sad the colours are there, who fill with the feel of unhealthy, unhappiness and sadness. Now it is a matter to think upon that why we correlate our feelings with colour or how colour reflects our mood or our internal expressions in a physical manner. It is not only because of colour but of course because of its composition too. We always look for a new colour palette range or a new invention but have we ever thought that from where did colours come and why they show their impact on us and our lives. Craving for colour, forces human to create invent and generate inventions, of course a human with artistic or creative brain and heart, who not only evolve in engraving of colours but also put efforts in to it to foster.

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