Relevant bibliographies by topics / Musical composition

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Musical composition"

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Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via the composition of pentatonic playing style found in the area of musical era in Asia. In this composition, there is a concept of a new rhythm play called as “hetero-poly-metric rhythmic structure,” in which the basis of rhythmical play is built on metrical 7 contra 3 pattern applied in the percussion play of kendangan Sunda and ’oud. Keywords: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure ABSTRAK Tulisan ini membicarakan secara umum tentang istilah “world music” dan berbagai pendekatan kreatif musikal yang telah dikerjakan. Tulisan ini juga mengulas secara deskriptif karya komposisi “Merangkai Warna” dalam konteks gagasan kompositoris, instrumetarium, bangunan konsep, dan praktik musikal dalam karya musik. Komposisi musik “Merangkai Warna” merupakan sebuah garapan musik berangkat dari konsepsi musik dunia (world music). Karya ini merupakan sebuah bentuk eksplorasi musikal dimana melalui perangkat alat musik ‘oud Arabis mencoba untuk memfusikan dan mensintesiskan idiom dan estetika musik lewat garapan gaya permainan modus pentatonik yang terdapat di wilayah peradaban musik di Asia. Dalam karya komposisi ini tertuang satu konsep permainan ritme baru, yang disebut dengan “hetero-poly-metric rhythmic structure,” dimana dasar permainan ritmikal dibangun dari pola metrikal 7 kontra 3 yang dituangkan dalam permainan perkusi kendangan Sunda dan ’oud. Kata Kunci: World music, pelog, pentatonic, hetero-poly-metric rhythmic structure
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Šebela, Karel. "Musical Composition Typesetting." Zpravodaj Československého sdružení uživatelů TeXu, no. 1 (2023): 39–47. http://dx.doi.org/10.5300/2023-1-2/39.

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Nurbaiti, Eliza, Hadaci Sidik, and Nora Anggraini. "Nyanyian Kromong : Komposisi Musik Dua Bagian (Nyanyian Kromong : Two Part Musical Composition)." Musica: Journal of Music 3, no. 1 (July 3, 2023): 12. http://dx.doi.org/10.26887/musica.v3i1.2848.

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ABSTRAK Kromong adalah salah satu instrumen musik tradisional dan kesenian yang berada didaerah Setangguk Remas, desa Mandiangin Tuo, Kecamatan Mandiangin, Provinsi Jambi. Kromong memiliki idiom musik yang unik dan menarik untuk dikembangkan sebagai ide musikal dalam penciptaan komposisi musik baru. Kromong ditampilkan bersamaan dengan gong, dan gendang pada acara adat penyambutan dan kedatangan keluarga kerajaan serta para pejabat pemerintahan. Dimainkan juga pada ritual acara perkawinan, khitan, dan pengiring tari kain kromong dan serta acara kesenian lainnya. Dari salah satu potongan ritme dan melodi yang dimainkan oleh kromong pada ritual acara perkawinan, dan pengiring tari kain kromong diambil sebagai dasar terciptanya sebuah tematik komposisi musik baru yang digarap ke dalam format orkestra dengan bentuk dua bagian. Komposisi ini digarap melalui identifikasi, eksplorasi, dan eksperimentasi terhadap unsur-unsur musikal, sehingga menjadi musikal baru.Kata kunci: Kromong; komposisi; dua bagianABSTRACTKromong is one of the traditional musical instruments and arts located in Setangguk Remas area, Mandiangin Tuo village, Mandiangin district, Jambi province. Kromong has a unique and interesting musical idiom to develop as a musical idea in creating new musical compositions. Kromong is displayed along with gongs and drums during traditional welcome and arrival ceremonies by the royal family and government officials. It is also played during wedding ceremonies, circumcision ceremonies and accompanies the kromong cloth dance and other artistic events. From one of the rhythms and melodies of the kromong played at the wedding ceremony, and the accompaniment of the kromong dance was taken as the basis to create a new thematic musical piece elaborately orchestrated in the form of an orchestra. the form of two pieces of music. This composition is made possible through the identification, discovery and experimentation of musical elements, so that it becomes a new musical.Keywords: : Kromong; composition; two parts
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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ." Узданица XX, no. 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening to music, the content analysis was applied. The research results were analysed in relation to the choice of musical composition which pupils considered appropriate for the poem “Three Blind Miceˮ by Peđa Trajković. The qualitative analysis dealt with pupils’ choice of the musical characteristics based on which they connected the given composition with the poem. It can be concluded that pupils’ creative activities, a positive pedagogical atmosphere, open approach and constructive feedback contribute to the development of a pupil’s musical perception and better achievements in the area of listening to music.
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Yamane, Hiroaki. "Musical composition processing device." Journal of the Acoustical Society of America 128, no. 6 (2010): 3828. http://dx.doi.org/10.1121/1.3544453.

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Petersen, Nils Holger. "Liturgy and musical composition." Studia Theologica - Nordic Journal of Theology 50, no. 2 (January 1996): 125–43. http://dx.doi.org/10.1080/00393389608600192.

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Motycka, Arthur. "Experiencing a musical composition." Journal of Musicological Research 6, no. 3 (February 1986): 171–84. http://dx.doi.org/10.1080/01411898608574564.

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Barrett, Natasha. "Spatio-musical composition strategies." Organised Sound 7, no. 3 (December 2002): 313–23. http://dx.doi.org/10.1017/s1355771802003114.

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Spatial elements in acousmatic music are inherent to the art form, in composition and in the projection of the music to the listener. But is it possible for spatial elements to be as important carriers of musical structure as the other aspects of sound? For a parameter to serve the requirements of musical development, it is necessary for that parameter to cover a range of perceptually different states. For ‘space’ to be more than a setting within which the main active elements in the structure unfold, it needs to satisfy these requirements. This paper explains a number of important spatial composition strategies available to the acousmatic composer in light of current technology and sound reproduction situations. The analysis takes an aesthetical rather than a technical standpoint.
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Alsop, Roger. "Exploring the Self Through Algorithmic Composition." Leonardo Music Journal 9 (December 1999): 89–94. http://dx.doi.org/10.1162/096112199750316866.

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The author discusses his views on musical composition in the late twentieth century, focusing on the influence that communication and computer technology have had over his pursuit. He goes on to describe his use of computer-based algorithmic composition and how this particular approach enhances and refines his understanding of his own musical self-expression. He describes four computer algorithms, used in recent compositions and improvisations, that reflect his particular musical interests.
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Parson, Dale. "Quantum Composition and Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 21–25. http://dx.doi.org/10.1609/aiide.v8i4.12552.

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Quantum mechanical systems exist as superpositions of complementary states that collapse to classical, concrete states upon becoming entangled with the measurement apparatus of observer-participants. A musical composition and its performance constitute a quantum system. Historically, conventional musical notation has presented the appearance of a composition as a deterministic, concrete entity, with interpretation approached as an extrinsic act. This historical perspective inhabits a subspace of the available quantum space. A quantum musical system unifies the composition, instruments, situated performance and perception as a superposition of musical events that collapses to concrete musical events via the interactions and perceptions of performers and audience. A composer captures superposed musical events via implicit or explicit conditional event probabilities, and human and/or machine performers create music by collapsing interrelated probabilities to zeros and ones via observer-participancy.
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Dissertations / Theses on the topic "Musical composition"

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Markham, Karen. "Musical composition." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/2018/.

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Alexander, Christian David. "Musical composition." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247192.

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Boardman, Gregory. "Musical composition : PhD." Thesis, Keele University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269183.

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Steenhuisen, Paul Brendan Allister. "Musical composition, Wonder, with document." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ34628.pdf.

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Goss, Stephen. "Musical composition : 'Dreamchild' and 'Arcadia'." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313725.

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Linker, Saravia Ricardo Daniel. "Nature, spirituality and musical composition." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730825.

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Leach, Jeremy L. "Algorithmic composition and musical form." Thesis, University of Bath, 1999. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.571612.

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Throughout history, art has continued to defy the attempts of scholars and analysts to understand it and reduce it to a set of logical principles. As one of many art forms, music has probably attracted the most attention from formal methods of study and analysis. Analysis leads to models and theories of aspects of musical behaviour, and algorithmic composition is the practice of composing according to a set of rules, processes or principles. The goal of this thesis is to elucidate some fundamental aspects of simple intra-musical meanings. If they can be formulated, then it might be possible to construct an algorithm which can compose music that can be described as 'meaningful' according to certain criteria. This thesis proposes that such intra-musical meanings are closely related to the role of repetition and variation in music, as well as Gestalt grouping principles, and are often what makes music interesting to listen to. The main contribution of this thesis is the development and evaluation of three algorithmic composition systems that attempt to impart a degree of 'meaning' in their output.
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Wood, Stephen J. "Composition portfolio." Thesis, University of Salford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491047.

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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.

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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.
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Gato, Gonçalo. "Algorithm and decision in musical composition." Thesis, Guildhall School of Music and Drama, 2016. http://openaccess.city.ac.uk/17292/.

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Through a series of creative projects this doctorate set out to research how computer-assisted composition (CAC) of music affects decision-making in my compositional practice. By reporting on the creative research journey, this doctorate is a contribution towards a better understanding of the implications of CAC by offering new insights into the composing process. It is also a contribution to the composition discipline as new techniques were devised, together with new applications of existing techniques. Using OpenMusic as the sole programming environment, the manual/machine interface was explored through different balances between manual and algorithmic composition and through aesthetic reflection guiding the composing process. This helped clarify the purpose, adequacy and nature of each method as decisions were constantly being taken towards completing the artistic projects. The most suitable use of algorithms was as an environment for developing, testing, refining and assessing compositional techniques and the music materials they generate: a kind of musical laboratory. As far as a technique can be described by a set of rules, algorithms can help formulate and refine it. Also capable of incorporating indeterminism, they can act as powerful devices in discovering unforeseen musical implications and results. Algorithms alone were found to be insufficient to simulate human creative thought because aspects such as (but not limited to) imagination, judgement and personal bias could only, and hypothetically, be properly simulated by the most sophisticated forms of artificial intelligence. Furthermore, important aspects of composition such as instrumentation, articulation and orchestration were not subjected to algorithmic treatment because, not being sufficiently integrated in OpenMusic currently, they would involve a great deal of knowledge to be specified and adapted to computer language. These shortcomings of algorithms, therefore, implied varying degrees of manual interventions to be carried out on raw materials coming out of their evaluations. A combination of manual and algorithmic composition was frequently employed so as to properly handle musical aspects such as cadence, discourse, monotony, mechanicalness, surprise, and layering, among others. The following commentary illustrates this varying dialogue between automation and intervention, placing it in the wider context of other explorations at automating aspects of musical composition.
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Books on the topic "Musical composition"

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Brindle, Reginald Smith. Musical composition. Oxford ; New York: Oxford University Press, 2002.

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Brindle, Reginald Smith. Musical composition. Oxford: Oxford University Press, 1986.

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MacDonald, Alistair Neil. Portfolio of musical composition. Birmingham: University of Birmingham, 1993.

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Hilson, Woldu Gail, and Montgomery Merle 1904-1986, eds. Course in musical composition. Norman: University of Oklahoma Press, 2010.

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David, Cope. Computer models of musical creativity. Cambridge, MA: MIT Press, 2006.

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Curtis, Roads, ed. Musical signal processing. Lisse [Netherlands]: Swets & Zeitlinger, 1997.

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Cope, David. Experiments in musical intelligence. Madison, Wis: A-R Editions, 1996.

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Cope, David. Experiments in musical intelligence. Madison, Wis: A-R Editions, 1996.

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Hudson, Paul. A score editor for musical composition. Manchester: University of Manchester, Department of Computer Science, 1997.

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Whittall, Arnold. Musical composition in the twentieth century. New York: Oxford University Press, 1999.

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Book chapters on the topic "Musical composition"

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Young, Gregory, and Steve Roens. "Development of Musical Ideas." In Insights into Music Composition, 20–26. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205869-4.

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Braga, Francisco, and H. Sofia Pinto. "Sculpture Inspired Musical Composition." In Artificial Intelligence in Music, Sound, Art and Design, 3–19. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72914-1_1.

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Rusak, Helen. "Women and musical composition." In Women, Music and Leadership, 25–51. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003183631-3.

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Mazzola, Guerino, Joomi Park, and Florian Thalmann. "Creativity in Composition and Improvisation." In Musical Creativity, 233–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24517-6_22.

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Mazzola, Guerino, and Florian Thalmann. "Musical Composition and Gestural Diagrams." In Mathematics and Computation in Music, 151–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_12.

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de Aguiar, Vinícius Jonas. "Diagrams, Musical Notation, and the Semiotics of Musical Composition." In Diagrammatic Representation and Inference, 748–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91376-6_73.

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Owens, Jessie Ann. "‘el foglio rigato’ Revisited: Prepared Paper in Musical Composition." In Epitome musical, 53–61. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2678.

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Jewell, Michael O., Lee Middleton, Mark S. Nixon, Adam Prügel-Bennett, and Sylvia C. Wong. "A Distributed Approach to Musical Composition." In Lecture Notes in Computer Science, 642–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11553939_92.

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Naur, Peter. "Rules and Regularity in Musical Composition." In Knowing and the Mystique of Logic and Rules, 111–20. Dordrecht: Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-015-8549-1_7.

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Fitch, Fabrice. "The Cycle as Modular Composition: The Motetti missales of Gaspar van Weerbeke." In Epitome musical, 151–76. Turnhout: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.em-eb.4.2019031.

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Conference papers on the topic "Musical composition"

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Oliveira, Vinicius César, and José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.

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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.
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Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen, and Yi-Hsuan Yang. "Musical Composition Style Transfer via Disentangled Timbre Representations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.

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Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.
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Souza, Pedro, Vitor Rolla, José Eduardo Ayres, and José Ezequiel Sánchez. "Graph Composer: music composition from graph design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10455.

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The Graph Composer is an app that allows the user to compose music through the design of a graph. You can create or modify an existing graph, listen and modify the composition in real time. Insert new nodes and connect them, change the corresponding note by clicking over the node and selecting a new one from the scale, define it’s duration over time and select a decoration to change the sound sequence.
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Gomes, Cláudio, Josue Da Silva, Marco Leal, and Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.

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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
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Amazonas, Mauro, Thais Castro, Rosiane De Freitas, and Bruno Gadelha. "Composing through Interaction: a framework for collaborative music composition based on human interaction on public spaces." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10421.

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Urban public art is a kind of art that is produced and demonstrated in public places, based on the function and connotation of the city itself exerts. As an essential artistic content in the contact of human life, the introduction of technology is a significant trend in public art, and with it, the interaction has become an increasingly relevant aspect of public art in the digital context. In this way, this work presents an environment for creating random collaborative music from interaction in public spaces using mobile technology. The result is a composition that goes towards to John Cage’s methods. However, in our case, all participants are composers and their interactions with space work as the component that brings randomness to composition. A case study was conducted with volunteer students divided into groups. Participants made use of two versions of Compomus - an app developed for immersive interaction with sound. One version encourages movement through the environment, while the other explores the spatiality of sound in a simulated public environment within the university. The interaction of the participants generated ten compositions, five from the first version and five compositions from the second version of the developed application. The sounds resulting from the interaction were made available to the public through a website.
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Hugill, Andrew. "Creative Computing Processes: Musical Composition." In 2014 IEEE 8th International Symposium on Service Oriented System Engineering (SOSE). IEEE, 2014. http://dx.doi.org/10.1109/sose.2014.80.

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Hill, Patrick, Simon Holland, and Robin Laney. "Symmetric composition of musical concerns." In the 5th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1119655.1119685.

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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
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Barbas, Valeria. "Cultural and musical identity as a formative factor of the new national composition schools from the end of the XIX century." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.24.

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Analyzing the co-reporting of the concepts music - identity, music seems to be one of the key elements of identity, because it off ers a perception of the self, but also of the collectivity. Musical compositional creation that tended to embody tradition has served as a powerful cultural resource for nationalism since the XIX century. Th us, in the context of the national movements from the end of the XIX century, new national schools appeared. Th e compositional vector was directed, on the one hand, to get out of the crisis of the romantic music trend, and on the other hand, to strengthen the new national schools in Eastern Europe states, where the academic musical culture was at a relatively young stage. In these conditions, the affi rmation of identity in national musical cultures, in East and Central European professional composition, consolidated the formation of compositional schools that were based on the principles of exploring the traditions of popular art, the uniqueness and specifi c local-regional individuality, in order to affi rm national music and to create cult music.
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Guatimosim, Júlio, José Henrique Padovani, and Carlos Guatimosim. "Concatenative Sound Synthesis as a Technomorphic Model in Computer-Aided Composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19431.

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The text presents a process aimed at computer-aided composition for percussion instruments based on Concatenative Sound Synthesis (CSS). After the introduction, we address the concept of ”technomorphism” and the influence of electroacoustic techniques in instrumental composition. The third section covers processes of instrumental sound synthesis and its development in the context of Computer-Aided Composition (CAC) and Computer-Aided Music Orchestration (CAMO). Then, we describe the general principles of Concatenative Sound Synthesis (CSS). The fifth section covers our adaptation of CSS as a technomorphic model for Computer-Aided Composition/Orchestration, employing a corpus of percussion sounds/instruments. In the final section, we discuss future developments and the mains characteristics of our implementation and strategy.
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Reports on the topic "Musical composition"

1

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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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, December 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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4

Haddad, Joanne. Reproduction of 'Good Reverberations? Teacher Influence in Music Composition since 1450'. Social Science Reproduction Platform, May 2022. http://dx.doi.org/10.48152/ssrp-4zww-p927.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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