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Journal articles on the topic 'Musical composition'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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Helyer, Nigel. "Co-composition and de-composition: Biological agency as a compositional tool." Technoetic Arts 18, no. 2-3 (October 1, 2020): 159–72. http://dx.doi.org/10.1386/tear_00035_1.

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GeneMusiK is an artistic project that puts into play ideas about the capacity of physical morphologies to act as mnemonic systems by using DNA to transcode and remix musical structures. The project suggests that both biological and cultural information can function as both macro- and micro-scale structures arrayed at physical loci to create topologies which function as keys to the mapping of memory.

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12

SAMOILENKO, OLEXANDRA, SVITLANA OSADCHA, ALLA CHERNOIVANENKO, JULIA GRYBYNENKO, and OLEXANDRA OVSYANNIKOVA-TREL. "MUSICAL COMPOSITION AS METONYMY OF CULTURE AND THE SUBJECT OF MUSICOLOGICAL STUDIES." AD ALTA: Journal of Interdisciplinary Research 12, no. 1 (January 31, 2022): 190–92. http://dx.doi.org/10.33543/120125190192.

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The study of musical composition as a unique artistic phenomenon remains an urgent task of modern musicology. Despite the constant use of this concept, it did not acquire a sufficiently stable categorical status. Some ambiguities in the theoretical interpretation of the concept of musical composition are due to the complex nature of this phenomenon, in which the main principles of musical form and meaning formation are focused. It is found that, on the one hand, the temporal nature of music and its impact allows us to consider musical compositions as conditional chronotopic indicators of the historical existence of culture. On the other hand, the semantic attitudes of cultural consciousness determine the typological features of a musical composition. The leading task of musicological interpretation is forming an integrative approach to the phenomenon of a musical composition. It allows combining various research criteria and proposing the most general metonymic model. The metonymic approach to a musical composition presupposes its abstract theoretical reconstruction; at the same time, this reconstruction leads to the identification of those constitutive features of the phenomenon under study that explain its specific artistic and expressive nature, coupled with sound exposure and auditory perception. In the context of art psychology, consideration of a musical composition as an artifact of cultural consciousness reveals its leading semantic properties. The metonymic aspect of this phenomenon interpretation reveals its addressing of noetic reality - the highest level of self-realization of culture semantic consciousness.

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13

Hu, Zhejing, Yan Liu, Gong Chen, Xiao Ma, Shenghua Zhong, and Qianwen Luo. "Responding to the Call: Exploring Automatic Music Composition Using a Knowledge-Enhanced Model." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 1 (March 24, 2024): 521–29. http://dx.doi.org/10.1609/aaai.v38i1.27807.

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Call-and-response is a musical technique that enriches the creativity of music, crafting coherent musical ideas that mirror the back-and-forth nature of human dialogue with distinct musical characteristics. Although this technique is integral to numerous musical compositions, it remains largely uncharted in automatic music composition. To enhance the creativity of machine-composed music, we first introduce the Call-Response Dataset (CRD) containing 19,155 annotated musical pairs and crafted comprehensive objective evaluation metrics for musical assessment. Then, we design a knowledge-enhanced learning-based method to bridge the gap between human and machine creativity. Specifically, we train the composition module using the call-response pairs, supplementing it with musical knowledge in terms of rhythm, melody, and harmony. Our experimental results underscore that our proposed model adeptly produces a wide variety of creative responses for various musical calls.

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14

Giles, Roseen H. "The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd." Renaissance and Reformation 39, no. 2 (July 27, 2016): 129–66. http://dx.doi.org/10.33137/rr.v39i2.26857.

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This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century. Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.

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15

Laws, Catherine. "Beckett in New Musical Composition." Journal of Beckett Studies 23, no. 1 (April 2014): 54–72. http://dx.doi.org/10.3366/jobs.2014.0086.

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The musical legacy of Samuel Beckett is evident in the large number of compositions inspired by his work. Moreover, Beckett's influence has endured beyond the associations with musical modernism from the 1960s onwards. How, then, do the approaches of younger composers relate to and differ from those working during Beckett's lifetime, and what are the implications for performance? This article explores these questions in relation to two recent compositions: Damien Harron's what is the word (2011) for flute, percussion, piano and electronics, and Martin Iddon's head down among the stems and bells (2009) for amplified prepared piano.

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Collins, Nick. "Musical Form and Algorithmic Composition." Contemporary Music Review 28, no. 1 (February 2009): 103–14. http://dx.doi.org/10.1080/07494460802664064.

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17

Roozendaal, Ron. "Psychological analysis of musical composition." Contemporary Music Review 9, no. 1-2 (January 1993): 311–24. http://dx.doi.org/10.1080/07494469300640531.

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18

Armstrong, Tom. "The act of musical composition." Music Education Research 17, no. 2 (January 9, 2015): 248–50. http://dx.doi.org/10.1080/14613808.2014.993207.

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19

Pinto, Yahn. "Composition and musical gesture: The musical persona as the basis for a new composition." Percepta - Revista de Cognição Musical 2, no. 1 (December 30, 2014): 131–50. http://dx.doi.org/10.34018/2318-891x.2(1)131-150.

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20

Cabacov, Dmitri. "PECULIARITIES OF THE MUSICAL LANGUAGE AND COMPOSITION IN SNEJANA PÎSLARI’S COMPOSITION FOR PIANO TREI PORTRETE MUZICALE: СHOPIN, SKRIABIN, RACHMANINOV." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 86–90. http://dx.doi.org/10.55383/amtap.2022.1.16.

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The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.

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21

Rustandi Mulyana, Aton, and Joko Suranto. "Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation." International Journal of Visual and Performing Arts 3, no. 1 (June 20, 2021): 22–32. http://dx.doi.org/10.31763/viperarts.v3i1.203.

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This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation

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Hoover, Amy K., Paul A. Szerlip, and Kenneth O. Stanley. "Functional Scaffolding for Composing Additional Musical Voices." Computer Music Journal 38, no. 4 (December 2014): 80–99. http://dx.doi.org/10.1162/comj_a_00269.

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Many tools for computer-assisted composition contain built-in music-theoretical assumptions that may constrain the output to particular styles. In contrast, this article presents a new musical representation that contains almost no built-in knowledge, but that allows even musically untrained users to generate polyphonic textures that are derived from the user's own initial compositions. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and a generated set of one or more additional musical voices. A human user without any musical expertise can then explore how the generated voice (or voices) should relate to the scaffold through an interactive evolutionary process akin to animal breeding. By inheriting from the intrinsic style and texture of the piece provided by the user, this approach can generate additional voices for potentially any style of music without the need for extensive musical expertise.

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조만수. "Dramatic and Musical Composition in the Musical Comedy Les Misérables." Cross-Cultural Studies 44, no. ll (September 2016): 315–42. http://dx.doi.org/10.21049/ccs.2016.44..315.

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24

Fulka, Vladimír. "Arnold Schönberg and musica artificiosa : a rationality in the musical composition." Musicologica Brunensia, no. 1 (2017): 69–78. http://dx.doi.org/10.5817/mb2017-1-7.

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Da Silva, Levi Leonido Fernandes, and Mário Cardoso. "AGELASTA: THE ILLUSION IN MUSICAL COMPOSITION." ERAS | European Review of Artistic Studies 10, no. 4 (December 30, 2019): 20–28. http://dx.doi.org/10.37334/eras.v10i4.40.

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O presente artigo pretende apresentar e discutir o papel do sistema perceptivo e suas relações com o universo musical. Nesse contexto, o conceito de ilusão sonora assume papel relevante na definição, análise e interpretação dessa relação no processo de composição e interpretação musical. Considerando os objetivos deste artigo, as alterações no texto musical serão abordadas essencialmente pelas seguintes características: tempo, timbre, reverberação, estrutura e forma. Com base nesse entendimento, o curso empírico assume dois caminhos: (1) a análise de alguns exemplos de repertório da música ocidental com o objetivo de categorizar e perceber como essas características são assumidas como elementos da ilusão perceptiva sonora; (2) composição de uma obra musical original, onde alguns dos aspectos resultantes da fase anterior são explorados do ponto de vista da criação musical.

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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.

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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves the search for an individual performing style. Jazz composition is considered as a sphere of modern musical culture that meets the needs of musicians and listeners. The article shows the importance of jazz composition in the realities of the development of musical styles, emphasizes its importance in the system of values of musical culture, the objective meaning of which is determined by its inherent nature in several components of the modern creative process.

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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.

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Silvey, Philip E. "How Music Students in One High School Perceive a Valued Musical Composition." Bulletin of the Council for Research in Music Education, no. 239 (January 1, 2024): 65–84. http://dx.doi.org/10.5406/21627223.239.04.

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Abstract Music students in the United States who reach later years in high school have developed musical preferences and grown to value music of their own choosing. In this descriptive phenomenology (Giorgi, 2009), I used written protocols to elicit long-form reflections written anonymously by 16- to 18-year-old participants (n = 25) from one school to learn how they perceived a self-chosen musical composition, primarily contemporary songs with words, in the context of their lived experience. A three-step systematic analysis of the content of written reflections yielded three main findings. Participants valued a musical composition when (a) it impacted their emotions, (b) they related to the message of the lyrics, and (c) it connected to people, places, and events they cared about. The written reflections in this study show that participants wrote about the composition holistically, focusing on its perceived subject matter, personalized meaning, and the range of emotional responses it elicited. Providing spaces for students to reflect and share perceptions and impressions of significant and unfamiliar music compositions could inform how music educators guide learners to consider and value the role musical compositions can play in their lives and experiences.

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Jatmika, Ovan Bagus. "Suita Zodiak: Komposisi Musik untuk String Kuartet dan Trio Woodwind." Journal of Urban Society's Arts 3, no. 1 (April 29, 2016): 10–18. http://dx.doi.org/10.24821/jousa.v3i1.1472.

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Zodiak adalah rasi bintang di sepanjang garis ekliptika yang terdiri atas 12 bagian, yaitu Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, dan Pisces. Ke-12 zodiak tersebut memiliki karakter yang berbeda karena dibedakan oleh modus (cardinal, fixed, mutable) dan elemen (api, tanah, udara, air) yang menyusunnya. Fenomena ini, dalam konteks komposisi musik, merupakan hal-hal ekstra musikal. Hal-hal ekstra musikal inilah yang akan diangkat ke dalam komposisi musik programa dengan judul “Suita Zodiak”. Komposisi ini disusun dalam 12 gerakan dan disusun dalam 12 tonalitas yang berbeda. Masing-masing gerakan menggambarkan karakter 12 zodiak dari Aries hingga Pisces. Karakter dari ketiga modus yang menyusun zodiak ditransformasi ke musik melalui pembedaan tekstur, sedangkan karakter dari keempat elemen yang menyusun zodiak ditransformasi ke musik melalui pembedaan karakter melodi, suasana musikal, dan pembedaan tempo. Pemaknaan tentang karakter 12 zodiak kemudian dijadikan batasan dalam penciptaan “Suita Zodiak” bersifat arbitrer. Hal ini mengacu pada beberapa karya yang pernah diciptakan sebelumnya, yang sebagian besar menghubungkan karya musik dengan unsur ekstra musikalnya secara arbitrer. Karya ini digarap dalam format string kuartet dan trio woodwind dengan mengembangkan beberapa konsep melodi yang diambil dari thesaurus of scales and melodic pattern. Zodiac Suite: Music Composition for String Quaertet and Trio Woodwind. Zodiac is the constellations along the ecliptic line consisting of 12 parts, namely Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagitarius, Capricorn, Aquarius, and Pisces. The 12 zodiacs have different characters because they are distinguished by the mode (cardinal, fixed, mutable) and elements (fire, earth, air, water) that are arranged them. This phenomenon, in the context of musical composition, is extra-musical things. These extra-musical things will be lifted into musical composition program entitled “Suita Zodiak”. This music composition has been worked out in 12 movements and arranged in 12 different tones. Each movement describes the character of the 12 zodiacs from Aries to Pisces. The characters of the three modes setting up the zodiac will be transformed into music through texture distinction; meanwhile the characters of four elements that are creating the zodiac have been transformed into music through the distinction of the melodic character, musical atmosphere, as well as difference in tempo. The meaning of 12 zodiac characters are then used as constraints in the creation of the arbitrary Zodiac Suite. This refers to several masterpieces that had been previously created, most of which relate to musical masterpiece with arbitrary extra-musical element. This artistry has been created in the quartet string and trio woodwind format by developing several melody concepts that are taken from thesaurus of scales and melodic pattern.

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Augustyn, Rafał. "“My” “Musical” “Language” ?" Musicology Today 12, no. 1 (December 1, 2015): 3–17. http://dx.doi.org/10.1515/muso-2015-0002.

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Abstract The problem associated with the musical “language” of a particular composer can be understood either literally, i.e. with some possible analogies to natural language, or metaphorically, as a substitute of style, technique, or manner. I try to combine both usages. In fact, my approach to composing music is not so much - to develop a consistent language ready for use in multiple instances and thus to attain a recognisable personal style, but rather - to try to build a tool for use in one particular composition on many levels of musical “grammar”. Another basic problem is the proportion between impulse and design as defined in a well-known book by Andrzej Panufnik. The examples discussed illustrate some core problems of the music creation process, such as the deliberately incomplete ‘‘monadic’’ form (Gamma from String Quartet No. 3); the evolution of style in the process of composition and its dependence on the medium (Rondeau for wind quintet); and purely intuitive composition (Con tenerezza from Cinque pezzi diversi).

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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.

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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

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Зенкин, К. В. "On the Paradigms of Musical Composition." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 22–35. http://dx.doi.org/10.26176/mosconsv.2020.40.1.002.

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В статье рассматривается вопрос о возможных прообразах— моделях, парадигмах— чистой инструментальной музыки в европейской культуре Нового времени. Среди таких парадигм выделяются: речевое вербальное высказывание, жест— танец— ритуал, закономерности природных процессов (биологические, физико-математические и т. п.). Исследуется соотношение указанных парадигм в европейской музыке различных эпох и стилей, а сами парадигмы подвергаются анализу. Особое внимание уделено проблеме осознания парадигм новейшей музыки, что существенно облегчает ее восприятие. The article discusses the question of possible prototypes — models, paradigms — of pure instrumental music in the European culture of the New Age. Among such paradigms stand out: verbal utterance, gesture — dance — ritual, laws of natural processes (biological, physical and mathematical, etc.). The relationship of these paradigms in European music of different eras and styles is investigated, and the paradigms themselves are analyzed. Particular attention is paid to the problem of understanding the paradigms of modern music, which greatly facilitates its perception.

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Irlandini, Luigi Antônio. "Dragonslayer – musical composition and mythical thought." Revista Vórtex 9, no. 3 (December 15, 2021): 1–41. http://dx.doi.org/10.33871/23179937.2021.9.3.5.

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A obra Vṛtrahan (2017), de XXXX, para saxofone barítono e percussão, cria uma nova relação entre pensamentos musical e mítico, assim como muitas outras composições do autor desde 1988. Nesta peça, o mito védico de Indra matando o Dragão Cósmico Vṛtra sugere procedimentos estruturantes, fontes sonoras instrumentais e imagens sonoras, resultando numa congruência entre música e mito muito maior do que uma simples relação programática. A discussão de alguns processos composicionais desta obra, conforme foram sugeridas pelo pensamento mítico, ilustra a ideia do autor de composição como cosmologia.

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34

Thomas, Hollis. "Encouraging the Musical Imagination Through Composition." Music Educators Journal 73, no. 5 (January 1987): 27–30. http://dx.doi.org/10.2307/3397919.

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Killick, Andrew P. "Musical Composition in Twentieth-Century Korea." Korean Studies 16, no. 1 (1992): 43–60. http://dx.doi.org/10.1353/ks.1992.0002.

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36

Bennett, Gerald. "Music acoustics and contemporary musical composition." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1055–56. http://dx.doi.org/10.1121/1.425025.

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Hoover, Amy K., and Kenneth O. Stanley. "Exploiting functional relationships in musical composition." Connection Science 21, no. 2-3 (September 2009): 227–51. http://dx.doi.org/10.1080/09540090902733871.

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Bouche, Dimitri, Jérôme Nika, Alex Chechile, and Jean Bresson. "Computer-aided Composition of Musical Processes." Journal of New Music Research 46, no. 1 (September 22, 2016): 3–14. http://dx.doi.org/10.1080/09298215.2016.1230136.

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Garcia-Zambrano, Alan, Yenny Villuendas-Rey, and Oscar Camacho-Nieto. "Synesthetic Musical Composition using Computational Intelligence." Research in Computing Science 147, no. 12 (December 31, 2018): 233–42. http://dx.doi.org/10.13053/rcs-147-12-22.

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40

Halbritter, Bump. "Musical rhetoric in integrated-media composition." Computers and Composition 23, no. 3 (January 2006): 317–34. http://dx.doi.org/10.1016/j.compcom.2006.05.005.

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Gita, Gede Risa Sutra, and Ni Wayan Masyuni Sujayanthi. "Musical Composition "Sedimentasi" | Komposisi Karawitan "Sedimentasi"." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 20–28. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.148.

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Sedimentasi adalah proses pembentukan batuan sedimen yang berasal dari pengendapan larutan kimia dan pengendapan aktivitas organisme tertentu, batuan sedimen juga terbentuk dari proses pengendapan pada beberapa komponen abiotik yang ada di lingkungan seperti halnya tanah dan juga pasir. Sedimentasi mengalami tiga proses, ketiga proses tersebut direalisasikan kedalam struktur yang terdiri dari tiga bagian dalam garapan karawitan sedimentasi. Karya karawitan Sedimentasi menggunakan media ungkap barungan gamelan Gong Kebyar, yaitu Pemade pengumbang, Pemade pengisep, Kantil pengumbang, dan sebagian dari barungan gamelan Joged Bumbung, yaitu Rindik pengumbang, Rindik pengisep, dan Kantil pengumbang yang terbuat dari bambu. Garapan ini mengacu pada unsur-unsur musikal seperti melodi, ritme, tempo, dinamika, dan harmoni. Karya karawitan Sedimentasi disajikan secara konser, didukung oleh 3 orang penabuh termasuk penata, dipentaskan di sanggar Siwer Manis, berlokasi di Banjar samu, Singapadu Kaler, Sukawati, Gianyar. Penabuh atau pemain dibagi sesuai keahliannya, yaitu penabuh pertama memainkan Instrumen Pemade pengumbang dan Rindik pengumbang secara bergantian, penabuh kedua memainkan instrumen Pemade pengisep dan Rindik pengisep, dan penabuh ketiga memainkan instrumen Kantil pengumbang dan Kantil bambu pengumbang.

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Alexandrova, Elena A. "Musical Composition of Evenk Heroic Poems." Университетский научный журнал, no. 77 (December 25, 2023): 45–54. http://dx.doi.org/10.25807/22225064_2023_77_45.

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Music is an important component of the Evenk heroic folk poems. The article describes the role of folk melodies in the Evenk epos system including historic poems “Brave Hero Sodani” and “All-Powerful Develchen in the Embroidered and Decorated Clothes” based on the myths about the Evenks living in the Middle World, travelling to the Upper World and fi ghting against evil forces of the Lower World. While performing the Evenk heroic folk poems, musical recitation with an intensifi ed vocal and music component is used depending on the dramatic nature of the scene or the character’s description. The songs-monologues of the heroes have their own features of melody, mode, rhythm and timbre

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Santosa, Hendra, I. Komang Werdi Darmawan, and Ni Putu Hartini. "NEMU–ANG, A NEW MUSICAL COMPOSITION." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 7, no. 1 (May 29, 2024): 47–55. http://dx.doi.org/10.31091/lksn.v7i1.2782.

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Nemu-Ang is an innovative Karawitan musical composition. The background of the musical artwork is from the phenomenon of appreciate the melody, which currently doesn't exist in almost every musical artwork. The main reason for that is that the lay public can't enjoy the work. This phenomenon inspired Karawitan's composition with the medium of the Gamelan Singapraga. This Karawitan music composition takes the object of honey as a central object because this honey has a multitude of benefits and a sweet taste that stands out, so this focuses on aspects of how honey is produced and the taste of honey itself. Nemu-Ang's innovative form of musical composition uses rhythm, melody, and harmonization from the Singapraga Gamelan to have a sweet taste like honey and the process of making it. The method for producing this work is Panca Stithi Ngawi Sani by Prof. Dr. I Wayan Dibia, and it is very easy to understand for ordinary people who want to create art. This method includes the ngawirasa (find the inspiration), ngawacak (object exploration), ngarencana (conception of the object), ngawangun (execution of the concept), ngebah (presentation/performed the artwork). Based on the results of applying this method, Nemu-Ang's work was very effective, and the work was realized as it should have a duration of 11 minutes. In the future, this work can be enjoyed by the wider community to become an inspiration for further musical works.

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Maitimu, Frengky, and Dewi Tika Lestari. "JEJAK MAJAPAHIT: KOMPOSISI MUSIK PROGRAMA BERDASARKAN CERITA LEGENDA AIR MAJAPAHIT DI NEGERI EMA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 16, no. 2 (December 30, 2023): 114–25. http://dx.doi.org/10.33153/sorai.v16i2.5651.

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The history of Air Majapahit is one of the events of the arrival of Princess Majapahit in Negeri Ema which has been told orally from generation to generation. The history of Majapahit Water can be proven true by the existence of Majapahit kingdom relics in the form of heirloom spears, Gamelan, Betel places and Majapahit springs which are still well preserved in Negeri Ema. Based on this phenomenon, it was then used as a nonmusical concept to work on a musical composition. The composition of Traces of Majapahit is a narrative program musical work which contains elements of the history of Air Majapahit, which was created in the form of varied music and using western instruments. The process of creating the musical composition Traces of Majapahit went through several stages, namely (1) exploration of literature regarding musical disciplines and observation of Majapahit water history; (2) processing the relationship between musical elements and nonmusical concepts as a basis for the construction of musical compositions; (3) cultivating musical elements into variations using the main theme development procedure from Leon Stein’s theory; (4) presentation of the work in orchestra format. This work contains cultural value in the almost forgotten relationship between the Majapahit kingdom and Negeri Ema, so that through this work it is hoped that the history of Air Majapahit will be preserved.

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Ferreira, Pedro, Ricardo Limongi, and Luiz Paulo Fávero. "Generating Music with Data: Application of Deep Learning Models for Symbolic Music Composition." Applied Sciences 13, no. 7 (April 3, 2023): 4543. http://dx.doi.org/10.3390/app13074543.

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Language models based on deep learning showed promising results for artistic generation purposes, including musical generation. However, the evaluation of symbolic musical generation models is mostly based on low-level mathematical metrics (e.g., the result of the loss function) due to the inherent difficulty in measuring the musical quality of a given performance due to the subjective nature of music. This work sought to measure and evaluate musical excerpts generated by deep learning models from a human perspective, limited to the scope of classical piano music generation. In this assessment, a population of 117 people performed blind tests with musical excerpts of human composition and musical excerpts generated using artificial intelligence models, including the models PerformanceRNN, Music Transformer, MuseNet and a custom model based on GRUs. The experiments demonstrated that musical excerpts generated using models based on the Transformer neural network architecture obtained the greatest receptivity within the tested population, surpassing the results of human compositions. In addition, the experiments also demonstrated that people with greater musical sensitivity and musical experience were more able to identify the compositional origin of the excerpts heard.

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46

DeNora, Tia. "The Musical Composition of Social Reality? Music, Action and Reflexivity." Sociological Review 43, no. 2 (May 1995): 295–315. http://dx.doi.org/10.1111/j.1467-954x.1995.tb00605.x.

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Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns. The worlds' concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experience of time, and social character within opera are used to illustrate this point. Recent developments in feminist music analysis have been suggestive for the ways in which music metaphorizes social processes and categories of being. These developments can enrich the sociology of music. However, as with all attempts to ‘read’ music's social content, they should be conceived as claims made by analysts who are themselves engaged in social projects. Analytical readings of music have no a priori claim of privilege. A constructivist sociology of music should therefore be devoted to the question of how specific music users forge links between musical significance and social life. A sociology of the construction and deployment of musical realities is capable of avoiding the naive positivism otherwise implicit in attempts to ‘read’ music's social content.

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47

DuPree, Mary Herron. "Mirror to an Age: Musical America, 1918–30." Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.

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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styles of American composition. It was a period when traditionalism, modernism and jazz-influenced composition were each passionately defended and condemned not only in the music journals but in the pages of most of the general intellectual magazines.

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Kariasa, I. Nyoman, and I. Kadek Tunas Sanjaya. "Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.

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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical composition is divided into three stages which are taken from the concept of Alma M. Hawkins in the book Creating Through Dance, namely exploration, improvisation, and formation. Ngegong's music artwork is embodied in the form of a contemporary musical composition frame that takes the elements of sound and musicality into consideration. Contemporary music has the connotation of new works composed using various sound sources, both traditional and non-traditional instruments or all objects that can produce sound or sound according to needs.

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49

Zhang, Yifei. "Utilizing Computational Music Analysis and AI for Enhanced Music Composition: Exploring Pre- and Post-Analysis." Journal of Advanced Zoology 44, S6 (December 5, 2023): 1377–90. http://dx.doi.org/10.17762/jaz.v44is6.2470.

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This research paper investigates the transformative potential of computational music analysis and artificial intelligence (AI) in advancing the field of music composition. Specifically, it explores the synergistic roles of pre-analysis and post-analysis techniques in leveraging AI-driven tools to enhance the creative process and quality of musical compositions. The study encompasses a historical overview of music composition, the evolution of computational music analysis, and contemporary AI applications. It delves into pre-analysis, focusing on its role in informing composition, and post-analysis, which evaluates and augments compositions. The paper underscores the significance of these technologies in fostering creativity while addressing challenges and ethical considerations. Through case studies, evaluations, and discussions, this research offers insights into the profound impact of computational music analysis and AI on music composition, paving the way for innovative and inclusive musical expressions.

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Hedelin, Fredrik. "Formalising Form: An Alternative Approach To Algorithmic Composition." Organised Sound 13, no. 3 (November 3, 2008): 249–57. http://dx.doi.org/10.1017/s1355771808000344.

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AbstractOne main issue in the field of algorithmic composition is the relationship between the algorithm and the final musical structure. This article investigates that relationship further and presents a method of algorithmic thinking in which the musical form is the starting point. Kimon, an object-oriented programming environment for computer-aided composition in which one creates abstractions of musical form, will be introduced. The aim is to take algorithmic composition closer to the musical output in order to work systematically with form and dramaturgy. An electroacoustic piece that has been conceived and generated in its entirety by the system will also be presented.

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