Literatura académica sobre el tema "Recomposition musicale"

As music recomposing becoming a popular way of artistic creation, computer-aided music making has generated many neoteric pieces through algorithms. Style transfer is one of the methods of recomposition based on an existing musical piece. This paper aims to develop a method that could implement music style transferring to Chinese style by changing the mode into a pentatonic scale. It includes two methods in note-to-note modification that both achieved the purpose well and are suited for different situations. The output of the approach is proved to be successful by certain comparison between the existing Chinese style music and the one that was modified by the method. It is convenient for musicians to utilize the analysis to improve the efficiency of recomposition based on style changing. In addition, they will be given a general view of what the changed music could be without excessive thinking prior to the start of their composing process. These results shed light on guiding further exploration of music composing based on Nyquist.

Cet article se propose d’élaborer une méthodologie analytique adaptée à la musique électronique de danse, qui prenne en particulier en compte le fait que les œuvres analysables ne sont pas des objets fixés – ou plutôt, que leur intérêt réside justement pour une grande part dans leur non-fixité. Dans les pratiques et discours, sont conçus comme œuvres non seulement les morceaux mais aussi les DJ sets, qui réunissent un nombre variable de morceaux dans un flux musical continu (et dont l’exigence de continuité implique de mélanger les morceaux les uns avec les autres) : de là, il s’agit de penser une méthodologie qui permette de comprendre les morceaux comme sommes de potentialités – en ce qu’ils peuvent être transformés par leur mélange à d’autres entités musicales –, et de comprendre également les dynamiques musicales propres au DJ set, qui ne se réduisent pas à une transposition de celles des morceaux à échelle plus large. Pour ce faire, nous proposons une méthode analytique expérimentale par recomposition créative, qui consiste à mixer les morceaux étudiés les uns avec les autres et à comparer les différences produites, afin de mieux saisir, d’une part, les manières dont les morceaux peuvent être transformés par le mix et, d’autre part, la variété des dynamiques propres aux DJ sets.

This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. It is argued that Yugoslav rock has retained its potency and appeal, where today, in a post-Yugoslavia context, it presents an outlet for the recomposition of musical preferences through nostalgia and opposition to the post-1991 socio-political developments. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments. A qualitative multimodal discourse analysis is employed here to investigate a selection of fan pages of rock musicians and bands.

This article argues that the notion of affective atmosphere provides a privileged access to the study of organizational affect as it relates to a spatial ontology of ‘being-together-in-a-sphere’. Drawing on the study of affective atmospheres in philosophy and cultural geography, we develop a conceptual positioning from which to analyze a musical intervention in the streets and squares of Berlin. The study traces the preparation and enactment of a 2-day music event that breaks with the emotional experience of a ‘mainstream’ classical concert, and instead intervenes in urban atmospheres by mingling music performances with everyday urban life in an attempt to affect chance spectators. Tracing how the concert’s atmospheres emerged through a series of encounters between various bodies and their specific affective capacities, the analysis emphasizes the tension between the possibility of designing and crafting atmospheres and its emergence in erratic, ephemeral, and excessive ways. Therefore, we propose that affective atmospheres make perceptible the potentialities of organizational space and give scope to our feelings as we experience their spatial recomposition. In the conclusion, we emphasize affective atmospheres as a key concept for the critical study of affect, as it advances a politics that attends to new possibilities of feeling and acting collectively in spaces of organizing.

ABSTRACTThe pervasiveness of thoroughbass in eighteenth-century German musical pedagogy is illustrated by the way that it extends from continuo realization exercises and chorale harmonizations to complete fugues. This article seeks to demonstrate how partimento fugue can be construed as the missing link between thoroughbass exercises and fully fledged keyboard fugues, by expanding on ideas first advanced by William Renwick. Through an examination of partimento fugues from J. S. Bach’s Precepts and Principles, Handel’s Lessons for Princess Anne, the Langloz manuscript and Heinichen’s Der General-Bass in der Composition, this study outlines a progression from basic realization exercises, in which the emphasis lies on the recognition and execution of continuo figures, to advanced recomposition assignments in which the performer is expected to project a rich contrapuntal texture from a simple figured-bass line, a task which is crucially dependent on the ability to memorize and reuse thematic material. The pedagogical value of partimento fugues also hinges on the acquisition of commonplace patterns such as the scalar descent and the harmonization of a chromatic line in alternating thirds and sixths. Although these patterns are often merely implied, they are found repeatedly in specific musical contexts, suggesting that they may function as generative melodic lines from which the composer derived both the harmonic progression and the underlying bass line, in a striking reversal of the standard compositional paradigm proposed by eighteenth-century theorists such as Niedt. Finally, the occurrence of these formulas in thoroughbass exercises, as well as in masterpieces such as J. S. Bach’s Well-Tempered Clavier, points to their ubiquitous character and demonstrates that they were part of a common language shared by many German composers of the period, thus emphasizing the need for an increased familiarity with the German partimento repertory and its conventions.

Panji Jayalengkara Angreni which is one part of the Panji Angreni variety has a close relationship with oral and written traditions. With the existence of multi-layered traditions and a very broad corpus, it is necessary to describe the distribution of traditions, especially in the realm of Javanese culture in Surakarta. Thus, this study aims to reveal the relationship between the oral and written traditions of Panji Jayalengkara Angreni. In revealing this relationship, it is necessary to understand that the manuscript and oral traditions are a unity as a basic foundation. This study uses a qualitative method and is based on a research method that combines manuscript writing traditions and artistic traditions, as was done by Vickers on the Malat text. As a limitation, the search for the corpus of written and oral literature is only focused on the Surakarta tradition, especially those related to oral literature in performing art. The text of Panji Angreni appears in the literary tradition of the northern coast of Java which developed with additions and recompositions. Panji Angreni Palembang as the oldest text shows the form of Panji Angreni which is still much influenced by Old Javanese literature. Panji Angreni developed by being combined with the story of Jayalengkara in the Surakarta era.The relationship between Panji Jayalengkara Angreni's written text and oral text is evident in the realm of wayang, dance, and musical performances. This relationship is not just a one-way relationship, but a reciprocal relationship between written and oral traditions. Keywords: Panji; oral tradition; written tradition; wayang.

Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.

Though analysts frequently recompose music in order to emphasize a particular point, the practice has been unnecessarily limited. This article explores a somewhat radical recompositional strategy by grafting together several different settings of Nur wer die Sehnsucht kennt, Goethe’s famous poem from Wilhelm Meisters Lehrjahre. By ‘remixing’ different settings by Schubert, Schumann, and Wolf, I offer an intertextual analysis in which relationships between the pieces are brought to life through score and musical performance.

Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicaux
From aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie

Beginning with the historical rupture created by the fall of the Berlin Wall, this chapter considers the presence of the past in contemporary music. Looking first at the situation of composers in the recently erased GDR, it moves outwards to consider modes of nostalgia, reflection, and defiance in music from across the former Soviet Union, and then modes of musical restoration and recomposition in music from Thomas Adès to Isabel Mundry, and finally in forms of postproduction in music by Bernhard Lang and others. Considering, last of all, two major works by Chaya Czernowin the chapter concludes with a summation of the whole book within a theory of afterness; that is, a reconsideration of figure and ground as sequential, rather than simultaneous.