Dissertations / Theses on the topic 'Artistic composition'

The composition 161 Glass is a 17-minute musical work with percussion, wind and brass instruments in which the intersection of mid-century architecture, and the art and culture of a dynamic city are inextricably linked. Through this paper, I explore the process of composing a musical work in relationship to the significance of site specific context. The paper begins by defining the concept of site specific art works; then reviews the discourse of the intersection of art, music and architecture. I then delve into the cultural and geographic context surrounding this project from the modern era through the present, and how those perspectives apply to the building and my piece. I reveal how the composition relates the musical ideas to the site. Finally, I describe the collaborative process between myself, the musicians and the Dallas Contemporary staff.

In his article 'The Death of the Author', Roland Barthes posits that the intentions and identity of an author are irrelevant to the understanding of an artwork. Yet in his analysis of a text by Balzac, Barthes inadvertently demonstrates that there are basic thematic categories associated with an artist's identity, which are intrinsic to a work's interpretation. This thesis proposes that the author of an artwork functions as a semiotic curator, collating signifiers from within these external categories in order to reflect their understanding of the world. Taking as a case study Nicholas Maw's 1976 score Life Studies - a piece described by the composer as being based on his own life - this experiential understanding of identity and self is explored through the lens of David Hume's bundle theory, where the unified experience of self is created through the collection of a series of perceptions. This thesis hypothesises that there are five key categories of perception that constitute Maw's artistic self in Life Studies: simulacra, narrative, design, agency, and nostalgia. Methodologically, these five areas - or rhizomes - are presented through a tripartite study, in an attempt to combine the three distinct disciplines which the philosopher Gilles Deleuze believed approached a holistic understanding of reality: philosophy, analysis, and - in the accompanying portfolio - composition (creativity).

La synthèse pour par modèles physiques propose une approche à de la création musicale alternative à de celui celle plus habituelle du traitement du signal. En prenant en considération le phénomène musical comme un unicum émergeant de l'interaction entre le musicien et les instruments à sa disposition, on expérimente et donne corps phénoménologique et sensible aux actions créatrices.En ne considérant pas comme entités distinctes la matière sonore et la structure musicale, on oriente les potentialités de l'ordinateur et crée une dialectique originale et féconde entre le formel (structurel) et le perceptif (cognitif).Le champ d'action envisagé dans cette thèse concerne le développement, la formalisation et la catégorisation des modèles physiques réalisés à l’aide du formalisme CORDIS-ANIMA de structures - créées par modélisation physique - utiles pour la composition musicale, dans la perspective de mettre en évidence la fonction de formalisation musicale associée portée au par ce paradigme. de simulation par modèle physique CORDIS-ANIMA.Le point de départ est ma pratique personnelle de près de 20 années, en tant que compositeur, avec le logiciel de création sonore GENESIS du laboratoire ACROE-ICA. Cette pratique, à travers des travaux à la fois scientifiques (en modélisation) et artistiques (en composition musicale), m'a conduit à considérer cet environnement non pas comme un synthétiseur, mais comme un instrument " organique " permettant de créer une composition musicale complète couvrant les trois échelles de catégorisation usuelle de l'acoustique et de la musique : micro-formelle (le timbre, l'harmonie, l'orchestration), mezzo-formelle (le rythme, la mélodie et les séquences / structures harmoniques de premier niveau) et macro-formelle (la structure harmonique de niveau supérieur, le schéma formel de la composition complète).L'objectif ne consiste pas à proposer le cadre d'une "nouvelle musique" ou d'une nouvelle esthétique, mais à "bien tempérer" les instruments pour une nouvelle pratique de la création musicale explorant et exploitant au mieux les potentialités de l'ordinateur et des technologies numériques, aussi dans la direction d'un élargissement de la dialectique instrumentalité - écriture musicale vers une "supra instrumentalité" [Cadoz6] et vers des perspectives "post-scriptiques" de la création musicale [Cadoz7]
Physical model synthesis offers an approach to composition alternative to the more usual signal processing. Considering the musical phenomenon as a "unicum" emerging from the interaction between the musicians and their instruments the physical model synthesis realizes and gives phenomenological and sensitive corporeality to the creative actions. By conceiving not as separate entities sound material and musical structure directs the potentialities of the computer and creates an original and fruitful dialectic between the formal (structural) and perceptual (cognitive).The sphere of action for my PhD concerns the development, formalisation and categorisation of structural models – created by physical modelling – useful for musical composition in the perspective to highlight the musical formalisation function associated with the CORDIS-ANIMA physical model simulation paradigm.The starting point for this work is 20 years of personal use as a composer, of the GENESIS physical model musical creation software developed by the ACROE-ICA laboratory.This experience has led me, through works both scientific (modelling) and artistic (music composition), to consider this environment not as a synthesis tool, but as a complex instrument, which allows to create a complete musical composition covering all three usual categories of acoustics and music: micro-formal (the tone, harmony, orchestration), mezzo-formal (the rhythm, melody, and the basic sequences/harmonic structures) and macro-formal (the higher level harmonic structure, the formal outline of the entire composition).My goal is not to propose the framework of a new music or a new aesthetic, but develop "well-tempered" instruments for a new practice of music creativity that explores and accomplishes better the potentialities of computer and digital technology. This also leads in the direction of broadening the dialectic instrumentality - writing music to a "supra instrumentality" [Cadoz6] and to post-scriptic outlook on musical creation [Cadoz7]

I projektet ville jag undersöka vilka personliga berättelser som finns hos musikerna vid KMH. Det vi pratar om när vi pratar om musiker är ofta utbildning, teknik och musikaliska förebilder. Men jag tror inte att det är vad musikerna själva vill kommunicera med sin musik. Under min kandidatutbildning på KMH upplevde jag att fokuset på hantverkskunnande överskuggade reflektion kring konstnärlig identitet. Jag ville i detta projekt resonera kring vad som skulle kunna hända om man reflekterade kring de båda lika mycket. Förutom att presentera en scen för de personliga berättelserna ville jag också undersöka andra tillvägagångssätt än de traditionella för både kompositionoch instudering av musik. Kompositionsprocessen har till stor del handlat om semantik som metod för komposition.
When talking about musicians we usually talk about education, technique and musical role models. But I don’t believe that that is what the musicians themselves want to communicate with their music. In this project I wanted to investigate the personal stories of the musicians at KMH. During my education at KMH I've experienced that the reflection about artistic identity was overshadowed by the focus on craftmanship. I wanted to discuss what might happen if one gave the two the same attention. Apart from presenting a scene for the personal stories I also wanted to investigate alternative ways for composing and studying music. An extensive part of the composition process has been about semantics as a method for composition.

In this creative writing text I wanted to examine what happened with a man who regularly walked through the door of his apartment building and turned left. The man turned out to be Henrik, a divorced man in his mid 50:s. On one of his dog walks he meets Emma, a younger woman. The text examines Henrik´s and Emma´s background and present situation. Both of them are in a life crisis.

L’ornement est considéré comme excédentaire à un objet existant et n’a pas de rôle essentiel dans la création artistique. À partir de cette hypothèse, cette recherche se propose de démontrer le contraire de ce consensus. En effet, l’objectif de cette thèse n’est pas de changer la définition de l’ornement, mais de l’orienter vers une autre vision et une nouvelle approche. Comment allons-nous procéder pour prouver ce nouveau point de vue ?Biologiquement, c’est en démontrant comment l’artiste, notamment l’artiste-chercheur, crée et comment son cerveau et ses sens réagissent à la création. Tout en considérant l’étude des connexions neuronales dans son corps, afin de déterminer la relation entre ces « connexions biologiques » et les « connexions artistiques » dans la conception de l’ornement géométrique. Dans le contexte de la conciliation entre la théorie et la pratique dans la recherche, cette analyse est développée en interrogeant des artistes, des scientifiques et des ingénieurs. Il s’agit de suivre et de vérifier, sur les chantiers, le développement des projets artistiques qui se rapportent à notre thèse
Ornament is considered a mere surplus to an existing object and does not have an essential role in artistic creation. Based on this hypothesis, the research proposes to demonstrate the opposite of this consensus. Indeed, the purpose of this thesis is not to change the definition of ornament, but to orient it towards a different vision and a new approach.How are we going to propose this new point of view?Biologically, it is by demonstrating how the artist, especially the artist-researcher, creates and how his brain and senses react to the creation. By considering the study of neural connections in the artist’s body, we may determine the relationship between these ‘biological connections’ and ‘artistic connections’ in the design of geometric ornamentation. In the context of the reconciliation between theory and practice in research, this analysis will be conducted by interviewing artists, scientists and engineers. It will be useful to examine, in concrete examples, the development of artistic projects that relate to our thesis

The ʻaudiovisual objectʼ is a fusion of sound object and visual object to create an identifiable perceptual phenomenon, which can be treated as a ʻbuilding blockʼ in the creation of audiovisual work based primarily on electroacoustic composition practice and techniques. This thesis explores how the audiovisual object can be defined and identified in existing works, and offers an examination of how it can be used as a compositional tool. The historical development of the form and the effect of the performance venue on audience immersion is also explored. The audiovisual object concept builds upon theories of electroacoustic composition and film sound design. The audiovisual object is defined in relation to existing concepts of the sound object and visual object, while synaesthesia and cross-modal perception are examined to show how the relationship between sound and vision in the audiovisual object can be strengthened. Electroacoustic composition and animation both developed through technological advances, either the manipulation of recorded sounds, or the manipulation of drawn/photographed objects. The key stages in development of techniques and theories in both disciplines are examined and compared against each other, highlighting correlations and contrasts. The physical space where the audiovisual composition is performed also has a bearing on how the work is perceived and received. Current standard performance spaces include acousmatic concert systems, which emphasize the audio aspect over the visual, and the cinema, which focuses on the visual. Spaces which afford a much higher level of envelopment in the work include hemispheric projection, while individual experience through virtual reality systems could become a key platform. The key elements of the audiovisual object, interaction between objects and their successful use in audiovisual compositions are also investigated in a series of case studies. Specific audiovisual works are examined to highlight techniques to create successful audiovisual objects and interactions. As this research degree is in creative practice, a portfolio of 4 composed works is also included, with production notes explaining the inspiration behind and symbolism within each work, along with the practical techniques employed in their creation. The basis for each work is a short electroacoustic composition which has then been developed with abstract 3D CGI animation into an audiovisual composition, demonstrating the development of my own practice as well as exploring the concept of the audiovisual object. The concept of the audiovisual object draws together existing theories concerning the sound object, visual perception, and phenomenology. The concept, the associated investigation of how audiovisual compositions have evolved over time, and the analysis and critique of case studies based on this central concept contribute both theory and creative practice principles to this form of artistic creativity. This thesis forms a basis for approaching the creative process both as a creator and critic, and opens up a research pathway for further investigation.

Cette étude a eu comme but principal de définir le profil des pratiquants de Gymnastique Artistique des deux sexes et pour cela nous avons analysé les mesures somatiques, la composition corporelle, le développement tubérale, la densité minérale des os, la teneur minérale des os et l’ingestion des aliments. Pour une meilleure perception des variables des gymnastes, au long de quatre ans nous avons fait la comparaison avec un groupe de contrôle. Ainsi, l’échantillon a été composé par des sujets des deux sexes, âgés de six à douze ans d’abord, et totalisant une population de 280 sujets. L’étude a été longitudinale et les variables suivantes ont été analysées: taille, hauteur assise, longueur des membres inférieurs, taille des parents, âge des premières règles des mères, poids corporel, index de la masse corporelle, pourcentage de matière grasse corporelle, masse exempte de graisse, développement tubérale, densité minérale des os, segmentaire et totale, contenu minéral total des os et ingestion des aliments suivants: calcium, protéines, phosphore et fer. La taille et la stature assise ont été mesurées par un stadiomètre portable. Pour la collecte des données de la taille des parents et l’âge des premières règles des mères, on a utilisé un questionnaire padron. Le poids corporel a été obtenu à l’aide d’une balance Filizola, avec une précision d’environ 100 grammes. Pour identifier le développement tubérale nous avons utilisé la classification de Tanner. L’examen densitométrique des os a été effectué par le système Dual- Energy X-ray Absorptiometry, dans le dispositif LUNAR DPX IQ#5610, afin d’établir, avec rigueur la densité minérale des os des membres supérieurs, des membres inférieurs, pelviennes, du tronc, de la colonne vertébrale, des côtes, de la tête et du corps entier, le contenu minéral total des os, la masse exempte de matière grasse et le pourcentage de matière grasse corporelle. Enfin, pour établir la quantité absorbée de calcium, protéines phosphore et fer, on a utilisé un enregistrement alimentaire pendant 7 jours. Le traitement statistique des données a été réalisé à l’aide d’une analyse de variation (ANOVA) de comparaisons multiples de Tukey, test T de Student , corrélation de Pearson et test qui carré. Ensuite, nous avons réalisé l’analyse de variation des mesures répétées. Le programme statistique utilisé fut le SPSS for Windows (‘version 11.0) et le niveau de signification fut de 5%. Les résultats ont révélé que la petite taille était déjà propre des gymnastes, avant même qu’ils ne s’initient au sport de compétition. Cependant, leur croissance fut atténuée en raison de la lenteur de croissance des membres inférieurs par rapport aux autres parties du corps. Les gymnastes des deux sexes ont présenté une prédisposition génétique à avoir une petite taille et une puberté tardive. Le sport qu’ils pratiquaient n’a donc exercé aucune influence sur ces variations. Ayant pour base les résultats présentés par cette étude, nous pouvons affirmer que la gymnastique artistique tout en étant un sport d’impact, dû au stress mécanique, permet un excellent remoulage des os, même dans les cas où on a observé une ingestion insuffisante de calcium.
Este estudo teve como objectivo principal investigar os praticantes de Ginástica Artística de ambos os géneros e para isso analisamos as medidas somáticas, a composição corporal, o desenvolvimento puberal, a densidade mineral óssea, o conteúdo mineral ósseo e a ingestão de nutrientes. Para melhor percepção das variáveis dos ginastas, ao longo de 4 anos, fizemos a comparação com um grupo controlo. Assim, a amostra foi composta por sujeitos de ambos os géneros numa faixa etária inicial dos 6 aos 12 anos e totalizando uma população de 280 sujeitos. O estudo foi longitudinal e analisaram-se as seguintes variáveis: estatura, altura sentada, comprimento dos membros inferiores, estatura dos pais, idade de menarca das mães, peso corporal, índice de massa corporal, percentual de gordura corporal, massa isenta de gordura, desenvolvimento puberal, densidade mineral óssea dos segmentos corporais e total, conteúdo mineral ósseo total e ingestão dos seguintes nutrientes: cálcio, proteínas, fósforo e ferro. A estatura e altura sentada foram medidas com um estadiómetro portátil. Para a colecta de dados da estatura dos pais e idade de menarca das mães foi utilizado um questionário padronizado. O peso corporal foi obtido através de uma balança Filizola, com precisão de 100 gramas. Para a identificação do desenvolvimento puberal utilizamos a classificação de Tanner. O exame de densitometria óssea foi efectuado através do sistema Dual-Energy X-ray Absorptiometry, no aparelho LUNAR DPX IQ#5610, a fim de estabelecer com rigor a densidade mineral óssea dos segmentos corporais (membros superiores, membros inferiores, pélvis, tronco, coluna vertebral, costelas, cabeça e corpo total) o conteúdo mineral ósseo total, a massa isenta de gordura e o percentual de gordura corporal. Por fim, para quantificar os nutrientes cálcio, proteínas, fósforo e ferro, foi utilizado um registo alimentar de sete dias. O tratamento estatístico dos dados foi realizado através do recurso a uma análise de variância (ANOVA) comparações múltiplas de Tukey, teste t de Student, correlação de Pearson e teste qui-quadrado. Posteriormente realizamos a análise de variância de medidas repetidas. O programa estatístico utilizado foi o SPSS for Windows (versão 11.0) e o nível de significância adoptado foi de 5%. Os resultados revelaram que a baixa estatura já era característica dos ginastas em ambos os géneros mesmo antes de se iniciarem no desporto de competição, sendo que o seu crescimento em estatura foi atenuado devido a uma menor velocidade de crescimento do comprimento dos membros inferiores em relação aos outros segmentos corporais. Os ginastas de ambos os géneros mostraram predisposição genética para terem baixa estatura e maturação tardia, e que a modalidade desportiva Ginástica Artística não exerceu influência nestas variáveis. Com base nos resultados apresentados nesta investigação podemos afirmar que, sendo a Ginástica Artística um desporto de impacto, através do stress mecânico, proporcionou uma óptima remodelação óssea, mesmo nos casos em que se observou uma insuficiente ingestão de cálcio
The main objective of this study was to performance research on people who practice artistic gymnastics, both male and female. In order to do so we analyze the somatic measures, body composition, pubertal development, bone mineral density, bone mineral content and nutrient intake. For a better perception of the gymnasts’ variables over 4 years, we compared them with a control group. The samples were composed of subjects of both sexes, in an initial age range from 6 to12 years and totalizing a population of 280 subjects. The study was longitudinal and analyzed the following variables: stature, seated height, length of lower limbs, parents’ stature, mothers’ age at menarche, body weight, body mass index, percentage of body fat, mass without fat, pubertal development, bone mineral density of the body and total segments, and intake of the following nutrients: calcium, proteins, phosphorus and iron. The stature and seated height were measured using a portable stadiometer. A standardized questionnaire was used to collect data concerning the stature of the parents and mothers’ age at menarche. The body weight was obtained using a Filizola balance, with a 100- gram precision. We used the Tanner classification to identify pubertal development. The bone densitometry exam was carried out using the Dual- Energy X-ray Absorptiometry system in the following apparatus: LUNAR DPX IQ#5610, to measure strictly the bone mineral density of the following segments of the body: upper limbs, lower limbs, pelvis, torso, spine, ribs, head and total body, total bone mineral content, mass without fat and percentage of body fat. Finally, to quantify the nutrient calcium, proteins, phosphorus and iron, a sevenday food record was used. The statistical treatment of the data was performance using an analysis of variance (ANOVA) multiple comparisons of Tukey, Student t test. Pearson correlation and chi-square test. Later we performance an analysis of variance with repeated measures. The statistical program used was SPSS for Windows (version 11.0) and the level of significance adopted was 5% The results revealed that the low stature was already a characteristic of the gymnasts of both sexes, even before they began to do competitive sports, and their growth in stature was attenuated due to a lower velocity of growth in length of the lower limbs, compared with the other body segments. Gymnasts of both sexes showed a genetic predisposition to be short and mature late, and that the sports modality called Artistic Gymnastics did not exert any influence on these variables. Based on the results presented in this research, we can state that since artistic gymnastics is an impact sport, through mechanical stress, it provided an optimal bone remodeling, even in cases in which insufficient calcium intake was observed.

Orientador: Júlia Ziviani Vitiello
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Na técnica do ballet clássico, sob o ponto de vista do estudo de seus conceitos e princípios, de sua trajetória e permanência na formação técnica e expressiva de bailarinos ao longo dos últimos séculos, constatamos que um elemento lhe confere uma característica própria entre as técnicas de dança: a verticalidade. Nesse contexto, esta pesquisa é um estudo que articula uma investigação sobre a verticalidade na técnica do ballet clássico, a partir da relação do corpo com a gravidade, com o objetivo de criar um solo de dança. O processo criativo foi construído a partir de uma reflexão acerca da preparação técnica e expressiva proporcionada pela técnica do ballet clássico, embasada ainda em dois métodos da Educação Somática, a Ideokinesis e a bola suíça. Dessa investigação corporal, emergiu a proposta de um conceito ao qual chamamos de princípio da verticalidade que pretende servir como um possível subsídio ao entendimento da técnica do ballet clássico. Os procedimentos coreográficos que resultaram de nossa pesquisa mantiveram uma mesma poética e investigação corporal durante a realização do projeto, porém é preciso salientar que houve uma evolução com um desenvolvimento bastante diferenciado
Abstract: On the classical ballet technique, through the point of view of the study of its concepts and principles, and, on the other hand, its history and remaining on the technical and expressive formation of ballet dancers over the past centuries, we find that an element gives it a particular characteristic: verticality. In this context, the present research is a study that develops an investigation about verticality on the classical ballet technique based on the relation between body and gravity, with the purpose of creating a solo dance. The creative process was built over a reflection around the technical and expressive preparation proportioned by the classical ballet technique, yet based on two methods of Somatic Education: Ideokinesis and the Swiss Ball. From this corporeal investigation emerged a concept proposal that we call the principle of verticality, that is meant to be a possible subsidy to the understanding of classical ballet technique. The choreographic procedures that have resulted from our research held one and the same poetic and corporal research during the project's implementation, though it must be emphasized that there was an evolution with a very distinguished development
Mestrado
Artes Cenicas
Mestre em Artes

A presença das novas linguagens musicais no ensino básico e secundário da música é diminuta. Com o avançar do tempo essas linguagens desenvolvem-se naturalmente criando hiatos temporais ainda maiores. Para fazer face a essa lacuna foi criado o Grupo de Música Contemporânea do Conservatório Regional de Setúbal, ensemble que serviu de base para a realização de projectos no âmbito desta dissertação. A pluralidade de linguagens, a dualidade Compositor-Professor e adequação e criação de repertório são os aspectos desenvolvidos nesta investigação. Foram analisados os objectivos pedagógicos das obras trabalhadas e recolhida informação para a produção de uma avaliação. Foram recolhidas e analisadas entrevistas em 2010 e em 2015. As reflexões efectuadas constituem as conclusões para futuras revisões, restruturações e investigações nesta área em expansão, na procura da definição do perfil de um educador artístico que reúna todas estas valências; NEW LANGUAGES AND COMPOSITIONAL TECHNIQUES APPLIED TO COURSE IN MUSIC EDUCATION: A COMPOSER CONTRIBUTION ABSTRACT: New musical languages at middle and high school levels are hardly ever used. As time goes by, those languages evolve, which will naturally create larger time gaps. The Contemporary Music Ensemble of Conservatório Regional de Setúbal was created to address this problem, and has been used as the basis for several projects carried out ever since. This investigation was developed focusing on the plurality of languages, the Composer-Teacher duality and the adequation and creation of repertoire. The pedagogical goals of each piece that was played were analyzed and data was collected aiming at the investigation's evaluation. Interviews were collected and analyzed both in 2010 and in 2015. The observations are the conclusions for future revisions, restructuring and research in this expanding field, in the search for defining the profile of an artistic educator who combines all these features.

Un amigo me habló una vez de un cuento japonés de los años 20 del siglo pasado que se llama La silla humana. Es una historia extraña y un tanto perversa quizás. El cuento habla de la historia, supongo que ficticia, de un fabricante de sillas y otros asientos que destacaba por la excelencia de sus creaciones. Sus muebles eran productos de lujo y eran además muy valorados. En un momento dado de la historia el fa- bricante de sillas se enamora de la esposa de uno de sus clientes. Para poder estar cerca de esta mujer, que ignora del todo los sentimientos que él alberga hacia ella, el fabricante construye la que será su obra maestra: un sofá hermosísimo y extraordinariamente cómodo, que es adquirido por la mujer y que pasa a formar parte del mobiliario de la casa de ella. Lo que la mujer desconoce es que el fabricante ha modificado el in- terior del sofá para poder esconderse allí y vivir dentro del mueble de forma secreta. Cómo no, la mujer tiene un gran aprecio por ese sofá. Es su lugar preferido para sentarse a leer, puesto que ese es el asiento más cómodo de la casa. Con razón, puesto que el señor fabricante, desde el interior del sofá, adopta siempre la forma que más conforta- ble resulta en cada ocasión, la que mejor se adapta a cada circunstancia. Esta historia es bastante siniestra, lo sé. Pero lo cierto es que en los últimos tiempos me he acordado de ella en varias ocasiones, en una tesitura completamente distinta. No sé si alguna vez has intentado dormir a un niño pequeño. A veces un bebé puede no tener hambre, puede, simplemente, querer compañía para estar bien. Puede querer estar recostado en brazos, simplemente, porque así se duerme mucho mejor. En esa circunstancia yo también pienso que soy un sofá. Un sofá que ama. Un sofá que toma forma a través del afecto. Se me ocurre que el cuidado, los cuidados hacia otro, si fueran los mejores posibles, serían una forma de desaparición, una especie de límite del rendimiento. En una circunstancia así intentas responder con la máxima disposición a un vínculo que te reduce a una forma vital muy primaria. Una versión extremadamente reducida de ti. En ese punto en realidad casi no importa quien seas, quien pensabas que eras, puesto que es la necesidad del otro quien te da una forma nueva.

El libro, dividido en dos tomos, tiene como objetivo principal abordar el tema de los negocios musicales desde una perspectiva poco narrada en el Perú. El tomo I introduce la administración, organización de los negocios y narra los casos de artistas y empresarios exitosos del quehacer musical. El tomo II presenta más casos de negocios musicales de compositores, orquestas, emprendedores, directivos de grupos radiales y un análisis sobre el entorno legal, financiero y de las nuevas tendencias en marketing.

This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined. With the opera in one act for solo voice, forming the major contribution to the portfolio, critical components that lead to effective music drama are assessed.

A presente pesquisa, intitulada Agenciamentos de Visita: notações pictóricas na fotografia de ambientes domésticos, analisa os procedimentos de elaboração das séries fotográficas Agenciamentos de Visita para Estudos de Composição – natureza morta e Agenciamentos de Visita para Estudos de Composição – cena de gênero, abarcando as questões emergidas destas práticas. Neste contexto, as relações entre fotografia e pintura holandesa são investigadas, partindo de minha poética e articulando-a com a arte atual, a qual é referenciada pelo uso de cenas construídas para a realização das imagens. Concernente ao procedimento de trabalho, a prática de visitas veiculou a investigação do espaço da casa como reduto íntimo e como estúdio provisório.
The present research named Requests to Visit: pictorial notations in domestic space’s photography analyses the procedures of elaboration of the photography series Requests to visit for Composition Studies– still life and Requests to visit for Composition Studies - gender scenes, including the questions emerged from these practices. In this context, the relations between photography and Dutch painting are investigated, having as a starting point my poetic and articulating it with the recent art, which is alluded by the use of scenes made for the realization of the images. Concerning the working procedure, the visiting practice leaded to the investigation of the house’s space as being an intimate redoubt and a provisory studio.

This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.

Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola

Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health

Este memorial reflexivo integra a pesquisa Is@.Coreo: Processos de mediação/interação tecnológica de uma bailatriz latino-Americana. O termo bailatriz, cunhado pela pesquisadora a partir da fusão das palavras bailarina e atriz, agrega em seu conceito duas funções que forjaram uma corporeidade específica durante a sua trajetória nas artes cênicas. Partindo da perspectiva da artista como agenciadora de procedimentos que impulsionam os processos de criação, estabeleceu-se um recorte investigativo que privilegia a relação entre o corpo da bailatriz e o ambiente tecnológico computacional na criação performativa. Os conceitos da composição coreográfica em tempo real e em ambiência de interação vídeo-coreográfica emergem do estudo prático e teórico e revelam a forma como a artista lida e interage, em seu processo criativo, com dispositivos tecnológicos e busca, através do próprio sistema de trabalho, estabelecer aspectos da performatividade.
This text is included of the research Is@.Coreo: A Latin American bailatriz’ technological mediation/interaction processes. The word bailatriz was coined by the researcher by merging the Portuguese words meaning ballerina and actress, and its concept carries two functions that have forged a specific corporeity over her career in the performing arts. Starting from the artist’s standpoint as a broker of procedures that drive creative processes, a line of study was devised to look into the relationship between the bailatriz’ body and the technological computer environment involved in creating performances. The concepts of real-time choreographic composition and in a video-choreographic interaction environment emerge from the practical study and literature review and reveal how the artist deals and interacts with technological devices in her creative process and seeks to establish performativity aspects through her own system of work.
Este texto integra la investigación Is@.Coreo: Procesos de mediación/interacción tecnológica de una bailatriz latino americana. El término bailatriz, cuñado por la investigadora a partir de la fusión de las palabras bailarina y actriz, agrega en su concepto dos funciones que forjaron una corporeidad específica durante su trayectoria en las artes escénicas. Partiendo de la perspectiva de la artista como agenciadora de procedimientos que impulsan los procesos de creación, se estableció un recorte investigativo que privilegia la relación entre el cuerpo de la bailatriz y el ambiente tecnológico computacional en la creación performativa. Los conceptos de la composición coreográfica en tiempo real y en ambiencia de interacción vídeo-coreográfica emergen del estudio práctico y teórico y revelan la forma cómo la artista leída e interactúa, en su proceso creativo, con dispositivos tecnológicos y busca, a través del propio sistema de trabajo, establecer aspectos da performatividad.

L'auteur essaie de faire apparaitre, à travers l'analyse de deux œuvres : l'exposition du 1er mouvement de la sonate Appassionata de L. Van Beethoven et La symphonie fantastique suivie de Lélio ou le retour à la vie de Berlioz, la fécondité et la fiabilité de ce qui pourrait devenir une nouvelle forme - ou application - d'analyse musicale. Son outil dominant est l'usage rationnel du raisonnement par analogie, appliqué à la logique du vivant, binaire et polarisée (sur le modèle du biologiste S. Lupasco), alliée au mythe. Cette approche n'envisage que l'œuvre musicale elle-même et non l'investigation dans la vie du compositeur comme pourrait le faire la psychanalyse. Par une voie sensiblement analogue - l'utilisation du mythe - elle parvient à l'explication des œuvres. Après une analyse musicale rigoureusement classique (factorielle, structurelle et dynamique) cet outil redonne leur sens aux structures et aspects remarquables mis en évidence. Il les coordonne et montre, par le parallèle avec le mythe, que le compositeur - consciemment ou non - suit un processus personnel de création qui s'inscrit dans le plan général du déroulement du mythe. Cet expose méthodique est né de la nécessité pédagogique d'expliquer rationnellement l'emploi d'un vocabulaire issu du sentiment. L'auteur serait satisfait de voir ce travail ne pas rester du domaine de la seule recherche et se diffuser vers l'enseignement
Through the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education

Quelle place la musique indépendante brésilienne, notamment celle liée à la chanson d'auteur, occupe-t-elle dans le marché des musiques du monde ? Quels sont les liens que la nouvelle génération de compositeurs et de musiciens Brésiliens entretient avec ce marché ? Ces questions forment le socle des questionnements qui nourrissent ce travail de recherche. Comprendre la place de la musique d'auteur et la circulation de cette pratique est fondamental dans ce contexte. Pour cela, je fais des Rencontres de Juiz de Fora (Minas Gerais) au Brésil le point de départ de ce travail. J’enquête sur ces compositeurs et ces musiciens qui se réunissent, depuis 2006, dans le but de créer un espace de création et de diffusion de leurs pratiques musicales. Dans quelle mesure les choix stylistiques viennent-ils questionner les représentations caricaturales que nous avons d’une « musique brésilienne » ? Et de quelle façon sont-ils devenus un facteur de cohésion de ce groupe tout entier orienté vers un renouvellement du message poétique, social, stylistique de cette chanson ? D’une façon assez paradoxale, c’est à partir d'un puissant ancrage local que le groupe se veut porteur d’innovation à travers une démarche en réflexivité qui porte sur les grands thèmes de la tradition, du lien entre les innovations musicales et la mémoire esthétique des populations locales, de la façon d’insérer de nouvelles pratiques dans un contexte professionnel qui ne fait guère de place aux courants porteurs d’innovation. C’est à ce stade que le mouvement des jeunes créateurs devient politique, en ce sens qu’il entend prendre toute sa place dans la vie de la cité. Puis j’opère un déplacement. Quelle place cette musique indépendante occupe-t-elle hors du Brésil, et notamment à Paris ? Pour cela, j'essaie de comprendre comment ces compositeurs et musiciens brésiliens organisent leurs pratiques dans un espace autre que celui d'origine. Je m’intéresse aux raisons qui amènent ces artistes à se déplacer, à la façon dont ils élaborent leurs pratiques afin de prendre place dans ce nouvel environnement culturel porté par une langue qui n’est pas la leur. La musique devient un puissant levier d’intégration ; en même temps, ces musiciens innovants se heurtent aux attentes d’un public parisien qui nourrit de fortes attentes à l’égard de la « musique brésilienne ». Comment faire face à ces a priori ? C’est cette double dimension de la musique comme espace de création et la musique comme moyen de questionner les préjugés que ce travail met en œuvre
How is Brazilian music situated in the World Music market? How do the new generation of Brazilian musicians and composers, particularly singer songwriters, relate to this market? These questions form the core of my research. In this context, it is vital to understand the position of this music, and how it is disseminated. I started my analysis with the Encontro de Compositores (composers meetings) in Juiz de Fora, Brazil. I studied these composers and musicians, who have been gathering since 2006 to form a space for the creation and dissemination of their musical practices. In what ways do these practices and their stylistic choices challenge current stereotypes of “Brazilian music”? And how do they create cohesion in a group striving towards a renewal of the poetic, social and stylistic messages of this music. Despite this process of innovation, Juiz de Fora is strongly rooted in local history. The discussions taking place at these meetings influence the way these musicians view their musical practice and professional context, and thus allow the development of a new political consciousness. Here I will introduce another angle to my discussions. What place does this independent music occupy outside Brazil, particularly in Paris? In this regard, I examine how Brazilian composers and musicians organise their practices in a space which is foreign to their place of origin. I examine the reasons for which these artists move, and how they adapt their practices to this new cultural environment and language. Music becomes a strong means of integration. However, these innovative musicians come into conflict with a Parisian public which may have deeply-ingrained, stereotypical expectations about “Brazilian music”. How to manage this situation a priori? This dual purpose of music, as both a creative space and a means to question prejudice, is at the centre of this project
Que lugar a música independente brasileira, especialmente aquela produzida por cantores-compositores ou cantautores, ocupa no mercado da World Music? Quais relações a nova geração de compositores e músicos brasileiros estabelece com esse mercado? Estas questões representam a base dos questionamentos deste trabalho de pesquisa que visa a compreender as dinâmicas de produção que envolvem o universo da música independente e como se dá sua circulação. O Encontro de Compositores de Juiz de Fora (MG), que desde 2006 reúne músicos e compositores na tentativa de conceber um espaço de criação e difusão da música independente local, representa o ponto de partida deste trabalho. Entender como estas cancões interferem na imagem difundida do que se concebe como sendo a « música brasileira » e como a dinâmica essencialmente coletiva da produção musical independente influi no contexto de produção e circulação musical estão na base de nossas reflexões. Nesse sentido, entender os laços que os membros do Encontro de Compositores mantém com o passado e com a historia musical local ainda que em um cenário de inovação se faz fundamental. Organizados em grupo, estes artistas buscam, a partir de uma nova consciência política, melhores condições de trabalho, além de procurar difundir suas obras em um mercado que se encontra ainda resistente a esse tipo de produção. A analise desse realidade me faz refletir sobre novas questões, referentes a outro contexto : que lugar a música independente brasileira ocupa fora do país, em uma capital europeia como Paris por exemplo ? Na tentativa de compreender esta questão, me proponho a verificar como compositores e músicos brasileiros organizam suas praticas em uma realidade diferente daquela vivida em seu país de origem. Interesso-me, particularmente, pelas razões que motivam esses artistas a mudar de país e à forma como difundem suas praticas em um novo ambiente, cultural e linguisticamente diferente. A música pode, neste sentido, representar um instrumento de integração e ao mesmo tempo, um elemento de reflexão em face de um mercado imbuído de clichês. Esta dupla dimensão da música como lugar de criação e a relação entre novidade e expectativas acompanham minhas reflexões ao longo deste projeto

My Eyes Due See is a multidimensional examination of the “black experience” in America. The installation is composed of a single-channel video, a music composition that utilizes music samples and live instrumentation, and sculptures made up of car parts and broomsedge grass. Each of these elements arranged in space share a nuanced and complicated view of blackness through the lens of a black man decoding personal history and American history simultaneously. Autonomy is the overarching theme throughout the work as it pertains to race, identity, urban and rural environments, and the relationship between generational trauma and nostalgia.

The anthology of the elder Seneca (c. 55 BC - c. 39 AD) contains quotations from approximately 120 speakers who flourished during the early Empire. The predominant tendency in modern scholarship has been to marginalize these speakers and the practice they represent (declamation): they are regarded as a linguistic and literary monolith, and their literary productions while recognized as influential are treated as discrete from those of other, "serious" authors. The present dissertation challenges this viewpoint by focusing on the following questions: To what extent can a speaker quoted in Seneca's anthology be said to have a distinct and unique literary identity? What is the relationship of a speaker, as represented by his quotations, relative to canonical texts?

Since most of the quoted speakers are found exclusively in the anthology, the study first examines the nature of Seneca's work and, more specifically, how the quotations of the anthology are organized. It is discovered that the sequence in which excerpts appear in a quotation do not follow a consistent, meaningful pattern, such as the order in which they might have occurred in a speech. Instead, excerpts exhibit a strong lateral organization: excerpts from one speaker show a close engagement with excerpts in spatially distant quotations from other speakers. A fundamental organizing principle consists in the convergence of excerpts around a limited number of specific points for each declamatory theme.

The remainder, and bulk, of the dissertation is a close analysis of the quotations of two speakers: Arellius Fuscus and Papirius Fabianus. The distinct identities of these speakers emerge from comparisons of excerpts in their quotations with the often studiedly similar excerpts from other speakers and from passages in other texts. Fabianus' literary identity takes shape in a language designed to construct the persona of a philosopher-preacher. The identity of Fuscus resides in idiosyncratic sentence architecture, in a preference for Presentational sentences, and in methodically innovative diction. Further substantiating Fuscus' identity is evidence that he assimilated the language of authors, such as Cicero and Vergil, and established compositional patterns that became authoritative for later authors, such as Ovid, the younger Seneca, and Lucan.

Dissertation

碩士
國立臺北教育大學
音樂學系碩士班
98
This study was aimed to investigate the current Implementing status of programs for talented children about music composition instruction by elementary music teachers in Taipei region. The instrument of this study was the questionnaire “An Investigation of Music Composition Instruction on the Current Implementing Status of Programs for artistic talented children (music talent) in Taipei Elementary Schools” developed by the investigator itself. The contents of this questionnaire included music composition beliefs, current implementing status of music composition instruction and assessment, the designing methods for instruction activities, the thinking of compiling materials, and the selecting and applying with instruction strategies. Teachers of music programs for talented children from eight Taipei elementary schools participated in this study in 2007. The number of returning questionnaire was 51 (returning rate = .78). The conclusion of this study is as below, 1. Music composition is important in the process of learning music. Students can be increased their interests of learning music and the understanding of music elements through the music composition instruction by teachers. 2. There is outstanding difference between teachers’ agreement and their current implementing status in the music composition instruction and assessment. 3. “The rhythm simulation and feedback” is the most used activity of rhythm composition instruction activities; “To compose by rhythm” is the most used activity of melody composition instruction activities. 4. Most teachers selected “to Self-designed curriculum” for their implementing music composition instructions in adopting and editing music instruction materials. 5. On teaching strategies of rhythm and melody instructions, most teachers selected “musical movement” for their medium of supplementary composition instructions. According to the conclusion of this study, Researcher recommended the relevant elementary education department of our government to re-examine enrollment system of programs for music talented children and to adopt multi-assessment while student’s entrance. Secondly, teachers passing on programs for music talented children had better to take advantage of one spirit of integrated instructions of Grade 1-9 Curriculum — to harmonize in general music instruction activities with music composition instructions and encourage students to give full play with their majored musical instruments for arousing composition imagination. Further, the investigator suggested that sections related to teacher qualified development of government should provide teachers at their posts with on-the-job music composition instruction training information and services to meet the requirement of improving professional skills.

Thesis (MMus) – Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis considers the creative process involved in the composition and performance of new music for the horn. It sets out to describe the challenges and opportunities for composers and performers in this process and the value of collaboration between the two parties. There is a limited body of chamber music that includes the horn in South Africa, possibly because composers are not sufficiently acquainted with the complexities of this instrument and are hesitant to embark on a journey into the ‘unknown’. With few South African horn players devoting themselves to the performance of chamber music and particularly new music, little engagement has taken place between horn players and composers in the pursuit of new, idiomatic works for this instrument. This precipitated the researcher’s investigation into the composer-performer collaborative process, resulting in three commissions for chamber music including horn by South African composers Antoni Schonken, Keith Moss and Allan Stephenson. The collaborative process was central to these commissions in order to promote the concept of idiomatic horn writing. This research comprised three case studies, each documenting the creative process surrounding each commissioned work from inception of the work through the compositional process and rehearsals leading up to a performance. In order to generate a detailed report on each case study, data were collected throughout by means of reflective journaling and audio recordings, supplemented by interviews with participant composers and performers. The research revealed numerous technical intricacies composers need to be familiar with when writing for horn, and which may not be addressed in orchestration texts or other literature. Horn players may also be confronted with unconventional writing with new musical and technical challenges. Collaboration was shown to be of immense value in guiding the composer towards appropriate and effective writing for the horn, with the expertise of the performer being a source of knowledge for the composer. One of the main benefits that accrued to the performer through the collaborative process with the composer was the acquisition of valuable interpretative insights into the work to be performed.
AFRIKAANSE OPSOMMING: Hierdie tesis stel ondersoek in na die kreatiewe proses rakende die samestelling en uitvoering van nuwe horingmusiek. Daar word gesoek na ‘n beskrywing van die uitdagings en geleenthede waarmee komponiste en kunstenaars in so ‘n proses te make het en die waarde van samewerking tussen bogenoemde twee partye. In Suid-Afrika is daar ‘n beperkte hoeveelheid kamermusiek waarby die horing ingesluit word. Die rede wat hiervoor aangevoer kan word, is dat komponiste waarskynlik nie oor genoegsame kennis beskik rakende die fynere tegniese aspekte van horingspel nie. Hul is gevolglik huiwerig om met die onbekende te eksperimenteer. Aangesien weinig Suid-Afrikaanse horingspelers belangstel in die uitvoering van kamer- en veral nuwe musiek, bestaan daar min betrekkinge tussen horingspelers en komponiste in die soeke na nuwe, eiesoortige werke vir hierdie instrument. Bogenoemde het die navorser aangespoor tot ‘n ondersoek na ‘n komponis-kunstenaars medewerkingsproses. Die eindproduk was drie kamermusiek-opdragwerke (horing ingesluit) deur die volgende Suid-Afrikaanse komponiste: Antoni Schonken, Keith Moss en Allan Stephenson. Die medewerkingsproses was van kardinale belang tydens die skep van hierdie opdragwerke met die oog op die bevordering van eiesoortige horingkomposisies. Die navorsing het uit drie gevallestudies bestaan: die eerste studie het die kreatiewe proses van elke opdragwerk gedokumenteer vanaf die eerste pogings regdeur die komposisieproses en vooraf-repetisies tot die uitvoering van die werk. Data is deurgaans deur middel van reflektiewe joernaalinskrywings en oudio-opnames versamel ten einde’n gedetailleerde verslag van elke gevallestudie daar te stel. Bogenoemde is aangevul deur onderhoude met die betrokke komponiste en kunstenaars. Die navorsing het verskeie tegniese ingewikkeldhede uitgewys waarvan komponiste bewus moet wees wanneer daar vir die horing gekomponeer word. Hierdie fynere aspekte word dikwels nie in orkestrasietekste of ander literatuur behandel en bespreek nie. Horingspelers kan ook gekonfonteer word met onkonvensionele komposisies met nuwe musikale en tegniese uitdagings. Die samewerkingsproses tussen komponiste en kunstenaars was uiters waardevol; aangesien dit die komponis gehelp het om toepaslike en sinvolle werke vir die horing te komponeer met behulp van die kunstenaar se kundigheid en kennis. Deur die loop van die samewerkingsproses kon die kunstenaar veral baat by die waardevolle wenke van die komponis rakende van die uivoering van die betrokke werk.

O relatório da prática profissional aqui descrito evidencia uma ação interventiva numa turma de primeiro ano da disciplina de Análise e Técnicas de Composição. Esta intervenção teve como objetivo fundamental promover a criatividade em exercícios composicionais com regras estritas características de diferentes técnicas de épocas da história da música. O que motivou a intervenção foi a identificação, a partir da análise em aula, da falta de criatividade dos alunos da turma mencionada. A par do objetivo fundamental desta intervenção, também se tornou importante a intenção de conferir uma valorização da expressão pessoal aos exercícios compostos pelos alunos, retirando o peso da avaliação quantitativa, tornando os resultados produtos finais de uma expressão artística do aluno.
The report of the professional practice described here evidences an intervention action in a class that attends to the first year of the discipline of Analysis and Techniques of Composition. This intervention had as fundamental goal promote the creativity in compositional exercises with strict rules characteristic of different techniques of eras of the music history. What motivated the intervention was the recognition, from the analysis in class, of the lack of creativity in students of the mentioned class. In addition to the fundamental goal of this intervention, there was also an intention to value a personal expression to the students’ exercises, removing the significance of quantitative evaluation, there so making the results into a final product of an artistic expression of the student.

碩士
國立臺灣藝術大學
中國音樂學系碩士班
101
Mr. Wang Jian Min is among the most renowned Chinese classic and folkloric composers. Since his first master Chinese Guzheng piece Fantasia in 1989, he has composed and published a considerable number of Guzheng music works featuring legendary and modernized composition styles. He devoted his knowledge and effort toward perpetuating traditional music, and at the same time he produced new works influenced by modern Western music compositions. He eventually made peace with these two drastically different styles and created his own Guzheng musical pieces by featuring a new way of expressing, creating and evolving musical language through Guzheng. This thesis examines on Mr. Wang Jianmin’s nine master Guzheng music pieces. It focuses on the disciplines and unique characteristics of Mr. Wang’s composition involving some of the development of classical texts, historical research papers, previous interviews of the composer, an analysis of music notes, and finally my own personal experience of performing, understanding the philosophies of his original creation, and interpreting Mr. Wang's nine pieces. The result of research shows that Mr. Wang's foundation in traditional Chinese composition and unique ability with the support of the entire music piece in different guises. In his case, it is not a particular folk tune but a general musical feature: as manifested in his core piece. These new compositions, which embody the unique rhythm, layers of sound, and timbre, are now available to present a new experience of Guzheng. As I myself wish, from my very own performing and interpreting experiences, that through his total immersion in his traditional elements , and dynamites in his music, appreciate the different nuances and subtleties in the realm of music. He mixed the different cultural elements and musical styles in his composition, although the intricacy is not elaborately and fully interpreted with impeccable technique. Certainly, it is his depth of musical thinking and structural design of the music piece that distinguishes his work from the common practices and gives his pieces their characteristic coloring. The research and analysis of the nine master pieces shows that since 1990 Mr. Wang has contributed to the development of the Guzheng tradition.