Relevant bibliographies by topics / Composer

Contents

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

Academic literature on the topic 'Composer'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 July 2024

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Journal articles on the topic "Composer"

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Maestri, Eric. "An Exploratory Inquiry into the Relationship between Temporality and Composition." Organised Sound 25, no. 2 (August 2020): 179–86. http://dx.doi.org/10.1017/s1355771820000084.

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In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, think in the future – their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s theory of mimesis is helpful in analysing this dialogical mechanism through the notion of ‘temporal configuration’. By drawing on this theoretical framework, I interviewed five composers in order to make explicit the imbrication of the composer’s and listener’s temporalities in the musical work. This exploratory inquiry allowed for a concrete analysis, articulated in the words of the composers, of how they conceive the relationship between their compositional temporality and that expressed by their work.
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Sentana, I. Gede Ngurah Divo, and I. Nyoman Kariasa. "The New Approach of Kotekan | Kotekan Pendekatan Baru." GHURNITA: Jurnal Seni Karawitan 2, no. 1 (March 7, 2022): 47–54. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i1.417.

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Explaination about the exist of music motif part a.k.a motif materials unity, made by a music composing technique its build a music form, its outcome from the composer’s decision to compose or make a music composition with a concepting reference accord to values and materials its composer takes from learn and understand process are the elements that explaining in this article. Things its take from learn and understand process eventually give the composer a way to developing. The composing technique its composer does based on method about how to make a performing artworks by the artists who has so much of experience on performing arts. Accord to understand about how to use that method to make a performing artworks, the composer explain the way to realize this music form composition based on two side, they are about materials its interpretate and the outcome. Composer has a wish that the materials its exist on this article could be a topic discussion again and discuss it with a good mentality, because the composer won’t that every kind of artwork its build by effort, hardwork and sublimation its come from composer’s think, only known as “left extreme” (bad ideology).
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Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 205–22. http://dx.doi.org/10.2478/prm/2022-0002.

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ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).
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Drajewski, Stefan. "Polskie kompozytorki baletów. Rekonesans." Polski Rocznik Muzykologiczny 20, no. 1 (December 1, 2022): 205–22. http://dx.doi.org/10.2478/prm-2022-0002.

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ABSTRACT Female ballet composers. A Reconnaissance While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage. pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed 35 Polish female composers of the 20thand 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, Bilitis and Juria were composed in the interwar period, and the third one titled Fantasma in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet Pinokio [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female choreographers prevail (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).
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Panteleeva, Yulia N. "«The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music»." Contemporary Musicology, no. 2 (2019): 70–89. http://dx.doi.org/10.56620/2587-9731-2019-2-070-089.

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The article «The Composer’s word and the Composer as seen by others: the 18th anniversary of the musicology project in the Gnessins Russian Academy of Music» is devoted to the theme of composer musicology – a concept that has become central to the series of collections «The Composer’s Word». This musicology project arose in the Gnessins Russian Academy of music in 2001. The article offers a general view of the concept of the collection, the materials published in the books — «The Composer’s Word» / «Slovo kompozitora» (2001), «The Composer’s Word: Thoughts on Music»/ «Slovo kompozitora: mysli o muzyke» (2011), «The Composer’s word and the Composer as seen by others»/ «Slovo kompozitora i o kompozitore» (2016). The texts published in the collections reflect both the Russian musical tradition and the foreign one. Among the authors are composers of the past (A. Scriabin, L. Sabaneev, A. Nikolsky, N. Cherepnin) and the present (E. Denissov, N. Korndorf, A. Larin, V. Tarnopolsky, V. Kikta, K. Volkov, A Batagov, I. Sokolov, and others.). Texts by foreign composers (O. Messiaen, K. Stokhausen, P. Boulez, L. Nono, J. Xenakis, S. Reich, J. Aperghis, M. Stahnke, and others) are presented in translations. The article also gives an idea of the genres in which the composer’s word is captured, and on the themes raised by the creators.
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Duchen, Jessica. "Developments and Dangers: The Training of Young Composers." Tempo, no. 171 (December 1989): 4–11. http://dx.doi.org/10.1017/s004029820001994x.

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As the 1980s draw to their close, contemporary music is becoming more eclectic than ever before. In the tremendous range of idioms, from symphonies to synthesizers via many ‘isms’ and ‘neos’, composers of the younger generation have a baffling choice of directions for their preferred moves. Ideologies have altered considerably during the past two decades; the demands of technology have left some institutions unable to keep up with the progress of electronic music in others; now the early musical experience of children in schools is changing too, with the introduction of GCSE placing emphasis on creativity and composition. But amongst the changes some aspects of a composer's training remain unaltered. There is a general sense that composers are ‘born and not made’, although they can be helped – or hindered – by their teachers. As Professor Alexander Goehr remarked: ‘I can teach anybody to compose so long as they are not a composer’. The mechanics of composing, such as formal structure or writing counterpoint, can be taught; the source of inspiration is as inexplicable as ever. The young composer remains something of a rebel figure, with a need for a particular means of self-expression that can be shaped but not dictated to. The rudiments of harmony and counterpoint, form and orchestration, can all be explained and absorbed by the student. But for a gifted composer in training, the essential search remains for the individual voice which must be found through independent choices, under the careful guidance of a good teacher.
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Scheuregger, Martin, and Litha Efthymiou. "Composer-composer collaboration and the difficulty of intradisciplinarity." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 23–35. http://dx.doi.org/10.2218/airea.5042.

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Research and practice involving parties from different disciplines is of increasing importance in many fields. In the arts, this has manifested itself in both increasing attention on established collaborative partnerships – composers, for example, collaborating with writers, choreographers and directors – and a move towards more overtly cross-, multi-, inter- and/or trans-disciplinary forms of working – a composer working with a physicist, philosopher or psychologist. Composer-composer partnerships are far less common, meaning intradisciplinary collaboration is little explored in relation to practice research in music. This article takes the collaborative music theatre composition I only know I am (2019) created by the authors – Litha Eftythmiou and Martin Scheuregger – as a case study, outlining the issues and opportunities that arise through combining two compositional practices in an effort to create a single artistic output. Ways in which the composers managed this process are detailed in the context of communication, technology, and the issue of tacit knowledge (of both individual compositional process and the working of intradisciplinary collaboration). In particular, reflections on their experience during a week-long residency, in which they collaborated on a single musical work, is discussed in order to understand to what extent two aesthetic approaches can be reconciled to create work satisfactory to both parties. Notions of composition as an inherently collaborative process are used to contextualise the means by which composer-composer collaborations might be understood. The authors reflect on an understanding of intradisciplinarity in the context of their practice as composers in order to draw conclusions that will allow them, and others, to approach composer-composer collaboration in an informed manner.
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Xintong, Wang. "VIOLA MINIATURE BY REBECCA CLARKE." Arts education and science 2, no. 35 (2023): 76–83. http://dx.doi.org/10.36871/hon.202302076.

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The work of English composers of the first half of the XXth century, who actively composed for viola, is little known to music lovers. The now popular English composers L. Tertis and W. Wilton were most prominent in large-form works for viola (primarily in the genres of sonata and concerto with orchestra). One of the pioneers of chamber music for this instrument is the talented, but now almost unknown composer and violist Rebecca Clarke, who established the viola miniature as a distinctive and striking artistic phenomenon. The relevance of the study lies in the urgent need to introduce into musicology the information about the creative heritage of composers who created those works for viola that reveal the multifaceted artistic possibilities of this instrument. The purpose of the article is to illuminate the creative heritage of R. Clarke in the genres of miniature for viola and piano. Objectives of the article — to present the main biographical information about the composer; to show the importance of the viola in the development of the composer's style; to comprehensively analyze R. Clarke's miniatures for viola and piano. The author attempts to explore the composer's language, which is based on romantic traditions and heavily influenced by C. Debussy. The article focuses on R. Clarke's significant contribution to affirming the performance potential of viola in the chamber repertoire. The materials of the article can be used both by teachers of viola class and chamber ensemble as educational and didactic material, and by concert musicians to enrich their own performing repertoire.
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BRANSCOMBE, PETER, and Louise Collis. "Redoubtable Composer." Musical Times 127, no. 1715 (January 1986): 29. http://dx.doi.org/10.2307/965351.

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Miller, Jim. "Personal Composer." Computer Music Journal 9, no. 4 (1985): 27. http://dx.doi.org/10.2307/3679620.

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Dissertations / Theses on the topic "Composer"

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Hart, Sarah Marie. "The violist as composer." Thesis, University of Maryland, College Park, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3711607.

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The search for interesting and rewarding repertoire is a lifelong process for the modern violist. Because of the viola's belated acceptance as a solo instrument, only the occasional solo viola piece appears in the Baroque, Classical, and Romantic periods, giving violists special incentive to embrace new sources of repertoire, including transcriptions of works for other instruments, new works by living composers, and rediscovered works by lesser-known composers. This dissertation explores another means by which violists have contributed to the concert repertoire: composing their own music.

Music written by violists with performing careers follows in a historical tradition of player-composers, especially pianist-composers such as Ludwig van Beethoven, Franz Liszt, and Sergei Rachmaninov, whose intimate knowledge of their instrument resulted in beloved works of art. In order to highlight music that stems from this intersection of performance and composition, I adopted the following criteria for a violist-composer's inclusion in the project: specialization in the viola over other instruments, including the violin; professional performance career, usually in an ensemble, on recordings, or in a teaching position; particular interest in writing for the viola within the compositional oeuvre; and chronological overlap of performance and compositional undertakings.

I crafted, prepared, and performed three recital programs of music by violist-composers, selecting works that appealed to me as a performer and represented a variety of instrumentations, styles, and genres. The chosen pieces highlight themes common to violist-composers, including improvisatory gestures, exploration of tone colors, stylistic crossover from non-classical music, pedagogical goals, technical virtuosity, and chamber music for multiple violas. Featured composers are Alessandro Rolla, L. E. Casimir Ney, Lionel Tertis, Henri Casadesus, Maurice Vieux, Paul Hindemith, Rebecca Clarke, Tibor Serly, Lillian Fuchs, Paul Walther Fürst, Atar Arad, Michael Kugel, Garth Knox, Paul Coletti, Brett Dean, Kenji Bunch, Scott Slapin, and Lev Zhurbin.

The dissertation includes live recordings of the three recitals with program notes discussing the composers and their music. A list of violist-composers, including those not featured on the recital programs, appears as an appendix, providing the basis for further exploration by violists seeking engaging new concert repertoire.

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Lawrence, Mark. "Veljo Tormis, Estonian composer." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2734/.

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The music of Veljo Tormis (b. 1930) became well-established in Estonia during the 1960s yet remained little known in the West during the Communist period. By incorporating traditional song, regilaul,into his works, Tormis’s name became closely associated for Estonians with upholding a sense of national identity against the Soviet regime. It is his vast output of some 500 choral songs for which he is most immediately recognised; indeed, once regilaul had come to dominate the ‘Tormis style’, he dedicated himself almost exclusively to choral composition. This study, building on the work of Mimi Daitz and Urve Lippus, examines and contextualises Tormis’s life and music, and considers the domination of regilaul on Tormis’s vision. A postscript to the dissertation examines two of my own works for choir, The Singing will never be done (2006) and The Ruin (2012). It also explores the ways in which the second of these was influenced by Tormis’s choral music in general, and by his landmark piece Raua Needmine [Curse upon Iron] (1972) in particular.
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Vane, Roland Edwin. "Composer-Centered Computer-Aided Soundtrack Composition." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/1168.

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For as long as computers have been around, people have looked for ways to involve them in music. Research in computer music progresses in many varied areas: algorithmic composition, music representation, music synthesis, and performance analysis to name a few. However, computer music research, especially relating to music composition, does very little toward making the computer useful for artists in practical situations. This lack of consideration for the user has led to the containment of computer music, with a few exceptions, to academia.

In this thesis, I propose a system that enables a computer to aide users composing music in a specific setting: soundtracks. In the process of composing a soundtrack, a composer is faced with solving non-musical problems that are beyond the experience of composers of standalone music. The system I propose utilizes the processing power of computers to address the non-musical problems thus preventing users from having to deal with them. Therefore, users can focus on the creative aspect of composing soundtrack music.

The guiding principal of the system is to help the composer while not assuming any creative power and while leaving the user in full control of the music. This principal is a major step toward helping users solve problems while not introducing new ones. I present some carefully chosen tasks that a computer can perform with guidance from the user that follow this principal. For example, the system performs calculations to help users compose music that matches the visual presentation and allows users to specify music, using the idea of timed regular expressions, so that a computer can fill arbitrary amounts of time with music in a controlled manner.

A prototype application, called EMuse, was designed and implemented to illustrate the use and benefits of the proposed system. To demonstrate that the system is capable of serving as a tool to create music, two soundtracks were created for two sample animations. It is beyond the scope of the work presented here to evaluate if the system achieves the goal of being a practical tool for composers. However, the innovations herein discussed are analyzed and found to be useful for soundtrack composition and for future user-centered computer-music research.
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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.

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By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.
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Pasieczny, Marek. "The duality of the composer-performer." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/811785/.

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The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. A detailed account of these strategies and how I utilised them to construct my portfolio have been relayed in the critical commentary. The supplementary dissertation, on the other hand, displays empirical research of a non-musical nature, offering personal interviews with thirteen accomplished living composers – both guitarists and non-guitarists – who have made significant contributions to the classical guitar repertoire. An introductory chapter precedes a full display of the interviews whereby each composer is introduced in turn, highlighting their relationship with, and significant contributions to the guitar. An overview of the topics that were covered in the interviews, as well as an outline of the themes that emerged from the analysis have also been supplied. A discussion of how the findings contribute to a better understanding of how to write successfully for the guitar and furthering the guitar repertoire concludes the chapter. Several of the themes coincide with my own devised approach that could help guitarist-composers avoid conventional and predictable styles of writing. This therefore forms the most important contribution that this PhD portfolio can offer: providing recommendations that combine tried and tested strategies with the collective knowledge of significant guitar composers to assist future guitarist-composers avoid the habitual pitfalls when writing for the guitar.
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Wilshere, Brian. "Brian Wilshere : the drummer as composer." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/6599/.

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This thesis consists of a portfolio of compositions with the addition of 5 CD's, commentaries on selected compositions and additional written material placing submitted work in context. It is that context which supplies the title of the thesis. It is my contention that a composers' work is affected by the culture surrounding them, and that that culture contains a number of musical and social factors which impinge upon a composers' interaction with the world. In my case, I seek to show how a combination of my formative experiences and somewhat unusual musical background have influenced my work and contributed to its unique qualities. Firstly, I outline the aesthetic principles underpinning my music. My journey through the world of music and music education has given me the ability to forge my own aesthetic and compositional path, and this thesis reflects upon this process in some detail in order to illuminate those aspects of my own musical practice which I believe may serve to contribute to the debates currently surrounding music. In doing this, I attempt to both redefine musical categorizations according to consumer behaviour rather than musicological opinion and argue for definitions which are as culturally neutral as possible. I then describe in detail the compositional procedures utilized in my work, and reflect upon the extent to which these are governed by my formative experiences. Finally, the more large scale submitted pieces have accompanying commentaries, highlighting aspects of musical practice or background which may be relevant. 'Brian Wilshere: The Drummer as Composer' is a summation of several years in the life of a drummer/composer attempting to earn a living, write some music and obtain performances of that music.
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Wiggins, Kathryn Louise. "Alan Bush : activist, cultural diplomat, composer." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730835.

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Hand, Angela René. "Francis Hopkinson : American poet and composer /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983125.

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Weitner, Carol A. "Jacques Nicolas Lemmens : organist, pedagogue, composer /." Digitized version, 1991. http://hdl.handle.net/1802/3220.

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Thesis (D.M.A.)--University of Rochester, 1991.
Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/3220
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Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.

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Books on the topic "Composer"

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Composer to composer: Conversations about contemporary music. St Leonards, NSW, Australia: Allen & Unwin, 1993.

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Composer to composer: Conversations about contemporary music. London: Quartet, 1993.

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Orledge, Robert. Satiethe composer. Cambridge: Cambridge University Press, 1990.

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American Music Center (New York, N.Y.), ed. Composer packet. New York, N.Y: American Music Center, 1985.

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Chadwick, Yankee composer. Washington: Smithsonian Institution Press, 1990.

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Composer sous Vichy. Lyon: Symétrie, 2009.

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Orledge, Robert. Satie the composer. Cambridge: Cambridge University Press, 1990.

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Symons, David. Egon Wellesz: Composer. Wilhelmshaven: F. Noetzel, 1996.

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Composer Kishore Kumar. New Delhi, India: Nikita Publications, 2017.

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Peabody, David Barrett. Mark as composer. Macon, Ga: Mercer University Press, 1986.

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Book chapters on the topic "Composer"

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Khliupko, Viktor. "Composer." In Magento 2 DIY, 43–50. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2460-1_6.

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Sinha, Sanjib. "Composer." In Beginning Laravel, 1–5. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-2538-7_1.

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Karam, Lina J., and Naji Mounsef. "Music Composer." In Introduction to Engineering, 85–99. Cham: Springer International Publishing, 2008. http://dx.doi.org/10.1007/978-3-031-79315-8_7.

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Doolittle, Emily. "Composer, mother." In The Routledge Handbook of Women's Work in Music, 36–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-4.

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Seger, Linda. "The composer." In The Collaborative Art of Filmmaking, 186–209. Third edition. | New York: Routledge, Taylor & Francis Group,: Routledge, 2019. http://dx.doi.org/10.4324/9781351207072-7.

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Milmeister, Gérard. "Rubato Composer GUI." In Computational Music Science, 135–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00148-2_13.

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Jones, Daniel, Andrew R. Brown, and Mark d’Inverno. "The Extended Composer." In Computers and Creativity, 175–203. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31727-9_7.

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Montgomery, Alan. "Comparing Composer Styles." In Opera Coaching, 59–60. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-10.

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Uzayr, Sufyan bin. "Working with Composer." In PHP, 287–316. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003308669-9.

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Horowitz, Steve, and Scott R. Looney. "The Adaptive Composer." In The Theory and Practice of Writing Music for Games, 11–31. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003414728-3.

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Conference papers on the topic "Composer"

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Chan, Hoi. "Sensor composer." In the ACM international conference companion. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2048147.2048151.

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Li, Feng, Dali Wang, Feng Yan, and Fengguang Song. "X-composer." In PASC '21: Platform for Advanced Scientific Computing Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3468267.3470621.

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Norton, Juliet, Sahand Nayebaziz, Sean Burke, B. Jack Pan, and Bill Tomlinson. "Plant guild composer." In CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2559206.2574826.

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Tanaka, Shoji, Jun Kurumizawa, and Seiji Inokuchi. "Image re-composer." In ACM SIGGRAPH 99 Conference abstracts and applications. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/311625.312146.

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Soga, Asako, Bin Umino, Takami Yasuda, and Shigeki Yokoi. "Web3D dance composer." In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179628.

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Catak, Muammer, Sarah AlRasheedi, Norah AlAli, Ghadeer AlQallaf, Malak AlMeri, and Bibi Ali. "Artificial Intelligence Composer." In 2021 International Conference on Innovation and Intelligence for Informatics, Computing, and Technologies (3ICT). IEEE, 2021. http://dx.doi.org/10.1109/3ict53449.2021.9581896.

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"WISH QUERY COMPOSER." In 6th International Conference on Enterprise Information Systems. SciTePress - Science and and Technology Publications, 2004. http://dx.doi.org/10.5220/0002624505660569.

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Palumbo, Francesca, Nicola Carta, and Luigi Raffo. "The Multi-Dataflow Composer tool: A runtime reconfigurable HDL platform composer." In 2011 Conference on Design and Architectures for Signal and Image Processing (DASIP). IEEE, 2011. http://dx.doi.org/10.1109/dasip.2011.6136876.

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Khalifa, Y., and M. Basel Al-Mourad. "Autonomous evolutionary music composer." In the 8th annual conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1143997.1144306.

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Minakuchi, Mitsuru, and Katsumi Tanaka. "Automatic kinetic typography composer." In the 2005 ACM SIGCHI International Conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1178477.1178512.

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Reports on the topic "Composer"

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Lubell, Joshua. SCAP composer user guide. Gaithersburg, MD: National Institute of Standards and Technology, February 2020. http://dx.doi.org/10.6028/nist.ir.8290.

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Nachtigall, Susan D., and Beth A. Brucker. Requirements Composer: User's Manual. Fort Belvoir, VA: Defense Technical Information Center, October 2004. http://dx.doi.org/10.21236/ada480136.

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Lubell, Joshua. SCAP Composer User Guide. Gaithersburg, MD: National Institute of Standards and Technology, 2022. http://dx.doi.org/10.6028/nist.ir.8290-upd1.

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Nachtigall, Susan D., and Beth A. Brucker. Layout Composer User's Guide: Through Beta Version 0.22. Fort Belvoir, VA: Defense Technical Information Center, November 2004. http://dx.doi.org/10.21236/ada478062.

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Nachtigall, Susan D., and Beth A. Brucker. Planning Composer User's Guide: Through Beta Version 0.22. Fort Belvoir, VA: Defense Technical Information Center, November 2004. http://dx.doi.org/10.21236/ada478242.

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Myrick, Stephanie, Marlin Gendron, Maura Lohrenz, and Jessica Watkins. The Moving-Map Composer: A GUI-Based Map Design System for Navy Aviators. Fort Belvoir, VA: Defense Technical Information Center, May 2001. http://dx.doi.org/10.21236/ada390012.

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Catán, Daniel. Composing Opera: A Backstage Visit to the Composer's Workshop. Inter-American Development Bank, August 1997. http://dx.doi.org/10.18235/0007926.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Abstract:
Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Myrick, Stephaine A., Jessica L. Watkins, Maura C. Lohrenz, Michael E. Trenchard, and Marlin L. Gendron. AV-8B Map System II: Moving-Map Composer (MMC) Version 3.5, Software User's Manual (Third Edition). Fort Belvoir, VA: Defense Technical Information Center, June 2003. http://dx.doi.org/10.21236/ada415697.

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Trenchard, Michael E., Stephanie A. Myrick, Geary Layne, and Maura C. Lohrenz. Moving Map Composer -- Personal Computer (MMCPC) Version 1.0 Training Manual Developed for the Finnish Air Force. Fort Belvoir, VA: Defense Technical Information Center, March 2007. http://dx.doi.org/10.21236/ada464114.

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