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Journal articles on the topic 'Composer'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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

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11

Minamitaka, Junichi. "Automatic composer." Journal of the Acoustical Society of America 90, no. 5 (November 1991): 2881–82. http://dx.doi.org/10.1121/1.401788.

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12

Appleby, David P. "Brazil's Composer." Americas 52, no. 01 (July 1995): 85–86. http://dx.doi.org/10.1017/s0003161500023543.

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13

Brian Hulse. "Becoming-Composer." Perspectives of New Music 53, no. 1 (2015): 219. http://dx.doi.org/10.7757/persnewmusi.53.1.0219.

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14

Berry, R., M. Makino, and N. Hikawa. "Augmented Composer." IEEE Computer Graphics and Applications 24, no. 1 (January 2004): 1 pp. http://dx.doi.org/10.1109/mcg.2004.1273451.

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15

Brian Hulse. "Becoming-Composer." Perspectives of New Music 53, no. 1 (2015): 219–37. http://dx.doi.org/10.1353/pnm.2015.0000.

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16

Stephenson, Kimberly. "Recorder Composer." General Music Today 25, no. 3 (May 10, 2011): 20–22. http://dx.doi.org/10.1177/1048371311407662.

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17

Bohatyriov, Volodymyr. "Pedagogical principles of the composer Serhii Turneev." Aspects of Historical Musicology 30, no. 30 (April 8, 2023): 55–68. http://dx.doi.org/10.34064/khnum2-30.03.

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Statement of the problem. If the study of various aspects of teaching by musicians-performers has always been under consideration of scientists, then the question of the method of teaching composition is a poorly covered area. As a rule, the main subject of research is primarily the composer’s musical works. However, understanding the composer’s work and his activity as a whole, in the unity of all components, requires the systematization of his pedagogical principles. In turn, such research can help to evaluate the composer’s work in a new way, especially if it belongs to the modern musical space. Research and publications. The article is based on the works devoted to fixation and transmission of the composer’s experience (Rameau, 1971; Mann, 1971; Dyletsky, 1970/1723; Riemann, 1902; Hindemith, 1984; Messiaen, 1956; Schoenberg, 1999), the memories about composers-teachers (Galas, 2020; Bevz, 2021; Hrabovsky & Shchetynsky, 2017), scientific reference literature (Borysenko et al., 2017). Also, the theoretical basis was created by the works that reveal the concepts of “composition”, “school” (Dmytriyeva, 2018; Siuta, 2008; Kucherenko, 2019). Objectives, methods, novelty of the research. The purpose of the study – a systematization of the pedagogical principles of S. Turnieiev, a composer, teacher, musical and social activist, who made a significant contribution to the development of compositional activity in Luhansk and Kharkiv. The article uses historical, historical-theoretical and biographical research methods. The scientific novelty of the study is that S. Turnieiev pedagogical principles are investigated in the scientific literature for the first time. Results. There are difference between composer and pedagogical principles. If the composer principles are the aesthetic views and technological techniques of the composer himself, so the pedagogical ones are the transformation of the first into creative instructions for the student. In determining the composer’s principles, one can rely on the composer’s works, but the pedagogical principles of the composer can be fined in the works of his students and their memories of his teacher. Different composers prefer the distinct roles of a composition teacher: teachermentor, teacher-friend, teacher-colleague. These roles dictate work approaches. Serhii Turnieiev formulated his own creative guidelines, which defined his pedagogical principles based on a gradual change in role: from the teachermentor to the colleague-composer or even a friend. During this time, the student becomes aware of the composer’s profession syncretic essence, the importance of regular work, and studying traditions and innovations. After graduation, the student becomes a member of the musical community, in which professional and friendly relations should prevail. Conclusion. So, the following S. Turnieiev’s pedagogic principles are revealed and systematized: a) composer is an universal artist; therefore, his education should be broadbased – in addition to special classes, to include in-depth courses in musical and theoretical disciplines (music history, musical analysis, polyphony and harmony), philosophy, cultural studies, and management; b) emotional-rational approach to creating music; c) appeal to heritage and modernity; d) the model “from mentor to colleague / friend” in student-teacher relationships; e) regular and honesty work; e) sociability and friendship within the musical community.

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18

Hutton, Jo. "Daphne Oram: innovator, writer and composer." Organised Sound 8, no. 1 (April 2003): 49–56. http://dx.doi.org/10.1017/s1355771803001055.

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The main focus of this article is the work of Daphne Oram, composer of electronic music, who founded the BBC Radiophonic Workshop in 1958 and went on to run her own independent studio from where she composed several significant pieces of electronic music, designed and built a new audio recording machine, and lectured and wrote extensively on electronic and concrète music. The paper will endeavour to show that Ms Oram is deserving of recognition as an innovative composer of electronic and concrète music, as well as possessing interesting and valuable insight into the practice and theory of this medium. It will critically examine her work, and methods for achieving completed pieces, and compare and contrast her compositional work and the thinking behind it, to the work of other significant composers of the time.

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19

Mishchenko, M. "Autobiographical Truth or a Figure of Paralipsis? The Rimsky-Korsakov Case." Versus 2, no. 6 (September 16, 2023): 20–40. http://dx.doi.org/10.58186/2782-3660-2022-2-6-20-40.

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The image of Nikolai Rimsky-Korsakov as the “national composer” was formed in Russian musical historiography through the eforts of musicologist Boris Asagev and under the inhuence of autobiographical narrative, including Korsakov’s Chronicle of My Musical Life. At the same time, the composer’s words about his work were carefully selected and censored under the ideological climate of the USSR. As a result, Rimsky-Korsakov still appears in many ways as a national musical curiosity outside the European musical tradition. Explorations in the territory of omissions and censors reveal the composer as an inquisitive (and jealous) listener of the musical ideas of others. Having a keen ear for reminiscence, Korsakov regularly incorporated what he had heard from many and very diferent European composers, including Richard Wagner, Frédéric Chopin, Gaetano Donizetti, Édouard Lalo, Johan Svendsen, and Edvard Grieg, into his music, and above all, into his operas. Rimsky-Korsakov’s self-suicient originality turns out to be a hoax. What is manifested in Korsakov’s claim for the truth about himself is the hitherto actual canon of “the composer himself.” That is, the belief in the truth of the composer’s will, intentions, words about himself and his art, and as a consequence, the chimerical equality of the composer with the author.

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20

Habibi, Ali, and Rizqy Khairuna. "EUPHEMISM AND GENDER: THE EUPHEMISM USED BY MALE AND FEMALE IN MINANGKABAU SONGS." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, no. 1 (April 17, 2018): 98–103. http://dx.doi.org/10.30743/aicll.v1i1.15.

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This study aims to identify the differences types of euphemism as an expression in deriving meaning used by the composer of male and female Minangkabau in their song lyrics. The subjects of this research are male and female Minangkabau composers. Data taken from this study were downloaded from youtube and transcribed. The procedure of collecting the data was taken from two of song lyrics by the composers Ipank and Ria Amelia “Rantau Den Pajauh” and “Harok di Rantau urang”. The procedure of analyzing the data was descriptive qualitative method, by having the lyrics identified and underlined to get the types of euphemism that used in their lyrics. The result of analyzing the data indicated that there were three types of euphemism used by male and female composers. The female composer used euphemism more than the male composer. The female composer used three types of euphemism such as ; Circumlocution, Metaphor, understatement and Hyperbole while the male composer only used Hyperbole in the Lyrics.

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21

Schick, Kyle. "Improvisation: Performer as Co-composer." Musical Offerings 3, no. 1 (2012): 27–35. http://dx.doi.org/10.15385/jmo.2012.3.1.3.

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22

Quinn, Peter. "Out with the Old and in with the New: Arvo Pärt's ‘Credo’." Tempo, no. 211 (January 2000): 16–20. http://dx.doi.org/10.1017/s004029820000735x.

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The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of no less a person than Tikhon Khrennikov, the all-powerful general secretary of the Soviet Composers’ Union. Indeed at the Third All– Union Congress of Soviet Composers held in Moscow in March 1962 Khrennikov singled out Pärt for criticism.

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23

CAZAN, Florinel-Ciprian. "THE SECULAR CREATION OF COMPOSER GHEORGHE DANGA." International Multidisciplinary Scientific Conferences on the Dialogue between Sciences & Arts, Religion & Education 6, no. 6 (November 15, 2022): 60–68. http://dx.doi.org/10.26520/mcdsare.2022.6.60-68.

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Gheorghe Danga is a well-known composer in our church for his religious works. A large part of his creațion includes many secular and patriotic compozițions. This article aims to detail this aspect, starting with the compozitions of his teenage years, since he begun to compose since the age of 16-17. He composed many reference folklore works that are sung a lot in our country and even in othersat various festivals or choral competitions. Also, patriotic compozitions had a special place in his work, the most important being the „Choral suite 190”, the largest among his creațions, a work who captures the events of the peasant uprising of 1907. Of course, to be complete as a composer, he wrote some songs for children, and also instrumental and vocal-instrumental works, and choirs with orchestra. So I consider that it is absolutely needed that his entire compozitional work to be known, in order to have a complete image of the Composer Gheorghe Danga.

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24

Pogrebnіak, Galyna. "Musical culture of screen direction." ART-platFORM 8, no. 2 (December 26, 2023): 12–33. http://dx.doi.org/10.51209/platform.2.8.2023.12-33.

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The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio Morricone in different directorial models are analyzed. The main features of the author's style of the composer are revealed, his innovative approaches in creating music for the screen and symphonic music are revealed. The experimental music of a prominent composer is characterized. The main techniques of E. Morricone's tonal music are singled out and the specifics of the use of musical instruments in the artist's scores are clarified. The artist's use of various composing technologies is analyzed. It is substantiated that the composer tried to reform film music and modern music in general. The composer's unique ability to work in a cinematographic production team has been proven. It is shown that sometimes the screen music of the maestro became more popular than the films for which it was written. In the development of the topic, the methods of scientific analysis, comparison, and generalization were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem. As a result, the specifics of the use of musical means in screen arts are determined through the study of creative models of the director and composer, the relevance of using the systematic method in studying the peculiarities of composers' creativity in the context of audiovisual art and production is proven.

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25

Wold, Erling. "Composer-to-Composer, Telluride, Colorado, 18-20 August 1989." Computer Music Journal 14, no. 1 (1990): 74. http://dx.doi.org/10.2307/3680118.

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26

Hrabovskyi, Volodymyr. "A COMPOSER ABOUT A COMPOSER. NEW PUBLICATIONS ABOUT MUSIC." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, no. 48 (2022): 28–29. http://dx.doi.org/10.32782/2310-0583-2022-48.04.

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27

Bennett, Lawrence. "IGNAZ HOLZBAUER AND THE ORIGINS OF GERMAN OPERA IN VIENNA." Eighteenth Century Music 3, no. 1 (March 2006): 63–90. http://dx.doi.org/10.1017/s1478570606000492.

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Ignaz Holzbauer (1711–1783) is best known for his singspiel Günther von Schwarzburg (1777), a work that deeply impressed Mozart during his sojourn in Mannheim. A much earlier German opera by Holzbauer, however, has gone virtually unnoticed. In the summer or autumn of 1741 the composer’s full-length, three-act teutsche Opera entitled Hypermnestra was performed at the Kärntnertortheater in Vienna. Following the death of Emperor Charles VI and the accession of Maria Theresia, the Kärntnertortheater Intendant Joseph Selliers commissioned a German-language opera, selecting Holzbauer, who had recently returned to Vienna from Moravia, to compose the music and the court printer Johann Leopold van Ghelen to write the libretto.Although it is widely known that Holzbauer composed several operas in Italian before 1741, Hypermnestra appears to be the earliest opera by the composer for which a score survives. The music provides ample evidence of a mature composer in full command of opera seria style. Although Holzbauer had not yet found a satisfactory solution to the problem of narrative recitative, the opera nevertheless illustrates many of the virtues found in Günther von Schwarzburg: outstanding accompanied recitatives, a great variety in the treatment of da capo aria form and a rich array of orchestral colours.Apart from the music, Hypermnestra is remarkable for historical reasons. It reveals that the composer had received a commission to compose an opera in the German language long before Günther von Schwarzburg. On the basis of current research it appears to hold the distinction of being one of the earliest, if not the first, full-length German opera produced in Vienna. Maria Theresia soon re-established the dominance of French and Italian styles. Nevertheless, Hypermnestra is an early example of an idea that would gradually gain acceptance and blossom during the reign of Joseph II.

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28

Yip, Viola. "DARMSTADT 2014: THE COMPOSER-PERFORMER." Tempo 69, no. 271 (January 2015): 69–72. http://dx.doi.org/10.1017/s0040298214000679.

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It seems clear that, by a certain point in the twentieth century, the roles of composer and performer had become increasingly separated, but when we think of composers such as JS Bach, Beethoven and Rachmaninov, we are reminded that the idea of the musician as composer-performer is not new. Today, we can see an increasing number of musicians running a double life as composer and performer. What does it mean to be a composer-performer in the twenty-first century? How does the relationship of compositions to their performances change when the composer is the performer?

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Pavlova-Borisova, Tat'yana Vladimirovna, and Milena Mikhailovna Kuz'mina. "Yakut national school of composers and works of the first Even composer P. M. Starostin: review experience." Философия и культура, no. 12 (December 2020): 1–10. http://dx.doi.org/10.7256/2454-0757.2020.12.34736.

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This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of young national schools of composers (M. N. Drozhzhina, M. Y. Dubrovskaya, L. L. Pylneva, and others.). The following conclusions were made: professional becoming of the first Even composer P. M. Starostin was within the framework of Yakut national school of composers; the primary source for his works became the rich Even folklore – epic tales, ritual genres, song lyrics. The artistic heritage of P. M. Starostin is unique and versatile in genre, featuring the large forms such as opera and cantata, as well as the chamber-vocal oeuvres and compositions for children. The geography of the young national schools of composers spread to the northeast of Russia, where is successfully functioning the Yakut national school of composers. The Yakut national school of composers becomes the new center, forming prerequisites for the establishment of national schools of composers of the indigenous peoples of the North living in the Arctic zone. The reviewed experience of the first Even composer P. M. Starostin indicates this process. The novelty of this research consists in introduction of information on the life and works of the first Even composer P. M. Starostin into the scientific discourse. Such analysis was carried out for the first time.

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Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

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This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures similar to Clynes's composer-specific patterns, and also in a deadpan version. Listeners representing a wide range of musical experience judged to what extent each computer performance had the composer's individual expression, relative to the deadpan version. Listeners showed an overall preference for the Beethoven and Haydn pulses. The pattern of pulse preferences varied significantly among individual pieces, but little among different composers. These results indirectly support the general notion that expressive variation is contingent on musical structure, but they offer little evidence in support of fixed, composer-specific patterns of expressive microstructure.

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31

Broad, Leah. "BBC Proms 2015: Gary Carpenter, Anders Hillborg, Ørjan Matre, Alissa Firsova, B Tommy Andersson." Tempo 70, no. 275 (December 7, 2015): 84–85. http://dx.doi.org/10.1017/s0040298215000674.

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Sibelius' and Nielsen's 150th anniversary year has prompted a proliferation of events to celebrate the music of the Nordic composers, from conferences to concert series. The Proms has been no exception, with an unusually high number of Nordic composers represented throughout the festival (although Glazunov, also in his 150th anniversary year, has been forgotten). British composer Gary Carpenter's Dadaville was premiered on the first night, which opened to the sounds of Nielsen's Maskarade and Sibelius's Belshazzar's Feast, while later concerts covered here presented premieres by the Swedish composers Anders Hillborg and B Tommy Andersson, the Norwegian composer Ørjan Matre, and Moscow-born (though UK-based) composer Alissa Firsova.

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32

Allphin, Penrose M. "Trans Sonorities in Grey Grant's “Drones for the In-Between Times”." TSQ: Transgender Studies Quarterly 8, no. 3 (August 1, 2021): 394–402. http://dx.doi.org/10.1215/23289252-9009010.

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Abstract Composer intent has generally been downplayed by contemporary music analysts, often being regarded as an example of an intentional fallacy at best and misleading at worst. This analysis of Grey Grant's choral work posits that such a dismissal not only ignores the potential for an enhanced expressive context afforded by composers' own assessments, but it also contributes to the silencing of already marginalized voices, such as in the case of transgender composers. The author proposes a methodology that incorporates the voices of living composers while circumventing concerns about confirmation bias by building on the framework of music theory, queer musicology, and queer theory. The article demonstrates this theoretical framework using an interview of a transgender composer to supplement an analysis of their contemporary choral piece. By analyzing the work with the added context of the composer's statements about their own music, the author paints a more complete picture of the work, one that reinvests music analysis with the trans voice behind the composition.

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Fjeldsøe, Michael. "The Leipzig Model and its Consequences: Niels W. Gade and Carl Nielsen as European National Composers." Studia Musicologica 59, no. 1-2 (June 2018): 71–78. http://dx.doi.org/10.1556/6.2018.59.1-2.6.

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The article discusses how the concept of “national composer” was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade was first recognized as a composer with a “Nordic tone” and it was because of that reason that he had, a meteoric career and was ranked as an important European composer. In the early twentieth century, Carl Nielsen replaced Gade as the most revered Danish composer; however, at that time, being a national composer was not an advantage to an international career, it was an obstacle, if anything.

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34

Eckert, Michael, and George Perle. "The Listening Composer." Antioch Review 49, no. 2 (1991): 296. http://dx.doi.org/10.2307/4612377.

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MacDonald, Hugh, and Ronald Smith. "Alkan as Composer." Musical Times 129, no. 1741 (March 1988): 129. http://dx.doi.org/10.2307/965275.

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36

Nichols, Roger, and Robert Orledge. "Satie the Composer." Musical Times 132, no. 1782 (August 1991): 392. http://dx.doi.org/10.2307/965890.

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37

Swed, Mark. "Schnabel the Composer." Musical Times 130, no. 1756 (June 1989): 332. http://dx.doi.org/10.2307/966028.

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Nichols, Roger, and Arbie Orenstein. "The 'Strange' Composer." Musical Times 132, no. 1781 (July 1991): 346. http://dx.doi.org/10.2307/966290.

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39

Carl, Robert, and George Perle. "The Listening Composer." Notes 48, no. 2 (December 1991): 506. http://dx.doi.org/10.2307/942055.

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40

Lesure, François, Robert Orledge, and Francois Lesure. "Satie the Composer." Revue de musicologie 77, no. 1 (1991): 137. http://dx.doi.org/10.2307/947195.

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41

Bernard, Jonathan W., and George Perle. "The Listening Composer." Journal of Music Theory 38, no. 1 (1994): 103. http://dx.doi.org/10.2307/843829.

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42

Sellew, Philip, and David Barrett Peabody. "Mark as Composer." Journal of Biblical Literature 109, no. 3 (1990): 539. http://dx.doi.org/10.2307/3267076.

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43

DeVoto, Mark, and George Perle. "The Listening Composer." American Music 11, no. 3 (1993): 372. http://dx.doi.org/10.2307/3052510.

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44

Robert, Alexandre. "Composer au pluriel." Ethnologie française Vol. 51, no. 1 (February 1, 2021): 149–60. http://dx.doi.org/10.3917/ethn.211.0149.

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45

Rogers. "John Blacking, Composer." Ethnomusicology 57, no. 2 (2013): 311. http://dx.doi.org/10.5406/ethnomusicology.57.2.0311.

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46

Tirro, Frank, and Victor Fell Yellin. "Chadwick: Yankee Composer." Journal of American History 78, no. 3 (December 1991): 1106. http://dx.doi.org/10.2307/2078893.

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GOSSETT, P. "Donizetti: European Composer." Opera Quarterly 14, no. 3 (January 1, 1998): 11–16. http://dx.doi.org/10.1093/oq/14.3.11.

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48

Jackson, Julian. "Composer sous Vichy." Modern & Contemporary France 21, no. 2 (May 2013): 260–61. http://dx.doi.org/10.1080/09639489.2013.776202.

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49

Elliott, J. K., and D. B. Peabody. "Mark As Composer." Novum Testamentum 30, no. 4 (October 1988): 377. http://dx.doi.org/10.2307/1560628.

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Bernhard, Winfred E. A., and Victor Fell Yellin. "Chadwick, Yankee Composer." New England Quarterly 64, no. 3 (September 1991): 496. http://dx.doi.org/10.2307/366354.

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