Relevant bibliographies by topics / Composers, musical style

Contents

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

Academic literature on the topic 'Composers, musical style'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Composers, musical style.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Composers, musical style"

1

WOLTERS-FREDLUND, BENITA. "A “League Against Willan”? The Early Years of the Canadian League of Composers, 1951–1960." Journal of the Society for American Music 5, no. 4 (October 24, 2011): 445–80. http://dx.doi.org/10.1017/s1752196311000289.

Full text
Abstract:
AbstractThe founders of the Canadian League of Composers were young modernists who resented the conservative musical climate in Canada epitomized by the traditional British style of Canada's most famous composer, Healey Willan. In their first decade (1951–60), during which their membership grew from eight to more than forty and they presented dozens of concerts of new Canadian music, they struggled to find a balance between two competing goals: championing the cause of all Canadian composers, regardless of style, and promoting modern and avant-garde styles, which had been virtually ignored by the older Canadian musical establishment. This article probes how those tensions played out in two of the league's early activities: membership decisions and concert programming. Although the league did admit composers and feature works representing a wide variety of stylistic influences, its membership and concerts were nonetheless dominated by younger composers interested in modern styles, especially the group of composers in John Weinzweig's circle in Toronto. The group earned a reputation as young radicals because of their modernistic programming choices and a controversial policy that limited membership to composers younger than sixty. Although its members may not have been entirely successful in their efforts at inclusivity, the league's ground-breaking activities in the 1950s did help to establish a place for composition generally and musical modernism in particular in the postwar Canadian cultural landscape.
APA, Harvard, Vancouver, ISO, and other styles
2

Shchitova, Svitlana. "Bandura concert style of the 21st century (on the example of the bandura concerto with orchestra „Bandura foreverˮ by V. Martyniuk)." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 5–16. http://dx.doi.org/10.33287/222001.

Full text
Abstract:
The purpose of this scientific article is to determine the location of the bandura for a bandura with a piano by celebrated Ukrainian composer Valentina Martyniuk „Bandura foreverˮ in professional Ukrainian music. The target of this investigative work is determined by the corresponding tasks that are to identify the genre-style features of the musical character-logical language of outstanding, distinguished V. Martyniuk. The round of methods for this represented investigation is based on the historical, typological, analytical and didactic approaches, which allows the practically study of this research topic. The scientific novelty of this submitted explorative work is that it examines the original work of renowned contemporary Ukrainian composer V. Martyniuk for the bandura of the concert direction as a distinctive phenomenon combining academic and ethnic musical traditions. Conclusions. The analysis of the concert for a bandura with an orchestra „Bandura forever” by well-known author V. Martynyuk, in which we can see the richness of the imaginative-style panorama, defines the composer's special interest in neo-style – neo-folklorism, neo-romanticism, neo-classicism, neo-baroque, neo-impressionism; manifestations postmodernism, in particular, experimentation in the synthesis of various styles, including those that are opposite in their artistic and aesthetic essence. The original bandura repertoire relies heavily on folk themes and demonstrates the versatility of domestic, nationally musical folklore. Music of the famous composer V. Martynyuk has unrepeatable, charismatic artistically imaginative characterization, which had amazingly bright demonstrated into that musically artistic outstanding masterpiece. The creating of music for academic bandura by Ukrainian professional composers was and staying for today the one of main problem in relation to national, domestic musically performing art.
APA, Harvard, Vancouver, ISO, and other styles
3

Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.

Full text
Abstract:
Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.
APA, Harvard, Vancouver, ISO, and other styles
4

Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.

Full text
Abstract:
Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow innovative avant-garde trends and incorporate serialism, including serial rhythm, sonoristics, aleatory technique and a number of other techniques. Some of his compositions are very accessible to a broad audience, containing memorable melodic and rhythmic traits, while others are written in a highly complex language, based on musical experimentation, comprehensible for the most part to a sophisticated audience well-versed in avantgarde trends in music. Some of his works are based on extroversive theatrical gestures and even contain comic elements, while others bear an inner philosophical discourse. Nonetheless, both of these contrasting features combine together to express a highly original style of the composer’s music which cannot be mistaken for that of anybody else. Belodubrovsky is known and highly regarded as a composer, a violinist, an enthusiastic cultural activist who discovered and popularized rare compositions of the early 20th century Russian modernist trend, the long-time director of the Nikolai Roslavetz and Nahum Gabo Festival for the Arts in Bryansk, and simply as a very open musician with a broad-minded approach towards various musical styles and directions. All of this has undoubtedly created an impact on his multifarious musical style which combines opposite stylistic directions. The article describes the life and the musical activities of Mark Belodubrovsky, then proceeds to describe an analyze his musical compositions. It is shown that notwithstanding the fact that his compositions pertain to different styles, they are all united by one individual stylistic trait which defi nes the composer’s artistic individuality.
APA, Harvard, Vancouver, ISO, and other styles
5

Husarchuk, Tetiana V., Maryna Yu Severynova, Olena O. Derevianchenko, Olha V. Putiatytska, and Larysa A. Hnatiuk. "Spiritual concert in the work of Ukrainian composers." Linguistics and Culture Review 5, S4 (November 15, 2021): 988–1003. http://dx.doi.org/10.21744/lingcure.v5ns4.1776.

Full text
Abstract:
The last decades in the post-Soviet space are characterized by spiritual searches, growing interest in spiritual heritage, in musical art – the blossoming of spiritual creativity, in music science – by increasing attention to genres of spiritual music. The relevance of the problem stated in the article is caused by the need to highlight the development of the genre of spiritual choir concert as an exceptionally important and illustrative for Ukrainian musical art. The purpose of the research is to reveal evolutional tendencies of the genre archetype throughout its history of presence in Ukrainian music art. The leading method of this investigation is a genre-style method, which provides detection of different levels of transformations of genre invariant, connected to historical and style conditions and peculiarities of individual styles of composers. The results of the study can be useful to researchers of choral art and choral conductors, can be used in the pedagogical process – in educational courses on music history, choral literature, music culturology.
APA, Harvard, Vancouver, ISO, and other styles
6

Ovsyannikova-Тrеl, Aleхandra. "Category of Simplicity is an artist intention and individual-style concepts "New Simplicity" in the creativity of contemporary composers." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 238–43. http://dx.doi.org/10.32461/2226-3209.2.2021.240073.

Full text
Abstract:
The purpose of the article is to determine the specifics of stylistic manifestations of the "new simplicity" in the works of contemporary composers in accordance with the meaning of the category of simplicity. The methodology is based on the integrated use of systemic and structural-functional methods, comparative studies, music-historical approach, as well as musicological methods of genre-style analysis. The scientific novelty of the study is due to the theoretical development of genre and style standards of "new simplicity" in terms of their systematic interaction and individual-composer interpretations. Conclusions. The main factor in the formation of a new stylistic vector of composition in the last third of the twentieth century, which was formally defined as "new simplicity", was the recognition of the crisis of musical art, which developed within the avant-garde artistic and aesthetic paradigm. The conceptual foundations of individual composer's versions of the "new simplicity" are connected with the idea of simplifying musical language as the direction of development of musical art, which was called to return music to lost meanings – beauty, clarity, harmony. The concept of simplicity in this context has become one that combines these leading artistic landmarks and acquired in the creative consciousness of composers-representatives of the "new simplicity" the status of aesthetic and ethical categories, which acted as a common artistic intention of variouscompositional versions of "simple" style. Simplicity as an objective condition for the clarity of musical meaning has led to specific types of figurative content of a musical work and its compositional logic. The melodiousness and clarity of musical expression are the semantic impulses of the composer's work to which all the structural elements of the musical text and the "levers" of sound influence on the listener are subordinated.
APA, Harvard, Vancouver, ISO, and other styles
7

Goldman, Jonathan. "Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in Oralléluiants [1975]." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 12. http://dx.doi.org/10.31091/lekesan.v1i1.344.

Full text
Abstract:
In an article on the impact of gamelan music on Claude Debussy's musical language, Nicholas Cook shows Debussy's musical interpretations that navigate between viewpoints that claim that the gamelan presents "confirmation" of the principles that have been acquired by French composers and others who judge inspired techniques from the gamelan to imitate foreign musical culture. This article applies Cook's thought to the Javanese gamelan inspiration case in Oralléluiants (1975) by Gilles Tremblay (1932-2017), by trying to go beyond the opposition between pastiche orientalist style and deeper style assimilation by giving credit to the composer Québécois. This paper proposes the idea of "cognitive filters" as a way to understand how gamelan affects Tremblay without the same effect on other composers who are exposed to the same musical culture. The phrase "cognitive filter" shows every musical schematic that listeners have not mastered in terms of their training, ability, acculturation and psychological specificity, and that represents an order perceptual data to enable in the capture of previously unknown music.
APA, Harvard, Vancouver, ISO, and other styles
8

Sherr, Richard. ""Illibata Dei Virgo Nutrix" and Josquin's Roman Style." Journal of the American Musicological Society 41, no. 3 (1988): 434–64. http://dx.doi.org/10.2307/831460.

Full text
Abstract:
Josquin's famous acrostic motet Illibata Dei virgo nutrix has generally been considered an early work on the basis of its musical style. Viewing the work from different perspectives, both analytical and historical, suggests that the work may not have been written as early as presumed, and that Josquin's style might have changed in response to tastes he encountered in the various centers in which he worked. The focus of discussion is Rome, and the musical styles favored by composers of the Papal Chapel in the period in which Josquin was a member of that organization (1486- ca. 1495). It is suggested that Illibata Dei virgo nutrix be viewed as a contribution to a particularly Roman corpus of five-voice Tenor motets and a deliberate attempt to emulate and surpass papal composers in their own style.
APA, Harvard, Vancouver, ISO, and other styles
9

Kazantseva, Liudmila P. "Musical Intonation: Genre and Style Properties." IKONI / ICONI, no. 4 (2021): 159–79. http://dx.doi.org/10.33779/2658-4824.2021.4.159-179.

Full text
Abstract:
In the previous lecture from the cycle “Musical Intonation” (see the journal ICONI, 2021, No. 3, pp. 68–83) the topic was the conception of musical intonation, its sound contours and semantics. In the present publication there appears the possibility to characterize the other features of intonation which enable it to move towards the achievement of its main goal — conveyance of the artistic meaning. During the course of the conversation about the genre-related particularities of intonation four large-scale genre-related spheres have been indicated (and, correspondingly, four genre types): melodiousness, declamatory features, motoric features and instrumental features. The view of musical intonation in the stylistic perspective is correlated with the nuanced concept of style as the contingence of artistic content with the means of its manifestation. In correspondence with the different “sections” of the existent massif of music, the styles of composers, composers’ schools, social groups, national cultures, continental cultures, eras and artistic directions (trends) develop themselves. They all fixate themselves more or less self-evidently in musical intonation. In musical intonation the features of different genre-related spheres interact with each other by various means (forming poly-genre) and the features of various styles combine together (creating poly-stylistics). The conclusive lecture will be devoted to a discussion of the aesthetical and dramaturgical features of musical intonation, and also about how intonation exists in the historical-culturological context.
APA, Harvard, Vancouver, ISO, and other styles
10

Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.

Full text
Abstract:
For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Composers, musical style"

1

Smith, Beverley Gaye. "John Dunstable and Leonel Power a stylistic comparison /." Thesis, Online version, 1992. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.358843.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bellmann, Hector G. "Categorization of Tonal Music Styles: A Quantitative Investigation." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366215.

Full text
Abstract:
The objective of this study is to identify the main conceptual dimensions of tonal musical style in order to provide a theoretical understanding of the phenomenon which could constitute the basis for a scientic taxonomy of styles. Music style is a substantial quality of the musical material that can be readily recognized as belonging to individual composers or associated with their epoch. I was initially attracted to the topic through the knowledge of the successes of literary stylometry, in the expectation that similar accomplishments could have been achieved in the realm of music. I was surprised to nd that, although musical style is a notion whose meaning seems familiar to everybody, it is conceptually elusive and had not been the object of a scientic enquiry. Therefore, music style became the core of the project. The most outstanding characteristics of this study are its quantitative nature and the eort to avoid subjectivity, considering only observable, measurable features. The work has been carried out exclusively on the basis of numerical continuous variables resulting from actual measurements eected by software. In order to accomplish this goal, I was concerned exclusively with those aspects of musical style that are detectable in notation. The traditional paradigm of problems of this sort consists of taking a large number of measurements on representative samples expressing the phenomenon under study, and then submitting them to statistical analyses that could be expected to lead to the determination of its main conceptual dimensions. Consequently, the methods comprised several stages. The project began by creating a database of music scores that tried to represent adequately the stylistic spectrum of the period of common practice. Since most of the stylistic elements of interest are key-dependent, the next and crucial step was to determine the key at every point in the score. This was accomplished following the method developed during my own previous research, whose result is a tonal map of the musical score.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
APA, Harvard, Vancouver, ISO, and other styles
3

Baek, Da Mi. "Eak Tai Ahn's Korea Fantasy: His Life, Historical Context, and Compositional Style." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505250/.

Full text
Abstract:
Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.
APA, Harvard, Vancouver, ISO, and other styles
4

Cho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.

Full text
Abstract:
The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.
APA, Harvard, Vancouver, ISO, and other styles
5

Grimley, Daniel MacGregor. "Nielsen, nationalism and Danish musical style." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343036.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Audi, Carlos Eduardo Jones Evan Allan. "Osvaldo Lacerda His importance to Brazilian music and elements of his musical style /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-11132006-004319/.

Full text
Abstract:
Treatise (D.M.A.) Florida State University, 2006.
Advisor: Evan Jones, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-10-2007). Document formatted into pages; contains 148 pages. Includes biographical sketch. Includes portrait and musical examples. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
8

Vacková, Barbora. "Hudba Geraldiny Muchové: Analýza kompozičního stylu z pohledu feministické muzikologie." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-398765.

Full text
Abstract:
1 Abstract This Master's thesis presents the first look into the music of Scottish-Czech composer Geraldine Mucha (1917-2012) which has never been subject to academic study before. I characterize her compositional style and musical language, as well as their development over time, by analyzing four orchestral compositions written between the 1940s and 1980s - Overture to Tempest, Piano Concerto, Suite from the ballet Macbeth and John Webster Songs. In the thesis, I am also introducing the - in Czech musicological context entirely unknown - discourse on the issue of musical analysis of pieces written by women composers and I critically explore its different strands of thought. When possible, I examine the selected pieces by using Ellie M. Hisama's theoretical model which claims that in women's music, evidence may be found that provides information about their specific female experience in the patriarchal world.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Composers, musical style"

1

Cacavas, Bonnie Becker. Musical feasts: Fabulous dining in the style of six of the world's great composers. Bryn Mawr, PA: Theodore Presser Co., 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

1940-, Shalit Daniel. Yodeʻa nagen. [Israel]: Teṿai, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Brown, Jeanell Wise. Amy Beach and her chamber music: Biography, documents, style. Metuchen, N.J: Scarecrow Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Opera: Composers, works, performers. Cologne: Konemann, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jezic, Diane Peacock. Women composers: The lost tradition found. 2nd ed. New York: Feminist Press at The City University of New York, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

The performing style of Alexander Scriabin. Burlington: Ashgate, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The French symphony at the fin de siècle: Style, culture, and the symphonic tradition. Rochester, NY: University of Rochester Press ; Woodbridge, Suffolk : Boydell & Brewer Limited, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Il trittico, Turandot, and Puccini's late style. Bloomington: Indiana University Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

M, Gillmor Alan, and Rochberg George, eds. Eagle minds: Selected correspondence of Istvan Anhalt and George Rochberg, 1961-2005. Waterloo, Ont: Wilfrid Laurier University Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

BROCKEN, MICHAEL. Bacharach. Chicago: Chrome Dreams, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Composers, musical style"

1

Jan, Steven. "4 Evolutionary Metaphors in Discourse on Music." In Music in Evolution and Evolution in Music, 291–390. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0301.04.

Full text
Abstract:
Chapter 4: discusses the impact evolutionary thought has had on discourses in music historiography and in music theory/analysis. This requires a double-layered approach that not only considers the (metaphorical) application of evolutionary ideas to questions of individual composers’ stylistic development, to diachronic and idiostructural formal-structural development, and to diachronic musical style and genre change (these particularly prevalent in the late-nineteenth and early-twentieth centuries), but that also considers verbalisation on music (as ‘verbal-conceptual memeplexes’) as itself subject to memetic-evolutionary pressures, some of these pressures arising from the need for alignment with the music that the verbal-conceptual memeplexes purport to describe and explain. The relationship between such music-discourse evolution, and the evolution of culture more broadly, is also examined, as part of an evaluation of Susan McClary’s critique of ‘absolute’ music and its relationship to socioeconomic change.
APA, Harvard, Vancouver, ISO, and other styles
2

Hontanilla, María, Carlos Pérez-Sancho, and Jose M. Iñesta. "Modeling Musical Style with Language Models for Composer Recognition." In Pattern Recognition and Image Analysis, 740–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38628-2_88.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gena, Peter. "Phil Winsor (1938–2012)." In Interviews with American Composers, 356–73. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0022.

Full text
Abstract:
Gena describes Winsor’s musical and educational philosophy from his work with Winsor in Chicago in the late 1970s, placing Winsor’s background in the San Francisco Tape Music Center (to 1965) as an important formative experience. Childs and Winsor discuss Winsor’s experiences in San Francisco and Tanglewood; open style, and New Romanticism. They talk of Winsor’s experiences in Rome and Milan, Darmstadt and a new regard for American music. Compositional issues include quotation versus collage; Melted Ears; McLuhan and the electronic revolution; indeterminacy and performer choice; synthesizers and electronic music studios; linguistic analogies and “non-linguistic composition.” They discuss Cage, education and its relevance, comprehensibility of musical process, competition and differences between eastern, midwestern, and western composers. They end with masterworks, critics (which Winsor calls “crickets”), bad performances, musical expression and meaning, film and multimedia.
APA, Harvard, Vancouver, ISO, and other styles
4

Perry, Jeffrey. "Peter Westergaard (1931–2019)." In Interviews with American Composers, 323–42. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0020.

Full text
Abstract:
Perry unpacks Westergaard’s complex musical style within the context of the time of the interview and in light of his work in tonal theory and linguistics. Westergaard discusses his development of the 12-tone system and polyphony in his Variations and other works. He talks about style (an imprecise term in his view) and idea, syntax and rhetoric, transformational grammar, Chomsky, differences between musical and verbal language, Schenkerian analysis, the completion of his book on tonal analysis, his opera of The Tempest, and problems of dramaturgy and text setting. Childs and Westergaard debate “the Princeton Syndrome,” explore listening and the audience, and Fasslichkeit or “graspability”
APA, Harvard, Vancouver, ISO, and other styles
5

Sheppard, W. Anthony. "Representing the Authentic from Japanese American Perspectives." In Extreme Exoticism, 276–316. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0008.

Full text
Abstract:
This chapter explores the career of Japanese American composer and arranger Tak Shindo (1922–2002). Shindo grew up nisei in Los Angeles. Japanese American musical life is discussed with a focus on the community’s 1933 production of Sakura composed by Claude Lapham in the Hollywood Bowl. Interned at Manzanar during World War II, Shindo began musical studies through the camp’s programs. Although devoted to Latin jazz, he repeatedly served during the Cold War as a Japanese musical advisor for such Hollywood composers as Franz Waxman and Max Steiner (Sayonara, Cry for happy, and A majority of one). Several of his 1950s and 60s albums—combining elements of Japanese music with the big band style—were successful in the exotica genre. Shindo’s self-Orientalism is compared with the musical exoticism of Martin Denny. A brief discussion of subsequent Japanese American jazz follows. The chapter concludes with a profile of the composer Paul Chihara.
APA, Harvard, Vancouver, ISO, and other styles
6

Herrera, Eduardo. "From Musical Pan Americanism to Latin Americanism." In Elite Art Worlds, 130–61. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.003.0007.

Full text
Abstract:
This chapter demonstrates that a significant shift in identity politics took place at CLAEM when a younger generation of composers advantageously adopted a regional identification as “Latin American avant-garde composers” in an art world that was largely European and U.S.-centric. The discourse of musical Latin Americanism that emerged among these composers shared ideas with earlier proponents of hemispheric solidarity but with a renewed, critical, and much more strategic regional identification, solidified by the social networks nurtured at CLAEM. This chapter explores the emergence of a shared discourse of Latin Americanism as a professional strategy and as musical style among the graduates of the Center and the short and long-term consequences that this had for the contemporary music scene in the region.
APA, Harvard, Vancouver, ISO, and other styles
7

Marks, Martin. "Presto(n) con Spirito: Comedies with Music, Sturges-style." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0011.

Full text
Abstract:
This chapter probes music in eight comedies directed by Sturges: seven Paramount productions (1940-44) and Unfaithfully Yours (1948). The Paramount features departed from generic norms for studio romantic comedies by having more music than was customary. But how much credit does Sturges deserve for being a musical “auteur”? The question remains open, but the essay’s analyses show how well Paramount’s staff composers served his purposes. Through apt themes and clever thematic developments, jarring mixtures of “high” and “low” styles, disjunctive couplings of diegetic and non-diegetic cues, ironic allusions to pre-existent repertoires, and (in select cases) through the use of unconventional “musical montages,” each of these scores enhanced the director’s paradoxical narratives. Unfaithfully Yours brought these paradoxes to the fore in a novel manner, and addressed fundamental questions of music’s own meanings, both in film and on its own.
APA, Harvard, Vancouver, ISO, and other styles
8

Baber, Katherine. "Trading Fours." In Leonard Bernstein and the Language of Jazz, 45–74. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042379.003.0003.

Full text
Abstract:
Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s and Gershwin’s music, particularly the expressive dichotomy between jazz and the closely related blues style, clearly influenced Bernstein’s version of jazz. Given Bernstein’s deep personal identification with both composers, it also becomes clear how some jazz styles, particularly the blues, could express intimate or private sentiments and mediate the formation of a musical subjectivity.
APA, Harvard, Vancouver, ISO, and other styles
9

Kennerley, David. "Dorothea Solly’s Musical World." In Sounding Feminine, 120–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0005.

Full text
Abstract:
This case study explores the musical and social world of Dorothea Solly, a keen amateur musician and singer. It builds on Chapter 2 by arguing that Solly’s middle-class background, combined with a Broad Church Anglican milieu and her marriage into a Unitarian family shaped her strongly affirmative approach to female voices, in ways that contrasted sharply with the attitudes on display in conduct literature. In particular, she exhibited great admiration for, and sought to acquire herself, the advanced vocal technique of leading stars of the Italian opera, such as her singing teacher, Cecilia Davies. In her advocacy of both female professional performers and composers, and in her own style of singing, Solly and her social milieu encapsulate an important, emerging section of the British musical public that was open both to the idea of female musical creativity and professionalism, and comfortable with an empowered, confident, assertive style of envoicing femininity.
APA, Harvard, Vancouver, ISO, and other styles
10

Gjerdingen, Robert O. "Partimenti and the Power of Improvisation." In Child Composers in the Old Conservatories, 113–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0009.

Full text
Abstract:
Like a lead sheet in popular music, a partimento gives a performer a single line of music to aid in the performance of a multivoice composition. Lead sheets provide a simplified melody and symbols for chords. Partimenti provide a bass and sometimes figured-bass numbers to indicate specific intervals. In both cases the reconstruction works well if the performer has a good knowledge of the style of music involved and a memory for the kinds of musical patterns needed. In Naples, children played the written partimento with their left hands at a small harpsichord. With their right hands they improvised the types of melodies, chords, and counterpoints implied by the bass. Beginners may have improvised mostly simple chords. Intermediate-level students improvised melodies and counterpoints. And advanced students developed highly contrapuntal realizations that included partimento fugues.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Composers, musical style"

1

Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

Full text
Abstract:
This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
APA, Harvard, Vancouver, ISO, and other styles
2

Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen, and Yi-Hsuan Yang. "Musical Composition Style Transfer via Disentangled Timbre Representations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.

Full text
Abstract:
Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.
APA, Harvard, Vancouver, ISO, and other styles
3

Mearns, Lesley, Dan Tidhar, and Simon Dixon. "Characterisation of composer style using high-level musical features." In 3rd international workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1878003.1878016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Melnic, Tamara, and Alexei Usaciov. "Issues of musical semantics of F. Chopin in the context of the era of romanticism." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.19.

Full text
Abstract:
The study of works of the Romanticism period and the formation of appropriate ideas about the romantic musical style is an effective way to activate the creative thinking of young professional musicians, stimulates their artistic initiative, and makes up for the shortcomings of the technological approach. Thus, the performer gets the opportunity to realize the correct reading of the musical text, resourcefully participates in the creation of his own parts and makes stylistically competent interpretations. The creation of F. Chopin had an undoubted influence on the creation of the figurative and meaningful image of the era in which the composer lived. Using some aspects of the method of semantic analysis, the authors of the article tried to consider some features of Chopin’s musical thinking and discover the relationship between the complex of expressive means used by the composer and the meanings expressed by them, thus trying to achieve a more in-depth understanding of the style of Romanticism.
APA, Harvard, Vancouver, ISO, and other styles
5

Borghuis, Valentijn, Luca Angioloni, Lorenzo Brusci, and Paolo Frasconi. "Pattern-Based Music Generation with Wasserstein Autoencoders and PRC Descriptions." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/751.

Full text
Abstract:
We demonstrate a pattern-based MIDI music generation system with a generation strategy based on Wasserstein autoencoders and a novel variant of pianoroll descriptions of patterns which employs separate channels for note velocities and note durations and can be fed into classic DCGAN-style convolutional architectures. We trained the system on two new datasets (in the acid-jazz and high-pop genres) composed by musicians in our team with music generation in mind. Our demonstration shows that moving smoothly in the latent space allows us to generate meaningful sequences of four-bars patterns.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Composers, musical style' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography