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Relevant bibliographies by topics / Composition (music)

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Academic literature on the topic 'Composition (music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Composition (music)"

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Guntriana, Kadek, and Garwa I Ketut. "Music Composition Kaliyuga | Komposisi Musik Kaliyuga." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (August 25, 2023): 263–72. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2092.

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Kaliyuga merupakan salah satu zaman paling akhir di antara Yuga lainnya pada suatu siklus perkembangan zaman Agama Hindu di Bali, yang dikenal dengan nama Catur Yuga. Zaman Kaliyuga disebut dengan zaman kegelapan atau disebut juga dengan zaman kehancuran. Karya tabuh kreasi ini terinspirasi dari sisi negatif sifat manusia pada zaman Kaliyuga, yang pada diri manusia raganya dipenuhi dan dikuasai oleh sifat Adharma. Pencipta menciptakan karya tabuh kreasi yang berjudul Kaliyuga dengan menggunakan media ungkap barungan gamelan Gong Kebyar. Pencipta memiliki ketertarikan untuk mentransfomasikannya

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Bisma, I. Wayan Arya, and I. Wayan Suharta. "Music Composition “Entik” | Komposisi Musik “Entik”." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 257–65. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1203.

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Pertumbuhan akar selalu berkembang membentuk cabang-cabang baru sehingga terbentuk fisik yang sangat unik dengan jalinan-jalinan yang tidak teratur yang menjadikan bentuk fisik akar tersebut terlihat rumit. Fenomena tersebut merangsang pikiran penulis untuk mentransfernya kedalam bentuk karya seni komposisi karawitan yang berjudul Entik. Fenomena tersebut diinterpretasikan dengan mengolah cakupan nada, jalinan-jalinan pola dan jalinan-jalinan antar instrumen, pengembangan fungsi instrument, ritme, tempo dan dinamika yang diolah secara minimalis, yang dipresentasikan menggunakan media ungkap ga

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Ekalawaya, I. Gede Mekel, I. Nyoman Kariasa, and I. Wayan Diana. "Music Composition Ngiyang | Komposisi Musik Ngiyang." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 249–56. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1199.

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Ngiyang merupakan penggabungan dari dua kata yang menjadi satu yaitu ngibur dan melayangan. Tujuan dari garapan ini, yaitu ingin mendalami lebih jauh terhadap komposisi karya tabuh kreasi baru gong kebyar yang sudah penata rancang dan bagaimana cara penata dapat menumbuhkan sesuatu hal baru didalam bentuk garapan ini sebagai eksperimen yang penata lakukan. Karya seni karawitan Ngiyang ini tercipta melalui metode yang dijalani dengan proses kreatifitas yang selalu berkaitan dengan waktu, tempat, situasi dan kondisi tentunya diimbangi dengan pengalaman penata didalam dunia Seni Karawitan sehingg

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Adiputra, Kadek Agus Pusaka, and Tri Haryanto. "Music Composition Makules | Komposisi Musik Makules." GHURNITA: Jurnal Seni Karawitan 2, no. 2 (May 23, 2022): 86–96. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i2.406.

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Karya musik Makules dilatar belakangi dengan melihat suatu fenomena dimana dewasa ini para komposer di Bali khususnya yang ada di lingkungan penata yakni di daerah Tabanan dalam menciptakan komposisi musik baru lebih dominan mengolah elemen-elemen musik seperti ritme, melodi, dinamika, dan harmoni. Sedikit komposer yang mengolah warna suara atau timbre. Dari fenomena tersebut penata mendapatkan inspirasi melakukan sesuatu yang berbeda. Obsesi mengantarkan pada abstraksi pemikiran dengan ketertarikan ingin mengolah warna suara, menciptakan kesan baru dengan mongolah timbre atau warna suara seba

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Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via th

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Ming, Tsao. "Music Composition Today." Revista Vórtex 8, no. 1 (March 6, 2020): 1–10. http://dx.doi.org/10.33871/23179937.2020.8.1.1-10.

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Munoz, Enrique, Jose Manuel Cadenas, Yew Soon Ong, and Giovanni Acampora. "Memetic Music Composition." IEEE Transactions on Evolutionary Computation 20, no. 1 (February 2016): 1–15. http://dx.doi.org/10.1109/tevc.2014.2366871.

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De Felice, Clelia, Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino, and Rosalba Zizza. "Splicing music composition." Information Sciences 385-386 (April 2017): 196–212. http://dx.doi.org/10.1016/j.ins.2017.01.004.

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Sumerjana, Ketut. "Psychophysiological Responses to “Yogyakarta Nyaman” Music Composition." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 125. http://dx.doi.org/10.31091/jomsti.v2i1.608.

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Humans are always trying to be healthy. When they are sick, they will seek and find medication and methods that are suitable for their physiological and psychological conditions. One of the unique medication and methods in the treatment process is to use music to intervene such psychophysiological conditions. Some studies used modulated high frequency (HFCs) in inducing participants (respondents)’ condition, and in fact obtaining good results. But the use of these objects in the previous studies is still a single sound chosen from the width of the music frequency range, not yet directed toward

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Kariasa, I. Nyoman, and I. Kadek Tunas Sanjaya. "Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.

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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical compos

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Dissertations / Theses on the topic "Composition (music)"

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Stylianou, Constantinos Yerolemou. "Music composition." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.

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Bunch, M. R. B. "Composition, music." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.

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1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, <i>Pictures at an Exhibition</i>. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes

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Benson, John Stuart. "Music composition." Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.

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Carvalho, Sara. "Music composition." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.

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Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.

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MacMillan, James. "Music composition." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.

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The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree

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Cashian, Philip. "Music composition." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/10284/.

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Carcas, Gillian Ruth. "Music composition." Thesis, Durham University, 1995. http://etheses.dur.ac.uk/10193/.

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Archbold, Paul. "Music composition." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/10188/.

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The attached portfolio is a selection of works that I have composed since October 1990. The selection includes most of the concert music written in this period but excludes the incidental music that I wrote for three productions of Astra Theatre (Woyzeck, Macbeth arid Th~e White Scourge), and incidental music to The Beggar's Opera (written for the St Magnus Festival, Orkney). Two chamber works, with which I was never satisfied, are also omitted: Catch for Three for three oboes, composed for a project for children with special needs and Chimaeric Visions for free bass accordion and percussion.

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Mulvey, Grainne. "Composition portfolio : ten compositions and commentaries." Thesis, University of York, 1998. http://etheses.whiterose.ac.uk/10860/.

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Books on the topic "Composition (music)"

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Cormier, Stephen M. Modal music composition. 3rd ed. Arlington, VA: Inman & Artz Publishers, 2010.

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Cormier, Stephen M. Modal music composition. Arlington, VA: Inman & Artz Publishers, 2004.

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Winsor, Phil. Automated music composition. Denton, Tex: University of North Texas Press, 1989.

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Brindle, Reginald Smith. Musical composition. Oxford ; New York: Oxford University Press, 2002.

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Young, Gregory, and Steve Roens. Insights into Music Composition. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205869.

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1918-, Mehta R. C., Indian Musicological Society, and Seminar on "Bandish-the Key Concept to Music and its Forms" (1990 : Bombay, India), eds. Composition in Indian music. Bombay: Indian Musicological Society, 1993.

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7

Jarrett, Scott. Music composition for dummies. Hoboken, N.J: Wiley, 2008.

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8

Robert, Morris. Composition with pitch-classes: A theory of compositional design. New Haven: Yale University Press, 1987.

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Brindle, Reginald Smith. Musical composition. Oxford: Oxford University Press, 1986.

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Caesar, Rodolfo. The composition of electroacoustic music. Norwich: University of East Anglia, 1992.

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Book chapters on the topic "Composition (music)"

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Manzo, V. J. "Algorithmic Composition." In Teaching Electronic Music, 103–19. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367815349-8.

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Cope, David. "Algorithmic Music Composition." In Patterns of Intuition, 405–16. Dordrecht: Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9561-6_19.

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Dostál, Martin. "Evolutionary Music Composition." In Handbook of Optimization, 935–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-30504-7_37.

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Barrett, Natasha. "Spatial music composition." In 3D Audio, 175–91. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429491214-9.

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Warwick, Jacqueline. "Composition." In Music, Gender, and Sexuality Studies, 38–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003042655-3.

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Zattra, Laura. "Collaborating on composition." In Live Electronic Music, 59–80. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-4.

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Chakraborty, Soubhik, Guerino Mazzola, Swarima Tewari, and Moujhuri Patra. "Seminatural Composition." In Computational Musicology in Hindustani Music, 97–101. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-11472-9_9.

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Young, Gregory, and Steve Roens. "Building Upon Prior Music." In Insights into Music Composition, 27–31. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205869-5.

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Thesen, Thomas Paul. "Music and Sound." In Composition for the 21st ½ century, 435–51. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22148-19.

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de Alencar, Marcelo Sampaio. "Study of Melody and Composition." In Music Science, 179–85. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-15.

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Conference papers on the topic "Composition (music)"

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Armitage, Joanne, and Ng Kia. "Multimodal Music Composition." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.7.

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Wiriyachaiporn, Panida, Kankawee Chanasit, Atiwong Suchato, Proadpran Punyabukkana, and Ekapol Chuangsuwanich. "Algorithmic Music Composition Comparison." In 2018 15th International Joint Conference on Computer Science and Software Engineering (JCSSE). IEEE, 2018. http://dx.doi.org/10.1109/jcsse.2018.8457397.

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Fu, Tao-yang, Tsu-yu Wu, Chin-te Chen, Kai-chu Wu, and Ying-ping Chen. "Evolutionary interactive music composition." In the 8th annual conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1143997.1144301.

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Kikuchi, Junki, Hidekatsu Yanagi, and Yoshiaki Mima. "Music Composition with Recommendation." In the 29th Annual Symposium. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/2984751.2985733.

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Chiu, Shih-Chuan, and Man-Kwan Shan. "Computer Music Composition Based on Discovered Music Patterns." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

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Sulyok, Csaba, Andrew McPherson, and Christopher Harte. "Corpus-taught Evolutionary Music Composition." In European Conference on Artificial Life 2015. The MIT Press, 2015. http://dx.doi.org/10.7551/978-0-262-33027-5-ch102.

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Yang, Yi-Hsuan. "Automatic Music Composition with Transformers." In ICMR '21: International Conference on Multimedia Retrieval. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3463946.3469111.

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Wainiya, Wasin, and Pitikhate Sooraksa. "Chen's Attractor in Music Composition." In 2017 21st International Computer Science and Engineering Conference (ICSEC). IEEE, 2017. http://dx.doi.org/10.1109/icsec.2017.8443903.

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Suzuki, Ryohei, Takashi Watanabe, and Takashi Iba. "Music Composition Patterns: A Pattern Language for Touching Music." In EuroPLop '22: 27th European Conference on Pattern Languages of Programs. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3551902.3565071.

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Oliveira, Vinicius César, and José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.

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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this cont

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Reports on the topic "Composition (music)"

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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, December 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.

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Haddad, Joanne. Reproduction of 'Good Reverberations? Teacher Influence in Music Composition since 1450'. Social Science Reproduction Platform, May 2022. http://dx.doi.org/10.48152/ssrp-4zww-p927.

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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change t

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In m

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