Relevant bibliographies by topics / Humanities -> music -> composition

Contents

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

Academic literature on the topic 'Humanities -> music -> composition'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Humanities -> music -> composition"

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Lugo, Igor, and Martha G. Alatriste-Contreras. "Musical Composition and Two-Dimensional Cellular Automata Based on Music Intervals." Complex Systems 34, no. 2 (2025): 235–52. https://doi.org/10.25088/complexsystems.34.2.235.

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This paper uses a theoretical approach to explore the applicability of a two-dimensional cellular automaton based on melodic and harmonic intervals in random arrays of musical notes. Our aim is to explore alternative uses for a cellular automaton in the musical context for better understanding musical creativity. We use the complex systems and humanities approaches as a framework for capturing the essence of creating music based on rules of music theory. Findings suggest that such rules matter for generating large-scale patterns of organized notes. Therefore, our formulation provides a novel a
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Chadabe, Joel. "Interactive music composition and performance system." Journal of the Acoustical Society of America 78, no. 6 (1985): 2159. http://dx.doi.org/10.1121/1.392597.

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Todd, Peter M. "Hierarchical sequential networks for music composition." Journal of the Acoustical Society of America 87, S1 (1990): S18. http://dx.doi.org/10.1121/1.2028110.

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Leng, Xiaodan, Gordon L. Shaw, and Eric Wright. "Music composition and model of cortex." Journal of the Acoustical Society of America 87, S1 (1990): S19. http://dx.doi.org/10.1121/1.2028113.

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Ekpo, Omotolani Ebenezer. "Decolonizing the African musical language and Identity through Onyeji’s ‘Research Approach to music composition’ in Nigeria." African Musicology Online 12, no. 2 (2023): 43–55. http://dx.doi.org/10.58721/amo.v12i2.258.

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Ongoing research in the arts, humanities and social sciences has largely explored different subjects on decolonising African socio-cultural perspectives, including music composition and performances. Art music composers in Nigeria and diaspora beyond creative expression have adopted their native languages as a viable tool for decolonising their continent. More recently, works and arguments of music scholars like Meki Nzewi, Dan Agu, Bode Omojola, Olusoji Stephen, and Christian Onyeji, among so many, have emphasised the deliberate creative engagement of indigenous languages and musical idioms a
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Vassallo, Juan. "SYMBOLIC MUSICAL RESYNTHESIS AS AN EKPHRASTIC COMPOSITIONAL PRACTICE USING COMPUTATIONAL METHODS." Culture Crossroads 22 (September 13, 2023): 129–47. http://dx.doi.org/10.55877/cc.vol22.443.

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In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors
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Bolaji, David. "Indigenization and Educative Implication of Otito Lo Ye Ka Se by Kayode Samuel." International Journal of Research and Review 10, no. 3 (2023): 236–48. http://dx.doi.org/10.52403/ijrr.20230326.

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The advent of British colonialism gave rise to Western education, Christian religion, and art music in Nigeria. Consequently, since many Nigerians have embraced Western art music, there have been sustainable efforts to indigenize and promote Africanism in Nigerian art music. Part of these efforts owes much to a number of Nigerian ethnomusicologists and composers, one of whom indeed, is Kayode Samuel whose outstanding scholarship and advocacy of nationalism cannot be overemphasized. His creative composition, which involves the use of a pentatonic scale attributed to the African scale, stands as
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Meier, Sidney K., and Jeffrey L. Briggs. "System for real-time music composition and synthesis." Journal of the Acoustical Society of America 100, no. 2 (1996): 693. http://dx.doi.org/10.1121/1.416231.

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Aoki, Eiichiro. "Portable communication terminal apparatus with music composition capability." Journal of the Acoustical Society of America 113, no. 5 (2003): 2393. http://dx.doi.org/10.1121/1.1584173.

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Song, Shuailong, and Patrick Niñalga Leo. "Improvement of Hebei College Students' Understanding of Haydn's Trumpet Concerto in E Flat Major." International Journal of Social Science and Humanities Research 12, no. 1 (2024): 150–58. https://doi.org/10.5281/zenodo.10695592.

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<strong>Abstract:</strong><em> </em>This thesis investigates the enhancement of Hebei College students' comprehension of Haydn's Trumpet Concerto in E-flat Major, focusing on strategies to improve music cognition and appreciation. The study delves into the realm of music education and cognitive theories, aiming to address challenges in understanding classical compositions among students. By utilizing a mixed-methods approach, including surveys, interviews, and music analysis, the research analyzes the effectiveness of various educational methodologies in fostering a deeper grasp of the intrica
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Dissertations / Theses on the topic "Humanities -> music -> composition"

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Robinson, Chelseigh. "Music and Art: Exploring Cross-Pollination." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/115.

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As a music student who was always more attracted to the “academic” side of music rather than the performance side, I have come to hold a great respect for music history. This interest only grew when I got the opportunity to study music for a semester in Edinburgh, Scotland. Being surrounded by so much history, both musical and artistic, only fed my passion. I began to notice many similarities between the development of music and art both during lectures at the university and in my leisure time in galleries. I noticed that composers and visual artists in the same time period would hold similar
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Flores, Teresa. "Extended program notes for lecture/recital : the expansion of percussive writing in modern day wind ensemble repertoire." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/3596.

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The purpose of the lecture/recital was to demonstrate how pioneering composers such as Vincent Persichetti, Karel Husa, Joseph Schwantner, Michael Colgrass, and David Maslanka helped create the modem day wind ensemble percussion section. The Lecture/Recital consisted of a demonstration of extended techniques used in each of these composers’ works for wind ensemble, which enabled the composers to add different colors and timbres to the music. The lecture also included illustrations of possible setups and the number of percussion instruments utilized for each composition. A performance of variou
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Weber, Valerie R. "The Compositional Style of Francesco Geminiani: a Reflection of Theory and Practice in His Music and Guida Armonica Treatise." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001224.

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Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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O'Brien, Mark W. "Crossed lines : for chamber ensemble." Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2298.

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This work was written for ten performers plus tape. The instruments are divided into two groups, each with a distinct personality: flute, clarinet, horn, violin and cello in an "orderly" group, and three percussionists, piano, doublebass and tape in a "chaotic" group. The first two sections introduce these groups separately. The third section returns to the order group, which begins to show a chaotic influence. The fourth section, for tape alone, echoes the first in its stability. The final section, for the entire live ensemble, fuses the two groups into a texture which is not entirely chaotic
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Annis, Shannon M. "Kandinsky’s Dissonance and a Schoenbergian View of Composition VI." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/122.

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In this study, I clarify the relationship between Wassily Kandinsky's move towards abstraction in painting and his encounters with the music and theory of Arnold Schoenberg. Prior studies have concentrated on the similarities in their theories, but I examine Kandinsky [sic] idiosyncratic understanding of Schoenbergian concepts and the evolution of his engagement with music theory over the period of 1909 to 1914. I identify dissonance as the aspect of Schoenberg's music and theory that Kandinsky found most relevant to his own developing compositional theory for abstract painting. In music, diss
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Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research partici
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Mansilla, Juan F. "Voces - Drama in One Act." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3274.

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This thesis consists of a chamber-staged composition for soprano, baritone, modified Pierrot ensemble (flute, clarinet, piano, violin, viola and cello), Colombian tiple, and fixed media, together with an analytical paper in which I discuss my compositional techniques and their historical antecedents. The composition is an interpretation of an acute schizophrenic episode of a young female patient that is committed to a mental health facility. It was inspired by the need to bring awareness about mental illness and the struggles that these patients experience every day. In this work, I explore th
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Tanner, Paul. "The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2612.

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The development of the concert marimba and invention of the vibraphone in the twentieth century was accompanied by a concomitant growth in repertoire for each instrument. Both belong to the core instrumentation of many new music groups, and percussionists are at times required to perform the instruments simultaneously, combining their distinct timbral personalities. However, the number of solos for the ‘marimba-vibe’ (the term I use to describe a marimba and vibraphone arranged in close proximity to each other in order to be performed by one player) without additional percussion instruments, i
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Hedelin, Fredrik. "Levande musik : Ritornellen och musikens skapande." Doctoral thesis, Luleå tekniska universitet, Musik och dans, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-66555.

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Many years of working with electroacoustic music evoke the question in what sense one can talk about life in music. The question does not concern traces of the composer's life in the work, vivifying performances or musical experiences full of life, but rather the life of music itself.In order to find an answer to the question I examine three solo concertos in the light of the philosophy of Deleuze and Guattari. The concertos, for flute, violin and piano respectively, with chamber ensemble, were composed within the frame of the dissertation and emanate from the ritornello form as found in Vival
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Books on the topic "Humanities -> music -> composition"

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Symposium on Systems Research in the Arts and Humanities (1st 2007 Baden-Baden, Germany). Systems research in the arts and humanities: On choreographies in music, visual and perfomative arts, and environmental design : readings, processes, (op)positions and crossings on compositions, structures and patterns, design: duration, perception and senses, complexitiy in architecture and music systems, modeling, mapping, and choreographing (the space) of the body. International Institute for Advanced Studies in Systems Research and Cybernetics, 2007.

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Charles Horton; David A. Byrne; Lawrence Ritchey. Harmony Through Melody. Rowman & Littlefield Publishing Group, 2020.

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Digital Da Vinci Computers In Music. Springer, 2014.

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Music in the Body –The Body in Music. Georg Olms Verlag, 2022. http://dx.doi.org/10.25366/2022.84.

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The body matters in the humanities and within social and cultural studies. It is variously understood as a knowledge store and transmitter, as a node of perception and cognition, as a site of discipline and power and as a locus of identity and agency. But how is the body integral to our concept of music? With increasing interest, Musicology is discovering the epistemological role of the body and its potential as analytical tool, pursuing avenues such as affect studies, performance studies, gender in music and musical perception and cognition. This volume of collected works draws on an internat
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Nalbantian, Suzanne, and Paul M. Matthews, eds. Secrets of Creativity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462321.001.0001.

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This book draws from leading neuroscientists and scholars in the humanities and the arts to probe creativity in its many manifestations, including the everyday mind, the exceptional mind, the pathological mind, the scientific mind, and the artistic mind. It offers a brand new interdisciplinary approach revealing secrets of creativity that emerge from our everyday lives and from the minds of exceptional individuals and their discoveries or creations. Neuroscientists, psychologists, and humanities researchers provide new insights about the workings of the creative brain. Components of creativity
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Book chapters on the topic "Humanities -> music -> composition"

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Tron Gianet, Eric, Luigi Di Caro, and Amon Rapp. "Toward Human-AI Interaction in Music Composition: Studying Composers’ Practice." In Springer Proceedings in Humanities and Social Sciences. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-88334-7_11.

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Bai, Yang. "An Empirical Study Comparing the AI Music Generation Model with Electronic Music Composition Methods: a Multidimensional Analysis of Compositional Process, Quality and Efficiency." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2025. https://doi.org/10.2991/978-2-38476-432-7_22.

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Nugroho, Y. Yogi Tegar, and P. Paulus Metta Dwi Manggala. "The Use of AI in Creating Music Compositions: A Case Study on Suno Application." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2024. https://doi.org/10.2991/978-2-38476-348-1_13.

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Harvey, Penny. "Making Music, Building Roads." In Audible Infrastructures. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0003.

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This chapter explores how the analyses of audible infrastructures presented in this volume connect to the established and growing body of literature on civic infrastructures from scholars in the humanities and social sciences. There are clearly convergent interests between those who work on roads, water, and energy systems, on the one hand, and those who study the production, circulation, and reproduction of sound, on the other. To analyze the materialities of music making, as with civic infrastructures, is to investigate the relational capacities of the materials from which things are made, t
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McClary, Susan. "The Lure of the Sublime." In Making Sense of Music. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197779798.003.0007.

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Abstract A sequel to my article “Terminal Prestige” (1988), this essay returns to the alienating qualities of much 20th-century avant-garde music. When “Terminal Prestige” appeared, the serialist mafia still dictated what academic composers could write, and the article was highly critical. “The Lure of the Sublime” revisits the controversies concerning Modernism but with the goal of understanding more sympathetically why musicians such as Schoenberg would have made the decision to part company with tonal conventions. It argues that the aesthetic binary of the Beautiful and the Sublime, with it
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Newton, Adam Zachary. "Interchapter V Bildung and Built-ins." In Jewish Studies as Counterlife. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283958.003.0010.

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Hebrew school from the childhood years in New York City. Dickens and Tolkien, the social protests of 1968, experienced at eleven years of age in the Bronx. In the 1970s, liberal arts college, where mentors in music theory and composition and, later, literary studies, were teaching. Friendship with peers and teachers who were adolescents at the time of the Rosenberg affair, a vision, dazzling for a newcomer, of a fellowship that professes the Humanities and of a vocation to which one can attach oneself by spirit and heart as much as by training. A stay in the 1980s on the West Coast, and an app
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Ryzewski, Krysta. "Making Music in Detroit: Archaeology, Popular Music, and Post-industrial Heritage." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0011.

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Detroit’s popular music-making legacy has remained a foundation for the city’s symbolic identity throughout the twentieth century and into the present. For over a century music production in Detroit has been part of a thriving local industry and global enterprise, with different genres and styles of music measuring the city’s changing composition over the years (Holt and Wergin 2014). The sounds emerging from the city, coupled with its built environment and physical landscape, tell the stories of a creative, shapeshifting industrial and post-industrial centre defined by melodies, artists, and
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Anima Bairagi. "ENVIRONMENTAL AND ECOLOGICAL AWARENESS IN THE MAHABHARATA." In CONTEMPORARY SOCIAL RESEARCH: HEALTH, ECONOMY AND ENVIRONMENT: Vol 2, 2nd ed. REDSHINE London, 2019. http://dx.doi.org/10.25215/1387415603.14.

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This article focuses on environmental and ecological awareness in the perspective of the Mahabharata, a noble Hindu epic. The existence of good life on this planet- earth, is not possible without pure environment. Today, the interest in environmental and ecological awareness is seen spreading its wings to humanities. It embraces literature, art, music, history, religion and many branches of knowledge. The Hindus have responded in a very positive way for the concern of ecology. They say “One tree is equal to ten sons”. Sanskrit literature is not only rich in the grammatical composition and roma
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Fabryka-Protska, Olha. "Folklore tradition as a system of spiritual and cultural symbols of the Ukrainian diaspora." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-7.

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The aim of this section is to reveal the specificity of the folklore tradition in the system of spiritual and cultural symbols of the Ukrainian diaspora, which can be traced in various forms of functioning (revival, preservation, transformation, transmission). The methodology of the research lies in the synthesis of theoretical principles and methods, the leading of which are: systemic-analytical, historical, culturological, art studies, and others. The multifaceted nature of the research necessitates the application of an interdisciplinary approach and the integration of methods from humaniti
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Conference papers on the topic "Humanities -> music -> composition"

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Szymanska-Stulka, Katarzyna. "IGNACY ZALEWSKI�S DIE SPINNERIN AS A CATEGORY OF �COLORFUL MINDEDNESS� IN MUSIC." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs08.20.

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Color is not only a matter of visual arts but also of music. It can influence how we feel, how we perceive the world, and even tell a lot about one�s personal artistic style based on their favorite colors choices. Color is also a powerful means of communication. It can signify action, influence mood, and even physiological reactions. Colors can stimulate creativeness and affect productivity. Some experts tells about the powerful red, restful green, emotional yellow, playful orange or intellectual blue. Colors appear in art as a kind of mix, which is why we can describe art as colourful. Colorf
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Suwanmanee, Pusit. "Music Composition: Nora Suite for Saxophone Quartet." In The Paris Conference on Arts and Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0970.2022.3.

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"Research on Digital Music Composition Technology." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29117.

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Leonard Simanjuntak, Hendrik, Lono Lastoro Simatupang, and Victor Ganap. "Discourse on Indonesian Piano Composition for Music Education." In Proceedings of the Social Sciences, Humanities and Education Conference (SoSHEC 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/soshec-19.2019.66.

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Kaeomak, Theerawut. "Music Composition: Lagu J-Mahmad Folk Dance for Jazz Ensemble." In – The European Conference on Arts & Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2188-1111.2023.8.

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Szymanska-Stulka, Katarzyna. "TRAJECTORY OF GREEN BY ANDRZEJ KARALOW AND JERZY PRZEZDZIECKI: TOWARDS THE LANDSCAPE MUSIC." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.11.

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Andrzej Karalow (b. 1991) is a pianist, composer and improviser. In his approach to music, an avid interest of the young generation, he breaks free from the traditional form and instrumentation, striving for creative freedom and artistic exploration. The composer combines a variety of trends that are fundamental for several genres of music and determine a contemporary world of sounds. Performing as a pianist and guitar player, Karalow creates artistic projects with Jerzy Przezdziecki, a recognised Polish experimental electronic artist. Trajectory of Green, the subject of this analysis, origina
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Rovenko, Elena. "ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.08.

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The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the
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Vania, Tamara, Adi Ismanto, and Aing R. Nayadilaga. "The Composition of Room with Acoustical Applications in the Ensemble Room of Purwacaraka College of Music." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.198.

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Zhou, Xianying. "The combination of national music elements and western composition techniques in Liu Xiaogeng's Piano Works--In the piano works qSani fantasyq." In 2016 5th International Conference on Social Science, Education and Humanities Research. Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.338.

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Zenkin, Prof Konstantin. "Verbal and Musical Reflections on the Eternal in "Wozzeck" (“Woyzeck”) by G. Buechner – A. Berg." In 7th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. https://doi.org/10.62422/978-81-974314-5-6-001.

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The paper aims to explore how Alban Berg’s music reflects the thoughts of eternity, both intrinsic to Georg Büchner’s drama and introduced by the composer’s interpretation of the plot. Büchner’s drama presents negative images of the eternity, first, as “mill wheels”, i.e., cyclic rotations and “evil infinity” (Captain) and, second, as the illusory “immortality” of an inventor (Doctor). Contrary to Büchner’s drama, there is in Berg’s opera the concept of eternal as unconditionally valuable, as an ideal, which will be considered in the paper as well. On the basis of comprehensive analysis of 1)
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