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Relevant bibliographies by topics / Music composition

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Academic literature on the topic 'Music composition'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Journal articles on the topic "Music composition"

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Guntriana, Kadek, and Garwa I Ketut. "Music Composition Kaliyuga | Komposisi Musik Kaliyuga." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (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 (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 (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 (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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Purba, Albiner, Ibnu Sina, and Sastra Munafri. "Andung-Andung Ni Sordam." Musica: Journal of Music 3, no. 2 (2023): 123. https://doi.org/10.26887/musica.v3i2.3928.

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Komposisi musik Andung-andung Ni Sordam merupakan komposisi yang terinspirasi dari instrumen musik tradisional dan kesenian tradisional Batak Simalungun yaitu Sordam dan Andung-andung. Komposisi ini menggunakan idiom musik dan karakter suara alat musik Sordam. Andung-Andung Ni Sordam merupakan musik komposisi gaya Fantasia yang digarap dalam bentuk tiga bagian dengan format orkestra. Dalam komposisi musik ini melodi dan pola ritme yang berangkat dari Andung-andung dan Sordam diambil sebagai gagasan yang digarap dalam sebuah komposisi musik instrumental. Dalam penggarapan komposisi musik Andung

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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 (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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Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.

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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teachi

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Ihsan, Andi. "STRUKTUR MUSIKAL POMPANG: SUATU KAJIAN BENTUK DAN KOMPOSISI MUSIK TRADISIONAL DI KABUPATEN MAMASA." JURNAL IMAJINASI 6, no. 2 (2022): 144. http://dx.doi.org/10.26858/i.v6i2.38729.

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Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis bentuk dan komposisi musik Pompang sebagai salah-satu musik tradisional yang ada di kabupaten Mamasa. Penelitian ini adalah penelitian analisis deskriptif dengan pendekatan kualitatif. Pengumpulan data dilakukan melalui observasi, studi dokumen, dan wawancara, yang selanjutnya dianalisis dengan cara mereduksi data, display dan selanjutnya verifikasi data. Hasil penelitian menunjukkan bentuk lagu pada musik pompang di kabupaten Mamasa terdiri atas dua bentuk yaitu (1) bentuk lagu dua bagian dan (2) bentuk lagu tiga bagian. Komposis

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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment musi

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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 (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 "Music composition"

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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 "Music composition"

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

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

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

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Brindle, Reginald Smith. Musical composition. Oxford University Press, 2002.

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Young, Gregory, and Steve Roens. Insights into Music Composition. 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. Indian Musicological Society, 1993.

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Jarrett, Scott. Music composition for dummies. Wiley, 2008.

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

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

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

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Book chapters on the topic "Music composition"

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

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Cope, David. "Algorithmic Music Composition." In Patterns of Intuition. 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. 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. Routledge, 2021. http://dx.doi.org/10.4324/9780429491214-9.

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

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Zattra, Laura. "Collaborating on composition." In Live Electronic Music. 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. 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. 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. 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. River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-15.

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Conference papers on the topic "Music composition"

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Botticelli, Cosimo, Roberto De Prisco, Nicola Lettieri, Luigi Lomasto, Delfina Malandrino, and Rocco Zaccagnino. "Visual Music Perception for Stochastic Music Composition." In 2024 28th International Conference Information Visualisation (IV). IEEE, 2024. http://dx.doi.org/10.1109/iv64223.2024.00060.

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Prapussornchaikul, Thanapat, and Tad Gonsalves. "Generative AI in Music and Mood Composition." In 2024 6th International Workshop on Artificial Intelligence and Education (WAIE). IEEE, 2024. https://doi.org/10.1109/waie63876.2024.00020.

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Anaie, Shireen, and Lise Safatly. "Generative AI in Arabic Music: Composition and Innovation." In 2025 5th IEEE Middle East and North Africa Communications Conference (MENACOMM). IEEE, 2025. https://doi.org/10.1109/menacomm62946.2025.10911005.

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Tirupathi, P., N. Ramana, and Gade Sathwika. "Mood Based Music Composition with Transformers and Fuzzy Logic." In 2024 IEEE 16th International Conference on Computational Intelligence and Communication Networks (CICN). IEEE, 2024. https://doi.org/10.1109/cicn63059.2024.10847386.

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Poddar, Kishan, and Bhanu Sharma. "Enhancing Music Composition with Marker-Based Augmented Reality Technology." In 2024 4th International Conference on Sustainable Expert Systems (ICSES). IEEE, 2024. https://doi.org/10.1109/icses63445.2024.10763174.

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Vinay, Kotha, Garnipudi Srenik, and Krishnaveni N. "Dynamic Music Composition System Using LSTM and Transformer Networks." In 2025 Fourth International Conference on Smart Technologies, Communication and Robotics (STCR). IEEE, 2025. https://doi.org/10.1109/stcr62650.2025.11020414.

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Temple, Mark D. "DNA Sonification Using 8-Channel Audio for Data Analyses and Music Composition." In ICAD 2024: The 29th International Conference on Auditory Display. International Community for Auditory Display, 2024. http://dx.doi.org/10.21785/icad2024.016.

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DNA sequences contain vast amounts of biological data and computer algorithms play an important role in processing these data for human inspection. Here we describe an updated computer-generated auditory display tool to be used as stand-alone audio or as a complement to a visual display for DNA sequence inspection. The auditory display uses musical notes to represent the data in relation to the process of gene expression or DNA replication. Given the use of musical notes in the auditory display raises the possibility these may be considered algorithmic music. To pursue this notion further the

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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. ACM Press, 2006. http://dx.doi.org/10.1145/1143997.1144301.

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Reports on the topic "Music composition"

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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, 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, 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, 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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Pasupuleti, Murali Krishna. Decentralized Creativity: AI-Infused Blockchain for Secure and Transparent Digital Innovation. National Education Services, 2025. https://doi.org/10.62311/nesx/rrvi125.

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Abstract The convergence of artificial intelligence (AI) and blockchain technology is transforming the creative economy by enabling secure, transparent, and decentralized innovation in digital content creation, intellectual property management, and monetization. Traditional creative industries are often constrained by centralized platforms, opaque copyright enforcement, and unfair revenue distribution, which limit the autonomy and financial benefits of creators. By leveraging blockchain’s immutable ledger, smart contracts, and non-fungible tokens (NFTs), digital assets can be authenticated, to

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 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, 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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