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Dissertations / Theses on the topic 'Music Composition (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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3

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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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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5

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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7

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

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8

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

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9

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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10

Morgan, Louise Anne. "Children's collaborative music composition : communication through music." Thesis, University of Leicester, 1998. http://hdl.handle.net/2381/31262.

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The present research looks at peer collaboration and creativity, an area largely neglected by previous peer collaboration researchers, where goals are ill-defined and measures ambiguous. In previous (science based) peer collaboration research, the crucial factor promoting group productivity appears to be the 'social instrument of language'. Groups achieving intersubjectivity, or mutual understanding, through dialogue out-perform those groups who do not. The returning theme is one of sharing ideas verbally with other group members, arguing through alternatives and providing justifications for a

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11

Velloso, Rodrigo Cicchelli. "Electroacoustic music composition." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338057.

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Crutchley, Ian Joseph. "D.Phil. music composition." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245869.

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13

Tibbetts, Tracey D. "Computer generated music : a methodology for computer music composition." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.

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This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochas

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Sammoutis, Evis. "PhD in music composition." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428424.

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Yu, ChÅ ng. "Computer generated music composition." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.

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16

Koo, Chat-po, and 顧七寶. "Six music compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210831.

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Koo, Chat-po. "Six music compositions /." [Hong Kong] : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1341821X.

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18

Ghisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition." Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066561/document.

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Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sé

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19

Caesar, Rodolfo. "The composition of electroacoustic music." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412262.

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Thiebaut, Jean-Baptiste. "Sketching music : representation and composition." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/406.

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The process of musical composition is sometimes conceived of as an individual, internal, cognitive process in which notation plays a passive role of transmitting or recording musical ideas. This thesis questions the role played by representations in musical composition practices. We begin by tracing how, historically, compositional practices have co-evolved with musical representations and technologies for music production. We present case studies to show that the use of graphical sketches is a characteristic feature of the early stages of musical composition and that this practice recurs acro

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21

Martin, Pastor Fernando. "Composition portfolio and music analysis." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/349471/.

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This PhD thesis consists of eight middle-size compositions and a written commentary. Each of the pieces explores a different pitch system. In Chapter 1, the aesthetic behind these pieces is discussed. This is based on the transformation of a single unifying sonority; every note has a function both in the moment and on a large scale. This implies a hierarchy that is established through techniques derived from Schenker and Lerdahl’s analytical methods, which are also explained. The following chapters apply these methodologies in the analysis of the eight pieces, unveiling a good deal of techniqu

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22

Spyrou, Alexandros. "Liquid identity in music composition." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7032.

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The question of identity in music composition is interrelated with the condition of musical material and form and the qualities which make musical ideas traceable. The mechanisms for creating musical identity during much of the modern period were based on the elements of pitch, rhythm, harmony and form. Until the twentieth century musical identities were regulated according to traditional systems. The advent of modernism in music was marked by the new solid identities, timbre and texture to the foreground as significant identity-bearing musical elements, and at the same time saw blurring of th

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Blackburn, Manuella. "Portfolio of electroacoustic music composition." Thesis, University of Manchester, 2010. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-electroacoustic-music-composition(3a1d224f-5d60-4fa8-8049-1e7c1f937b3f).html.

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This commentary details the methods and ideas involved in creating the seven portfolio works. The portfolio is comprised of stereo acousmatic works, one mixed work and a multi-channel work, forming the practice-based research completed during the PhD programme at the University of Manchester. The works explore a number of aesthetic concepts encompassing instrumental timbres, cultural sound objects, rhythm incorporation, habitual spaces (the kitchen), imaginary and real objects (jukebox), and visual art sculpture (origami). Uniting the portfolio works is the use of Denis Smalley’s spectromorpho

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24

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

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25

Filoseta, Roberto. "Making the act of music visible : theatrical considerations in music composition." Thesis, University of Hertfordshire, 2006. http://hdl.handle.net/2299/14324.

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This research investigates the music-theatre phenomenon for the purpose of: clarifying how that differs from more traditional forms of musical theatre, i.e., Opera and Broadway musical; discussing its aesthetic bases; explicating its modes of operation in relation to both music and theatre. The writing is structured in three main parts. The first concern of the discussion is to clarify the connection between music and performance. To that end, Part One starts by reflecting on the nature of music and how its perception has been changed by modern technology, throwing live performance into questi

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Hamidi, Ghalehjegh Nima. "Visualizing temporality in music: music perception – feature extraction." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5770.

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Recently, there have been efforts to design more efficient ways to internalize music by applying the disciplines of cognition, psychology, temporality, aesthetics, and philosophy. Bringing together the fields of art and science, computational techniques can also be applied to musical analysis. Although a wide range of research projects have been conducted, the automatization of music analysis remains emergent. Importantly, patterns are revealed by using automated tools to analyze core musical elements created from melodies, harmonies, and rhythms, high-level features that are perceivable by th

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27

Beiert, Michael. "Portfolio of compositions, with accompanying composition commentary." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2042979/.

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The following chapters describe compositional methods applied to the compositions of the portfolio (Volume I), which consists of eight works for instruments and electronic sound, as well as one purely electronic piece. The main concern in all these works is aspects of open form and, to a lesser extent, indeterminacy during performance. I highlight the research I have undertaken in preparation for each of the compositions, show how all of these pieces are progressively linked by my evolving interest in open form, and place them in context with works by other composers, past and present, who hav

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Prince, Lloyd T. "Composition portfolio." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002318.

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29

Richard, Paul Christian Patrice. "Composition portfolio." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017548.

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30

Jensen, Johannes Høydahl. "Evolutionary Music Composition : A Quantitative Approach." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-14036.

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Artificial Evolution has shown great potential in the musical domain. One task in which Evolutionary techniques have shown special promise is in the automatic creation or composition of music. However, a major challenge faced when constructing evolutionary music composition systems is finding a suitable fitness function.Several approaches to fitness have been tried. The most common is interactive evaluation. However, major efficiency challenges with such an approach have inspired the search for <i>automatic</i> alternatives.In this thesis, a music composition system is presented fo

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31

Hargreaves, Jonathan James. "Music as communication : networks of composition." Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/11086/.

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32

Garcia, Jérémie. "Supporting music composition with interactive paper." Phd thesis, Université Paris Sud - Paris XI, 2014. http://tel.archives-ouvertes.fr/tel-01056992.

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This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal a

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33

Waters, Simon. "Electroacoustic music : composition beyond the acousmatic." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338056.

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34

Khan, Adil H. "Artificial intelligence approaches to music composition." Thesis, Northern Kentucky University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1549922.

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<p> Music composition using Artificial Intelligence is a well-established area of study with research dating back over six decades. From the time the mathematical model of computation was developed by Alan Turing in the 1940s, the question of whether computers can be built to match human level intelligence has been debated. Creativity is certainly considered to be a sign of intelligence, and many areas of Artificial Intelligence have pursued ways to emulate the creative spark found in humans. Music Composition via Artificial Intelligence falls into this category. This thesis explores the appli

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35

Oberholtzer, Josiah W. "A Computational Model of Music Composition." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463123.

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This thesis documents my research into formalized score control, in order to demonstrate a computational model of music composition. When working computationally, models provide an explicit formal description of what objects exist within a given domain, how they behave, and what transformations they afford. The clearer the model becomes, the easier it is to extend and to construct increasingly higher-order abstractions around that model. In other words, a clear computational model of music notation affords the development of a clear model of music composition. The Abjad API for Formalized Scor

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Yelkenci, Serhat. "Algorithmic Music Composition Using Linear Algebra." Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10275073.

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<p> Sound, in its all forms, is a source of energy whose capabilities humankind is not yet fully aware of. Composition - the way of aggregating sounds into the form of music - still holds to be an unperceived methodology with lots of unknowns. Methodologies used by composers are generally seem as being innate talent, something that cannot be used or shared by others. Yet, as any other form of art, music actually is and can be interpreted with mathematics and geometry. The focus of this thesis is to propose a generative algorithm to compose structured music pieces using linear algebra as the ma

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37

Keith, Mathieu. "Collaboration in Opera Composition : Writing an opera with three composers." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79129.

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Music is full of collaboration, between composers and musicians, musicians with each other, or composers with directors, to name a few. Not as commonly found are collaborations between multiple composers. Some works, such as Hexameron, (Liszt, 1839) were written as variations on a theme by several composers, but even rarer are single works written collaboratively by multiple composers. How would one set out to create a work with multiple composers? Can a group of composers collaborate to create a single, unified vision with a similar voice? What obstacles would arise from such a project? This

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Rao, Madhuri Preeti. "Senior Composition Thesis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/812.

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I had performed a recital of my compositions on April 22, 2016. This thesis is a portfolio of all of my compositions, including the program from my recital, program notes for each piece, and all scores. My senior recital consisted of two distinct halves. The first half was an exploration of abstract, theoretical, and experimental concepts in Western Art Music. The second half was an exploration in synthesizing the Carnatic music system with Western Art Music styles. This half was also an experiment in reversing musical orientalism, which has been historically prevalent in Western Art Music.

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39

Picknett, Michael David. "Devising music : applying creative approaches from dance and theatre to music composition." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17348/.

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My principal research question is: How can the directed devising techniques and principles of practice found in contemporary dance and theatre be adapted to the composition of music? The relationship between fixed material and improvisation within devised projects is often a grey area (see Etchells: 2013b). Some performances are tightly scored with little room for the performers to steer the performances - whereas other performances could be almost seen as free improvisation. The difference between improvisation and devising is always found in the performer’s relationship to the material. Devi

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40

Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.

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This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with co

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41

Kinnear, Tyler. "Music in nature, nature in music : sounding the environment in contemporary composition." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61354.

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This thesis examines nature as both a concept and source material in contemporary music. Composers reinforce, revise, and challenge existing conceptualizations of nature through their engagement with natural settings, live or recorded environmental sounds, and/or non-sounding environmental information. How composers understand nature informs the ways in which they employ aspects of the physical world in their music. This study explores the interplay between nature-as-concept and nature-as-source-material in art-based walks, outdoor music, electroacoustic composition, and concert-hall pieces. T

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42

Teixeira, Frederico. "Bad Habits : Exploring visual objects as a means of extracting and creating material for music composition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4191.

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This dissertation explores my process of drawing inspiration from visual objects and visual arts in order to generate compositional tools for music writing. It analyzes some of my earlier works, when this practice started taking shape, up until the construction of Bad Habits, an orchestral piece that utilized the late works of late North American painter Philip Guston as its main drive. The text follows a chronological and journal-like approach that seeks to dissect and investigate each step from the elaboration to the organization of each element drawn from visual objects in order to create a

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43

van, den Broek Koen Alexander. "Composition Portfolio." Thesis, University of Canterbury. Music, 2015. http://hdl.handle.net/10092/10774.

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Enrolling in Masters in a natural progression for me as a composer. This follows directly on from my other tertiary study: First Class Honours Degree in Composition from University of Canterbury; Diploma in Jazz from CPIT Jazz School majoring in Composition and Arranging. My body of work includes compositions for the Silencio Ensemble, a ten piece new-music ensemble, which I was the co-founder and musical director/conductor of ('05-'09). I have received several grants from Creative New Zealand including grants in 2008 and 2013 for 'Still Standing Silent' a work composed for mixed discipline

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Chanter, Tim Martin. "Composition portfolio." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8136.

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45

Bearden, Stephanie. "Wanderer : an original composition /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.

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46

Ratto, Diego. "Electroacoustic Orchestration : Timbre, Space and Sound Material Organisation." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3144.

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As a composer of electroacoustic music, I’m interested in understanding which characteristics of classical orchestration can be used in electroacoustic music after these years of its development. In specific, which aspects of orchestration can be used as powerful techniques in acousmatic music? The aim of this study is to create connections between the conventional acoustic orchestration practice and electroacoustic orchestration by using a transfer2 technique.

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47

Karlsson, Daniel M. "Mapping The Valleys of The Uncanny : An investigation into a process and method, colliding with questions relating to what can be known to be real, within the field of algorithmic composition. Or if you prefer: The roles of instrumentation and timbre, as they unwittingly conspire to designate access, power, status, work and ultimately class." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3115.

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We are free, from the shackles of the finite, and of the physical world. Sound now enjoys morphological freedom through a myriad of transformations. It is malleable to the utmost degree. We have at our disposal an astounding plethora of tools, with which we can manipulate and organise sound. This thesis project is a collection of musical materials that explore the idea of The Uncanny Valley, as it relates to music being real, fake or some strange combination of the two. This thesis project is primarily one in which I produce sound files. In a secondary capacity, I’m also producing a text file.

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Stanojevic, Vera D. "An approach to the pedagogy of beginning music composition teaching understanding and realization of the first steps in composing music /." Connect to resource, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1095793114.

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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xi, 56 p.; also includes illustrations. Includes bibliographical references (p. 56). Available online via OhioLINK's ETD Center

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Hejl, Matouš. "Technics and Music : some remarks on the process of exteriorization in music." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2439.

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The delegating of thought, memory and action outside of the human body, inseparable from the process of individuation and identity formation, and the following implications for music establish an underlying theme of this text. It is a reflection on the process of "supplementation," of prosthetization or exteriorization in the recent and contemporary milieu of music making, in which nothing is any longer immediately at hand, where everything is found mediated and instrumentalized, technicized, unbalanced.

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Stringer, John. "Composition." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387767.

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