Relevant bibliographies by topics / Music history|Musical composition|Music theory

Contents

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

Academic literature on the topic 'Music history|Musical composition|Music theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Music history|Musical composition|Music theory"

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Gorbunova, Irina B., and Mikhail S. Zalivadny. "Music, Mathematics and Computer Science: History of Interaction." ICONI, no. 3 (2020): 137–50. http://dx.doi.org/10.33779/2658-4824.2020.3.137-150.

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The lecture “Music, Mathematics and Computer Science” characterizes by concrete examples various aspects of interaction of these studies with each other by incorporating the apparatus of corresponding scholarly disciplines (set theory, probability theory, information science, group theory, etc.). The role and meaning of these aspects in the formation of an integral perception about music and in the realization of practical creative musical goals are educed. Examination of these questions is what the lecture studies are devoted to as part of the educational courses “Mathematical Methods of Research in Musicology” and “Informational Technologies in Music” developed by the authors for the students of the St. Petersburg Rimsky-Korsakov State Conservatory and the Herzen State Pedagogical University of Russia. The lecture “Music, Mathematics and Computer Science” is subdivided into two parts. The fi rst part, “Music, Mathematics and Computer Science: History of Interaction” examines the processes of interconnection and interpenetration of various fi elds of music, mathematics and computer science, spanning the period from Ancient Times to the turn of the 20th and the 21st centuries. The second part of the lecture: “Music, Mathematics and Computer Science: Particular Features of Functioning of Computer-Musical Technologies” (due to be published in the journal’s next issue) is devoted to examining various aspects of developing and applying computer-musical technologies in contemporary musical practice, including musical composition, performance and the sphere of music education.
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Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.

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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
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Krims, Adam. "Music Theory as Productivity." Canadian University Music Review 20, no. 2 (March 4, 2013): 16–30. http://dx.doi.org/10.7202/1014455ar.

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The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.

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The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, and Rocco Zaccagnino. "Understanding the structure of musical compositions: Is visualization an effective approach?" Information Visualization 16, no. 2 (July 25, 2016): 139–52. http://dx.doi.org/10.1177/1473871616655468.

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Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.
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Durman, Chris. "Psychedelic Popular Music: A History Through Musical Topic Theory." Music Reference Services Quarterly 21, no. 3 (July 2, 2018): 164–65. http://dx.doi.org/10.1080/10588167.2018.1490575.

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Sanfilippo, Dario, and Andrea Valle. "Feedback Systems: An Analytical Framework." Computer Music Journal 37, no. 2 (June 2013): 12–27. http://dx.doi.org/10.1162/comj_a_00176.

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The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and musical applications of feedback systems. In this article we first sketch a minimal history of feedback in music; second, we briefly introduce feedback systems from a theoretical point of view; then we propose a set of features that characterize them from the perspective of music applications; finally, we propose a typology targeted at feedback systems used in the audio/musical domain and discuss some relevant examples.
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Knittel, Krzysztof. "Some Remarks on my Composition Technique." Musicology Today 12, no. 1 (December 1, 2015): 74–79. http://dx.doi.org/10.1515/muso-2015-0008.

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Abstract Krzysztof Knittel’s text about his own composition techniques, also looking at such topics as: the influence of painting on his music (e.g. the works of Piet Mondrian and Paul Klee); truth in the musical work; the application of recycling ad re-use techniques to the form of the musical work; methods of constructing the sound of the composition; links between music and historical events; rollage - a technique borrowed from the painter Jiří Kolář for the needs of St. Matthew Passion; sound installations created by Knittel with sounds of nature and civilisation; Theodor Lipps’ theory of empathy (Einfuhlung), as well as intuitive and improvised music.
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Ghere, David, and Fred M. B. Amram. "Inventing music education games." British Journal of Music Education 24, no. 1 (February 9, 2007): 55–75. http://dx.doi.org/10.1017/s0265051706007224.

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The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.
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Helweg, Kim. "Composing with quantum information: Aspects of quantum music in theory and practice." Muzikologija, no. 24 (2018): 61–77. http://dx.doi.org/10.2298/muz1824061h.

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Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science - to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
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Dissertations / Theses on the topic "Music history|Musical composition|Music theory"

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Safran, Benjamin. "SOUNDING STRATEGY: COMPOSERS’ USES OF SOCIAL JUSTICE AND POLITICAL THEMES IN CONTEMPORARY CLASSICAL CONCERT MUSIC." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/570955.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which I discuss). Concurrently with my research, I composed a large-scale experimental work to be used in a protest to demonstrate the potential for contemporary classical music to support nonviolent movements. I organized a pilot performance that brought together music students and community members in the lobby of a large utility headquarters as part of an ongoing campaign for local green jobs in Philadelphia.
Temple University--Theses
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Safran, Benjamin. "Action pieces final." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571017.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses
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Safran, Benjamin. "Action Piece 3." Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/571018.

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Music Composition
Ph.D.;
Contemporary classical concert music could be part of the solution to build a just and sustainable future. My research demonstrates that such music, despite its niche, elitist positioning in contemporary American society, can contribute to social movements and change the world in meaningful, tangible ways when attention is paid to social movement strategy and structures of power. To reconsider the potential power of this music, I apply a range of methodologies from ethnography to hermeneutic analysis to nonviolent direct action strategy, drawing on the work of musicologists, ethnomusicologists, and social movement theorists. Given the elitism of the classical concert hall, it is a non-obvious genre in which to convey a social justice or leftist political theme, yet many composers try to do so. I examine five of these composers in depth: Laura Kaminsky, David Lang, Curt Cacioppo, Ludovico Einaudi, and Hannibal (who goes by other names but used the mononym Hannibal in the concert which
Temple University--Theses
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Tanikawa, Takuma. "Ondo for Chamber Orchestra." Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809519.

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Ondo was written for my grandmother’s 88th birthday. The composition comprises six sections based on a popular folksong, called “Tanko-Bushi,” which can be heard in every Japanese town during the Bon festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. “Tanko-Bushi” became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on Ondo, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity—as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of Ondo on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.

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Gregorio, Joseph. "Concerto for Piano and Orchestra and Sonata Form in Sergey Prokofiev's First Piano Concerto: An Analysis from the Perspective of Hepokoski and Darcy's Sonata Theory." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540539.

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Music Composition;
D.M.A.;
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.
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Williams, Benjamin John. "Music Composition Pedagogy: A History, Philosophy and Guide." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274787048.

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Klotz, Marcus L. "Eric Whitacre's When David Heard| Understanding Grief through the Lens of Kubler-Ross's Five Stages." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977634.

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This project report analyzes Eric Whitacre’s choral piece When David Heard, a work about grieving the loss of a son, alongside psychologist Elizabeth Kübler-Ross’s five stages of grief. The paper serves to better understand the lamentation of King David in Whitacre’s piece by seeing where each of the five stages fit into the process of grief throughout the piece.

The analysis observes Whitacre’s variety of musical devices such as tonal clusters, intermittent silences, and polyrhythms, as a means to describe the stages of grief that David is experiencing. By understanding these different stages of grief within the piece, one can conduct or sing the performance of this piece with better understanding of this grief.

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Rush, Matthew E. "An Analysis and Performance Guide for Anna Thorvaldsdottir's Aura for Three or Four Percussionists." Thesis, The University of Nebraska - Lincoln, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10846156.

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This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to aura (2011) for three percussionists and AURA (2015) for four percussionists by Icelandic composer Anna Thorvaldsdóttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition’s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ensemble as they learn the piece. It is this author’s aim that this resource will make this composition accessible to a wider range of ensembles and thereby bring more exposure to the music of Anna Thorvaldsdóttir.

In addition, biographical information and a survey of the composer’s compositional process and style is included to increase the limited amount of scholarly research that currently exists on Dr. Thorvaldsdóttir and her works.

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Viator, Landon. "Thanatos." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10277362.

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Viator, Landon Bachelor of Music, University of Louisiana at Lafayette, Fall 2015; Master of Music, University of Louisiana at Lafayette, Spring 2017 Major: Music Title of Thesis: Thanatos Thesis Director: Dr. Quincy Hilliard Pages in Thesis: 68; Words in Abstract: 94 Abstract The purpose of this thesis is to provide a theoretical analysis of my composition as well as demonstrate the techniques used to compose and compile electroacoustic music in the digital realm using a DAW software. I have demonstrated how to use MIDI instruments to compose music, how equalization was used to digitally change the timbre of the guitar and drums, how compression was used to control the dynamic range of the drums and add fullness to their sound, and I have demonstrated how to create MIDI notes to be played by the software instruments.

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Mitchell, David J. "A Performance Guide and Analysis of Compositional Techniques in Selected Percussion Music of Dave Maric." Thesis, The University of North Carolina at Greensboro, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10639934.

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The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, Trilogy (2000), Sense & Innocence (2002/2014), and Thrice Into Flames (2017). The present study examines Maric’s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.

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Books on the topic "Music history|Musical composition|Music theory"

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Hilson, Woldu Gail, and Montgomery Merle 1904-1986, eds. Course in musical composition. Norman: University of Oklahoma Press, 2010.

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Olivier, Messiaen. Technique de mon langage musical: Texte avec exemples musicaux. Paris: A. Leduc, 2000.

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Daube, J. F. The musical dilettante: A treatise on composition. Cambridge [England]: Cambridge University Press, 1992.

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1943-, Snook-Luther Susan P., ed. The musical dilettante: A treatise on composition. Cambridge: Cambridge University Press, 2006.

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Cœurdevey, Annie. Histoire du langage musical occidental. Paris: Presses universitaires de France, 1998.

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Schoenberg, Arnold. The musical idea and the logic, technique and art of its presentation. Bloomington, Ind: Indiana University Press, 2006.

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1923-, Carpenter Patricia, and Neff Severine 1949-, eds. The musical idea and the logic, technique, and art of its presentation. New York: Columbia University Press, 1995.

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Deliège, Irène. Musical creativity: Multidisciplinary research in theory and practice. New York: Psychology Press, 2006.

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Henry, Earl. Fundamentals of music: Rudiments, musicianship, and composition. 5th ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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Fundamentals of music: Rudiments, musicianship, and composition. 6th ed. Upper Saddle River: Prentice Hall, 2012.

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Book chapters on the topic "Music history|Musical composition|Music theory"

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Ho, Jocelyn. "From 2D to 3D: Using Geometry and Group Theory to Model Motivic Structure in Musical Composition." In Mathematics and Computation in Music, 342–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_29.

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Bellissima, Fabio. "Epimoric Ratios and Greek Musical Theory." In Language, Quantum, Music, 303–26. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-017-2043-4_28.

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Lovett, Matthew. "Towards a quantum theory of musical creativity." In Innovation in Music, 389–402. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-29.

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Mazzola, Guerino. "Musical Ontology." In The Topos of Music I: Theory, 21–25. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_3.

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Mazzola, Guerino. "Short History of Performance Theory." In Computational Music Science, 11–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_3.

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Mazzola, Guerino. "Gestural Dynamics in Modulation: (Towards) a Musical String Theory." In Computational Music Science, 171–88. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_18.

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Rolsma, Saskia C. M. M. "Theory in Practice: Reminiscences of Gaffurius’ Music Theory in the Milanese Choirbooks." In Epitome musical, 761–69. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2738.

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Mazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, and William Neace. "COMMUTE: Towards a Computational Musical Theory of Everything." In The Future of Music, 217–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_27.

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Dorfman, Jay. "Materials for Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0007.

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Nearly all forms of education make use of materials to support student learning. In the case of traditional music education, the type of material that comes to mind most readily is composed music. Since the dominant form of music education in the United States is the traditional ensemble, composed music is a justifiable representation of what most teachers think of as musical material. In this chapter, we will look at a couple of examples of established criteria for selecting musical materials for various types of teaching scenarios. Then, we will imagine how those criteria might be applied to TBMI and address the crossover between the music we use in traditional music teaching and the music that might be used in technology-based music instruction. We will then examine the types of materials that are specifically related to technology (software and hardware) and sort through some processes for evaluating and selecting those materials. Though most teachers do not articulate any kind of formula for music selection, there are certainly criteria by which music can be chosen for the classroom. A well-known treatise on criteria for wind band music selection is a dissertation by Ostling (1978) in which the author spelled out several guidelines for selecting music with “serious artistic merit.” Among Ostling’s suggestions were the following: The composition has form—not “a form” but form—and reflects a proper balance between repetition and contrast. The composition reflects craftsmanship in orchestration, demonstrating a proper balance between transparent and tutti scoring, and also between solo and group colors. The composition is sufficiently unpredictable to preclude an immediate grasp of its musical meaning. The route through which the composition travels in initiating its musical tendencies and probable musical goals is not completely direct and obvious. The composition is consistent in quality throughout its length and in its various sections.
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Milam, Brent A. "Deterministic Geometries: A Technique for the Systematic Generation of Musical Elements in Composition." In Mathematical Music Theory, 279–300. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813235311_0014.

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Conference papers on the topic "Music history|Musical composition|Music theory"

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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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van der Smissen, Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.
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Du Bois, Andre, and Rodrigo Ribeiro. "Combining Effects in a Music Programming Language based on Patterns." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10430.

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HMusic is a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers, drum machines and DAWs. HMusic provides primitives to design and combine patterns generating new patterns. The objective of this paper is to extend the original design of HMusic to allow effects on tracks. We describe new abstractions to add effects on individual tracks and in groups of tracks, and how they influence the combinators for track composition and multiplication. HMusic allows the live coding of music and, as it is embedded in the Haskell functional programming language, programmers can write functions to manipulate effects on the fly. The current implementation of the language is compiled into Sonic Pi [1], and we describe how the compiler’s back-end was modified to support the new abstractions for effects. HMusic can be and can be downloaded from [2].
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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.

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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.
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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.

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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.
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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.

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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Cornelissen, Willy, and Maurício Loureiro. "Automatic onset detection using convolutional neural networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10446.

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A very significant task for music research is to estimate instants when meaningful events begin (onset) and when they end (offset). Onset detection is widely applied in many fields: electrocardiograms, seismographic data, stock market results and many Music Information Research(MIR) tasks, such as Automatic Music Transcription, Rhythm Detection, Speech Recognition, etc. Automatic Onset Detection(AOD) received, recently, a huge contribution coming from Artificial Intelligence (AI) methods, mainly Machine Learning and Deep Learning. In this work, the use of Convolutional Neural Networks (CNN) is explored by adapting its original architecture in order to apply the approach to automatic onset detection on audio musical signals. We used a CNN network for onset detection on a very general dataset, well acknowledged by the MIR community, and examined the accuracy of the method by comparison to ground truth data published by the dataset. The results are promising and outperform another methods of musical onset detection.
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Reports on the topic "Music history|Musical composition|Music theory"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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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 the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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