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

Contents

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

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

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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

1

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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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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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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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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Misson, Andrej. "O glasbeni terminologiji pri pouku glasbene teorije in kompozicije / Some Thoughts on Musical Terminology at Musical Theory, Composition and Counterpoint Teaching." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 91–108. http://dx.doi.org/10.26493/2712-3987.16(33)91-108.

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Traditionally, music can be divided into musical theory, composition and musical performance. For an in-depth understanding, appropriate terminology is required, also in the Slovene language. Like all European nations, Slovenes based their musical terminology mainly and directly on the Greek and Latin languages, or otherwise indirectly, primarily through the German and Italian languages. The development of a relatively young Slovenian terminology is closely linked to music education. In his paper, the author briefly mentions some facts about musical terminology in general and some facts about Slovenian musical terminology. Today, it is quite comparable to foreign ones, but we face a number of translation and terminological challenges. Some of these challenges, found in the instruction of composition, musical theory and counterpoint, are also presented in the article. The success of musical theory and terminology is, after all, featured in musical practice.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Maeda, Yoichiro, and Yusuke Kajihara. "Automatic Generation of Musical Tone Row and Rhythm Based on the Twelve-Tone Technique Using Genetic Algorithm." Journal of Advanced Computational Intelligence and Intelligent Informatics 14, no. 3 (April 20, 2010): 288–96. http://dx.doi.org/10.20965/jaciii.2010.p0288.

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Genetic Algorithms (GA) and Interactive Genetic Algorithms (IGA) used to generate sound in computer applications generating music are difficult to use, as is, in directly composing music. We propose music composition based on the 12-Tone Technique (TTT). In TTT composition, the melody and rhythm are usually created separately. The melody is created first to determine the musical subject and atmosphere. We design a fitness function based on the relationship between consonant and dissonant intervals that are a part of general musical theory and generate the 12-Tone (TT) row automatically by searching for consonant tone rows using the GA. We then set a fitness function for evaluating the rhythm we define, and obtained musical rhythm using the GA.
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BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools." Volume 5 - 2020, Issue 9 - September 5, no. 9 (September 25, 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.

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In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.

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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Capuzzo, Guy. "Elliott Carter and Musical Silence." Journal of Music Theory 64, no. 1 (April 1, 2020): 37–61. http://dx.doi.org/10.1215/00222909-8033420.

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This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones.
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Dissertations / Theses on the topic "Musical composition|Music theory|Music"

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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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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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McKee, David Frank. "ALABAMA SUMMER: SUITE FOR ORCHESTRA WITH STRUCTURAL AND HARMONIC ANALYSIS." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/776.

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Thesis (D.M.A.)--University of Kentucky, 2008.
Title from document title page (viewed on May 13, 2008). Document formatted into pages; contains: vii, 114 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 112).
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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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Books on the topic "Musical composition|Music theory|Music"

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

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

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Henry, Earl. Fundamentals of music: Rudiments, musicianship, and composition. 5th ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2008.

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Thesaurus of abstract musical properties: A theoretical and compositional resource. Westport, Conn: Greenwood Press, 1995.

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

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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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Kosona, Fani, and Leontios Hadjileontiadis. "Catastrophe Theory: An Enhanced Structural and Ontological Space in Music Composition." In Mathematics and Computation in Music, 358–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_33.

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Hamanaka, Masatoshi, Keiji Hirata, and Satoshi Tojo. "Computational Music Theory and Its Applications to Expressive Performance and Composition." In Guide to Computing for Expressive Music Performance, 205–34. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4123-5_8.

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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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Greher, Gena R., and Savannah H. Marshall. "The App Scavenger Hunt." In Creative Music Making at Your Fingertips, 56–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0005.

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The chapter focuses on projects designed to enhance student engagement with, and exploration of, mobile devices. Helping preservice teachers manage the often steep learning curve that goes hand in hand with connecting theory to practice is but one aspect of music teacher preparation. For the methods student and university professor alike, staying abreast of the current PK-12 school population’s musical needs poses unique conditions for curriculum development. Learning how to use technology while working with a diverse range of students presents challenges for all who are involved in teaching music with technology. The App Scavenger Hunt is an introductory project intended to foster collaboration by exploring the variety of apps available for later projects such as spontaneous musical jam sessions, group composition, and the (re)creation of cover tunes. These musicking experiences, in conjunction with field experiences in music methods classes, aided university students’ embrace of the potential for creative music making with mobile technology.
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Nicholsen, Shierry Weber. "What kind of conscious activity is ‘listening to music’? A contribution from Theodor Adorno by way of psychoanalysis." In Music and Consciousness 2, 215–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0013.

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This chapter elaborates Theodor Adorno’s notion of genuine music listening and the role of consciousness within it by analogy with the psychoanalytic conceptualization of listening in the analytic dialogue as described in Freud’s model of the free-association process. Crucial in both models of listening is the simultaneous restraining of conventional expectations and the reception of what is new in what is being heard. For both, listening is collaborative work (between patient and analyst, or between listener and the musical composition), engaging the interaction of consciousness and the unconscious by confronting resistances and bringing new meaning into conscious awareness. Implicit in Adorno’s conception of music listening, as part of his critical theory of society, is a socio-historical dimension: the collaboration between genuinely advanced music like that of the Second Viennese School and the individual engaged in genuine listening works against false consciousness to further an authentic subjecthood..
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Pesic, Peter. "Hearing the Irrational." In Music and the Making of Modern Science. The MIT Press, 2014. http://dx.doi.org/10.7551/mitpress/9780262027274.003.0005.

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Though Greek mathematics would have considered the notion of “irrational numbers” to be inherently contradictory, in the sixteenth century this concept found advocates on musical grounds well before it appeared in the theory of equations. Michael Stifel, the leading German mathematician of the century, first used the term “irrational numbers” in the context of his discussion of music, but then drew back from the infinity of digits implicit in this concept. Girolamo Cardano, the famous physician and mathematician, brought this concept forward in his musical writings and later used it in his treatment of algebra. Nicola Vicentino’s interest in reviving ancient Greek quarter-tones in enharmonic music led him to advocate “irrational proportions.” Each of their involvements with practical music and composition related closely to their mathematical views. Distrust of the irrational, both musical and mathematical, also color controversies about the expressive dissonances used in early opera, such as Giovanni Maria Artusi’s critique of Claudio Monteverdi. Throughout the book where various sound examples are referenced, please see http://mitpress.mit.edu/musicandmodernscience (please note that the sound examples should be viewed in Chrome or Safari Web browsers).
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Adolphe, Bruce. "Exercises in Composing." In The Mind's Ear, 143–73. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0006.

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This part is designed primarily with composers in mind, yet while experience writing music would be helpful here, it is not absolutely required to enjoy doing these exercises. The exercises may be done by an individual alone, and they are also useable in a composition class, private lesson, theory seminar, or improvisation workshop. Part V opens with an essay about creativity in general that also explores ideas of truth and beauty in music. Beauty is not discussed in a mundane sense—not in the sense of prettiness or loveliness—but rather the concept of Beauty within music composition as it is embodied in the relation of the parts to the whole, a sense of proportion, and the aptness of technique to the idea expressed. This is followed by a series of exercises designed to inspire musical creativity. These involve a range of approaches, including: imitating models; channeling composers; creating alternatives to existing music; using spoken text as subtext for composition; stylistic juxtapositions and confrontations; altering parameters such as meter; rewriting pre-existing music; using structural analysis to create new music; cutting and pasting; group composing games; versions and variations of a phrase; deceptive endings, detours, and interruptions; and music based on physical manifestations of emotion discovered through acting.
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Williams, James Gordon. "Unified Fragmentation: Andrew Hill’s Street Theory of Black Musical Space." In Crossing Bar Lines, 131–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.003.0006.

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This chapter examines Andrew Hill’s philosophical approach to improvisation based on a textual analysis of his unfinished theoretical treatise called Project Acculturation (1994) found amongst Hill’s papers in his archives at the Institute of Jazz Studies at Rutgers University. At the heart of Hill’s theory is a pedagogical paradigm he called “street approach to jazz improvisation.” Hill wanted institutional music curriculum to acculturate to the ways of learning that had shaped his musical approaches that extends from his experiences as a young musician in the Chicago Black jazz clubs, where he was encompassed by feeling of Black sociality. This is a feeling which he says is missing in what he calls white jazz. This chapter claims scholarship on Hill has largely focused on analyzing his compositional and improvisational analysis because he resisted musical and political categories. Hill’s musical approach to musical space in his composition “Malachi” (2006) is analyzed.
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Iyer, Usha. "Dance Musicalization and the Choreomusicking Body." In Dancing Women, 27–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.003.0002.

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Chapter 1 presents a dance-centered taxonomy of musical numbers, which clarifies how dance promotes agency and authorship. Reconsidering the term “song picturization,” which suggests the primacy of the song as setting the agenda for the visuals, this chapter proposes that in the case of certain dance numbers or famed dancer-actors, a reverse process of “dance musicalization” is at work, in which a desired dance vocabulary precedes and influences the conceptualization of the song. This disruption of given logics of production and authorship spurs the conceptualization of a multi-bodied “choreomusicking body,” which directs our attention to the many on- and off-screen bodies laboring to produce the song-and-dance number, and fundamentally shifts ideological readings of narrative and spectacle in popular Hindi cinema. Employing choreomusicological theory, historical accounts of dancer-actors’ influence on musical composition, and spectatorial responses to the music-dance composite, this chapter proposes new models for theorizing the Hindi film song-and-dance sequence.
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Conference papers on the topic "Musical composition|Music theory|Music"

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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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Lee, Younghwa, and Kenneth Kozar. "Music Composition Theory and Web Purchases." In 2007 40th Annual Hawaii International Conference on System Sciences (HICSS'07). IEEE, 2007. http://dx.doi.org/10.1109/hicss.2007.395.

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Liu, Chien-Hung, and Chuan-Kang Ting. "Evolutionary composition using music theory and charts." In 2013 IEEE Symposium on Computational Intelligence for Creativity and Affective Computing (CICAC). IEEE, 2013. http://dx.doi.org/10.1109/cicac.2013.6595222.

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Yoshida, Takayuki, Teruhisa Hochin, and Hiroki Nomiya. "Automatic composition using melodic outlines and music theory." In 2017 18th IEEE/ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel/Distributed Computing (SNPD). IEEE, 2017. http://dx.doi.org/10.1109/snpd.2017.8022773.

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