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Tesis sobre el tema "Composition (music)"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Stylianou, Constantinos Yerolemou. "Music composition." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427954.

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2

Bunch, M. R. B. "Composition, music." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.642214.

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1. SIRIUS. String quartet in five movements: C, B, A, K, S Approximate duration: 68 minutes 2. Justine: Overture for dance – “The Silvery Crescent Moon” / “The Dance of the Clown”. Full orchestra. Approximate duration: 18 minutes. 3. “The Great Gate of the Capital of Kiev”. Chamber orchestra. Approximate duration: 10 minutes. An arrangement and expansion of the original piece of the same title, as composed by Modest Petrovich Moussorgsky for his piano suite, <i>Pictures at an Exhibition</i>. 4. i6. Song for small ensemble (counter-tenor, viola, harp and piano). Approximate duration: 10 minutes

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3

Benson, John Stuart. "Music composition." Thesis, University of Salford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400828.

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4

Carvalho, Sara. "Music composition." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367491.

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5

Renwick, Brendon. "Music composition." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259823.

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6

MacMillan, James. "Music composition." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/10283/.

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The works in this folio are not so much concerned with stylistic unity and consistency as with balancing a strongly subjective expression with the need to shape the music into an effective dramatic (or even melodramatic) entity. In achieving a successful fusion of these priorities the eight works gradually unfold various approaches to handling melodic, rhythmic, harmonic and textural parameters. In preserving and enhancing that which is purely instinctual there is an emerging realization throughout the folio that it has to be submitted to some exercise of the intellect, incorporating a degree

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7

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

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8

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

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9

Archbold, Paul. "Music composition." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/10188/.

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The attached portfolio is a selection of works that I have composed since October 1990. The selection includes most of the concert music written in this period but excludes the incidental music that I wrote for three productions of Astra Theatre (Woyzeck, Macbeth arid Th~e White Scourge), and incidental music to The Beggar's Opera (written for the St Magnus Festival, Orkney). Two chamber works, with which I was never satisfied, are also omitted: Catch for Three for three oboes, composed for a project for children with special needs and Chimaeric Visions for free bass accordion and percussion.

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10

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

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11

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

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12

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

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13

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

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

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14

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

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

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15

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

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16

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

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17

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

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

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

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24

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

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

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25

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

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

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26

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

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

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27

Wilkins, Keyna Rose. "Astronomical Phenomena in Music Composition." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17095.

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Space is the next frontier for humankind. In recent years, its sounds and images have increased in quality due to technological advances, providing rich pickings for composers. This thesis explores astronomical phenomena in music composition with a focus on my composition portfolio. Beginning with the history of astronomy as a source of music inspiration, from Plato to Björk, this paper analyses my portfolio, the composition method and the ways in which space influences can be clearly demonstrated. The portfolio consists of five solo and piano accompanied works, one trio and a music theatre ch

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28

Willgoss, Richard Adrian. "Creativity in Art Music Composition." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20586.

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This thesis investigates what it means to call art music composition creative. Research into the concept of creativity has taken place mostly in science-based disciplines and is reviewed for its relevance. Discussions on what may constitute the foundations of creativity in music are conducted. Musical creativity is not bounded by normativity, consistency, truth-boundedness, optimization or effability for its recognition and is largely aesthetic. Current research methods are mainly explanatory, objective and analytic, and necessarily fall short in understanding musical creativity. It thereby un

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29

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

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

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30

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

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

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31

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

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32

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

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

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33

Wynne, Donovan. "Composition portfolio." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1003121.

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Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my mus

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34

Fells, Nicolas A. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242161.

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35

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

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

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36

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

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37

Ingimundardottir, Gudrun 1963. "Dawn (Original composition)." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291376.

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38

Rothacker, Kurt Van Meter 1964. "Paean (Original composition)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291824.

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This original composition is primarily in the key of C and is in a style of expanded tonality. Although the work loosely follows an established formal structure, the harmonic changes exist freely within this structure and occur more as modal changes rather than diatonic. The structure of the work is a loose sonata form including introduction, transitions and retransitions, and coda.

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39

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

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

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40

Buitendag, Kingsley Alexander. "A short composition portfolio." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002297.

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41

Field, Ambrose Edmund. "Electroacoustic composition." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7755/.

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The aesthetics of composing electroacoustic music that includes both environmental and digitally processed sounds were studied. This was accomplished by practical means, resulting in a folio of creative work. Compositional methods and techniques relating to the interaction between environmental and processed sounds are detailed in this written dissertation. The dissertation also explores compositional applications for theories derived from the discipline of acoustic ecology. The context a sound might exist in, as well as the timbral characteristics of the sound itself, are shown to be vital in

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42

Baracskai, Zlatko. "Composition portfolio." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1739/.

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This is a portfolio of ten compositions composed at the Electroacoustic Music Studios at the University of Birmingham, Audio Research Lab at the Birmingham City University and my home studio during the period October 2007 – September 2010. The commentary comprises a set of philosophical considerations about my compositions and intent for creation. Further chapters are dedicated to compositional techniques, related traditions and piece specific documentation. A recent CD release from ‘diobel kiado’ publishing house is attached which contains two of the presented compositions. The rest of the pr

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43

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

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

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44

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

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

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45

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

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46

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

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47

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

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

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48

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

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

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49

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

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

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50

Mayall, Jeremy Mark. "Composition Portfolio." The University of Waikato, 2006. http://hdl.handle.net/10289/2398.

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The works in this portfolio of original compositions cover a wide spectrum of genres, styles, approaches, and musical techniques. The aim was to demonstrate mastery of the various musical languages and techniques characteristic of each genre. The calculatedly low-fi 'alt.rock meets computer games' approach of the concept album They No Longer Sleep Alone is of folk-like simplicity, deliberately eschewing the various polishing processes available to producers now in the digital mastering situation. The intention was to preserve a naturalness of sound and song making. On the other hand, live elec

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