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Artykuły w czasopismach na temat „Composition (music)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 29 lipca 2024

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1

Guntriana, Kadek, and Garwa I Ketut. "Music Composition Kaliyuga | Komposisi Musik Kaliyuga." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (August 25, 2023): 263–72. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2092.

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Kaliyuga merupakan salah satu zaman paling akhir di antara Yuga lainnya pada suatu siklus perkembangan zaman Agama Hindu di Bali, yang dikenal dengan nama Catur Yuga. Zaman Kaliyuga disebut dengan zaman kegelapan atau disebut juga dengan zaman kehancuran. Karya tabuh kreasi ini terinspirasi dari sisi negatif sifat manusia pada zaman Kaliyuga, yang pada diri manusia raganya dipenuhi dan dikuasai oleh sifat Adharma. Pencipta menciptakan karya tabuh kreasi yang berjudul Kaliyuga dengan menggunakan media ungkap barungan gamelan Gong Kebyar. Pencipta memiliki ketertarikan untuk mentransfomasikannya

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Bisma, I. Wayan Arya, and I. Wayan Suharta. "Music Composition “Entik” | Komposisi Musik “Entik”." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 257–65. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1203.

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Pertumbuhan akar selalu berkembang membentuk cabang-cabang baru sehingga terbentuk fisik yang sangat unik dengan jalinan-jalinan yang tidak teratur yang menjadikan bentuk fisik akar tersebut terlihat rumit. Fenomena tersebut merangsang pikiran penulis untuk mentransfernya kedalam bentuk karya seni komposisi karawitan yang berjudul Entik. Fenomena tersebut diinterpretasikan dengan mengolah cakupan nada, jalinan-jalinan pola dan jalinan-jalinan antar instrumen, pengembangan fungsi instrument, ritme, tempo dan dinamika yang diolah secara minimalis, yang dipresentasikan menggunakan media ungkap ga

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Ekalawaya, I. Gede Mekel, I. Nyoman Kariasa, and I. Wayan Diana. "Music Composition Ngiyang | Komposisi Musik Ngiyang." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 249–56. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1199.

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Ngiyang merupakan penggabungan dari dua kata yang menjadi satu yaitu ngibur dan melayangan. Tujuan dari garapan ini, yaitu ingin mendalami lebih jauh terhadap komposisi karya tabuh kreasi baru gong kebyar yang sudah penata rancang dan bagaimana cara penata dapat menumbuhkan sesuatu hal baru didalam bentuk garapan ini sebagai eksperimen yang penata lakukan. Karya seni karawitan Ngiyang ini tercipta melalui metode yang dijalani dengan proses kreatifitas yang selalu berkaitan dengan waktu, tempat, situasi dan kondisi tentunya diimbangi dengan pengalaman penata didalam dunia Seni Karawitan sehingg

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Adiputra, Kadek Agus Pusaka, and Tri Haryanto. "Music Composition Makules | Komposisi Musik Makules." GHURNITA: Jurnal Seni Karawitan 2, no. 2 (May 23, 2022): 86–96. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i2.406.

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Karya musik Makules dilatar belakangi dengan melihat suatu fenomena dimana dewasa ini para komposer di Bali khususnya yang ada di lingkungan penata yakni di daerah Tabanan dalam menciptakan komposisi musik baru lebih dominan mengolah elemen-elemen musik seperti ritme, melodi, dinamika, dan harmoni. Sedikit komposer yang mengolah warna suara atau timbre. Dari fenomena tersebut penata mendapatkan inspirasi melakukan sesuatu yang berbeda. Obsesi mengantarkan pada abstraksi pemikiran dengan ketertarikan ingin mengolah warna suara, menciptakan kesan baru dengan mongolah timbre atau warna suara seba

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Harahap, Irwansyah. "MERANGKAI WARNA: EKSPLORASI LARAS “PELOG” DALAM PERMAINAN ‘OUD ARABIS BERBASIS GARAPAN “WORLD MUSIC”." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (January 20, 2020): 149. http://dx.doi.org/10.26887/mapj.v2i2.974.

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ABSTRACT This writing generally discusses the term “world music” and various musical creative approaches that have been done. This writing also descriptively reviews the composition of “Merangkai Warna” in the context of melodist’s idea, instrument, concept building, and musical practice in musical composition. The musical composition “Merangkai Warna” is a musical composition inspired from the conception of world music. This composition is a form of musical exploration, namely through a set of musical instrument ‘oud Arabis, it tried to fuse and synthesize musical idioms and aesthetics via th

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Ming, Tsao. "Music Composition Today." Revista Vórtex 8, no. 1 (March 6, 2020): 1–10. http://dx.doi.org/10.33871/23179937.2020.8.1.1-10.

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Munoz, Enrique, Jose Manuel Cadenas, Yew Soon Ong, and Giovanni Acampora. "Memetic Music Composition." IEEE Transactions on Evolutionary Computation 20, no. 1 (February 2016): 1–15. http://dx.doi.org/10.1109/tevc.2014.2366871.

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De Felice, Clelia, Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino, and Rosalba Zizza. "Splicing music composition." Information Sciences 385-386 (April 2017): 196–212. http://dx.doi.org/10.1016/j.ins.2017.01.004.

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Sumerjana, Ketut. "Psychophysiological Responses to “Yogyakarta Nyaman” Music Composition." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 125. http://dx.doi.org/10.31091/jomsti.v2i1.608.

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Humans are always trying to be healthy. When they are sick, they will seek and find medication and methods that are suitable for their physiological and psychological conditions. One of the unique medication and methods in the treatment process is to use music to intervene such psychophysiological conditions. Some studies used modulated high frequency (HFCs) in inducing participants (respondents)’ condition, and in fact obtaining good results. But the use of these objects in the previous studies is still a single sound chosen from the width of the music frequency range, not yet directed toward

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Kariasa, I. Nyoman, and I. Kadek Tunas Sanjaya. "Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.

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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical compos

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Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.

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

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12

Ihsan, Andi. "STRUKTUR MUSIKAL POMPANG: SUATU KAJIAN BENTUK DAN KOMPOSISI MUSIK TRADISIONAL DI KABUPATEN MAMASA." JURNAL IMAJINASI 6, no. 2 (December 9, 2022): 144. http://dx.doi.org/10.26858/i.v6i2.38729.

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

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Zhang, Yifei. "Utilizing Computational Music Analysis and AI for Enhanced Music Composition: Exploring Pre- and Post-Analysis." Journal of Advanced Zoology 44, S6 (December 5, 2023): 1377–90. http://dx.doi.org/10.17762/jaz.v44is6.2470.

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This research paper investigates the transformative potential of computational music analysis and artificial intelligence (AI) in advancing the field of music composition. Specifically, it explores the synergistic roles of pre-analysis and post-analysis techniques in leveraging AI-driven tools to enhance the creative process and quality of musical compositions. The study encompasses a historical overview of music composition, the evolution of computational music analysis, and contemporary AI applications. It delves into pre-analysis, focusing on its role in informing composition, and post-anal

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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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

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Ardi, Ardi Gunawan, and Santosa Hendra. "Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur”." GHURNITA: Jurnal Seni Karawitan 3, no. 3 (August 25, 2023): 295–305. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2072.

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Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflect

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Wiguna, I. Wayan Srutha, and I. Komang Sudirga. "Music Composition Tajen Jangkrik | Komposisi Musik Tajen Jangkrik." GHURNITA: Jurnal Seni Karawitan 2, no. 3 (September 6, 2022): 209–16. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i3.1169.

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Tajen Jangkrik terdiri dari dua kata, yaitu tajen yang berarti sabung, dan jangkrik merupakan serangga kecil yang bunyinya nyaring. Tajen Jangkrik merupakan karya seni karawitan Bali yang menggambarkan mengenai proses permainan judi adu jangkrik. Karya ini mengangkat fenomena pemuda serta orang tua di Bali zaman dulu atau sekarang, khususnya di Desa Kesiman yang memainkan adu jangkrik untuk berjudi atau taruhan. Karya ini akan diwujudkan ke dalam bentuk karya karawitan inovatif dengan media ungkap Gamelan Semarandana dan Gamelan Selonding. Adapun permasalahan yang akan dibahas adalah bagaimana

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Wijasa, I. Pande GedeYudista, and Ni Putu Hartini. "Music Composition Alun Segara | Komposisi Musik Alun Segara." GHURNITA: Jurnal Seni Karawitan 2, no. 4 (December 15, 2022): 311–18. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i4.1120.

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This work is entitled Segara Square. Alun Segara is a utterance of someone's words inspired by the stylist himself to make a piece of musical art in the form of a composition, as a requirement for the final assignment of an undergraduate course at the Indonesian Art Institute, Denpasar. Alun Segara was inspired when the stylist went to the beach. Alun Segara in the true sense is a big wave. In discussing this word, it is a word of speech from the village community on the island of Nusa Penida, especially the people of Nusa Penida when the community will sail to the sea to find bad weather, tha

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Anggayanto, Iketut yogi, and Tri Haryanto. "Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi”." GHURNITA: Jurnal Seni Karawitan 1, no. 3 (July 3, 2023): 161. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i3.358.

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Reboisasi adalah karya musik yang terinspirasi dari lingkungan sekitar yang dahulunya asri hingga terjadinya penebangan pohon secara liar, serta berkeinginan untuk mencoba menanam Kembali. Kary aini menggunakan media ungkap Gender Wayang sebagai instrumen pokok serta penambahan empat buah instrumen suling dan satu tungguh Gong Pulu sebagai instrumen pendukung. Reboisasi merupakan komposisi musik inovatif yang cenderung mengungkap ide-ide atau gagasan baru walaupun masih berpedoman dengan unsur-unsur tradisi yang ada. Dalam penggunaan panggul sebagai alat pemukul karya Reboisasi menggunakan sat

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Budi Pramana, I. Putu Riangga, and I. Wayan Suharta. "Contemporary Music Composition “Konfrontasi” | Komposisi Musik Kontemporer “Konfrontasi”." GHURNITA: Jurnal Seni Karawitan 1, no. 4 (July 3, 2023): 290–98. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.371.

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Komposisi Konfrontasi adalah komposisi musik yang mengacu pada representasi dari salah satu bentuk konflik, yang mendeskripsikan sebuah peristiwa dimana seseorang memancing tindakan atau argumen yang berlawanan dari orang lain yang dianggap lawan secara terang-terangan. Dalam musik, konfrontasi diibaratkan sebagai sebuah kata yang mendeskripsikan pergerakan kalimat-kalimat musik yang dinamis dan cenderung disharmonis. Konfrontasi diwujudkan berdasarkan kesinambungan karakter gamelan Gong Kebyar sebagai media ungkap, yakni karakter dinamis. Konfrontasi diwujudkan dengan tujuan untuk meningkatka

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Ydiarta, I. Wayan. "Music Composition Tegak Anyar | Komposisi Musik Tegak Anyar." GHURNITA: Jurnal Seni Karawitan 2, no. 3 (September 6, 2022): 240–48. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i3.382.

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Ketertarikan penata terhadap patet-patet muerupakan salah satu yang melatar belakangi karya ini. Jika di akumulasikan setiap patet memiliki nada 3(ding), 4(dong), 5(deng), 7(dung) dan1(dang)nya masing-masing. Berarti dalam tujuh patet penata mendapatkan tujuh nada 3 (ding), tujuh nada 4 (dong) dan seterusnya sampai nada 1 (dang). Ditambah lagi penata melihat peluang dimana pada akhir-akhir ini belum terdapat sebuah karya yang menggunakan media ungkap gamelan Semar Pegulingan Saih Pitu dengan judul Tegak Anyar. Tegak Anyar terbentuk dari dua suku kata yaitu Tegak dan Anyar, dimana Tegak yang ar

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Budimahendra, I. Putu Agus Dodik, and Kadek Suartaya. "Music Composition Saka Luang | Komposisi Musik Saka Luang." GHURNITA: Jurnal Seni Karawitan 3, no. 1 (March 1, 2023): 116–21. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i1.1159.

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Karya komposisi tugas akhir “Saka Luang” ini merupakan karya yang terbentuk dan tergolong komposisi Karawitan Inovatif. Terbentuknya judul ”Saka Luang” tersebut penata terinspirasi dari bangunan Palinggih Menjang Saluang yang dapat di artikan, Saka yang berarti Pilar atau adegan (warna, 1988:252). dan Luang yang berarti eka atau tunggal (Ariana, 2016:49). Jadi “Saka Luang” penata artikan sebagai satu pilar memusatkan pikiran sehingga menjadi Luang dimana Luang yang dimaksudkan adalah satu. Karya ini beranjak dari Teknik Leluangan, Penafsiran ide dan Teknik Leluangan tersebut dituangkan dalam m

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Haryanto, Tri, and I. Gede Yudana. "Contemporary Music Composition “Embryo”| Komposisi Musik Kontemporer “Embrio”." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (June 23, 2023): 1–10. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.147.

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Kehidupan makhluk hidup (manusia) merupakan sesuatu yang diawali dengan berbagai proses dan tahap-tahap pertumbuhan dan perkembangan. Seperti tahapan embrio sebagai jasad hidup yang masih dalam tingkat perkembangan (pertumbuhan) awal, belum mempunyai bentuk yang jelas, akan menjadi sesuatu. Dari proses ini, penata angkat menjadi garapan yang berjudul embrio, dengan medium gamelan Semar Pagulingan Saih Pitu dan Selonding style Tenganan, dengan durasi 10-15 menit. Garapan karya embrio dibagi dalam 4 (empat) bagian, tiap bagian mewakili fase embrionik yang masing-masing fase memiliki ciri tersend

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I Made Yudi, Darmawan, and Sadguna I Gde Made. "Music Composition Banyu Milir | Komposisi Musik Banyu Milir." GHURNITA: Jurnal Seni Karawitan 3, no. 2 (June 13, 2023): 138–45. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.2076.

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Subak is an organization owned by farming communities in Bali that specifically regulates the management or irrigation system/irrigation of rice fields traditionally. Banyu Milir composition uses instruments such as drums, reong, kajar, ceng-ceng ricik, jublag, jegog, gong, kemong, flute and there are two additional instruments, namely the kempur and cedugan drums. Through the creation of this work, the stylist wants to develop a pattern that has existed before, this development is in accordance with the musical elements of the stylist's interpretation, namely expressing something that is in t

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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement

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Pratama, Yuda, Yon Hendri, and Hafif HR. "Tafsir Ritual Pemujaan Dewi Saraswati Bali Menjadi Komposisi Musik Ilustrasi Dalam Garapan Musik Multimedia (The Interpretation of The Ritual of Devotion Goddess Saraswati Bali Became an Illustrative Composition of Music In Multimedia Music)." Scoring: Journal of Film Music 1, no. 1 (July 28, 2023): 19. http://dx.doi.org/10.26887/scoring.v1i1.3399.

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ABSTRAKArtikel ini memuat tentang karya musik ilustrasi yang berangkat dari prosesi Ritual Pemujaan Dewi Saraswati yang dilaksaanakan di Bali pada setiap tahunnya yang dilakukan pada pagi hari. Pengkarya menghadirkan suasana sesuai alur cerita dari tahap persiapan hingga tahan prosesi ritual,. Tujuan dari penulisan artikel ini adalah untuk mewujudkan komposisi musik ilustrasi dalam bentuk garapan multimedia dengan mengambil ide musical dari mantra pemujaan terhadap Dewi Saraswati. Metode pencitaan yang digunakan dalam penggarapan karya ini adalah metode penciptaan A.M. Hawkins yang terdiri ata

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Pramana, I. Putu Riangga Budi, Hendra Santosa, I. Saptono, I. Gede Yudarta, and I. Wayan Sutirtha. "Unpacking the Form and Structure of Jaya Baya Music Composition in JES Gamelan Fusion." Gondang: Jurnal Seni dan Budaya 7, no. 2 (December 5, 2023): 338. http://dx.doi.org/10.24114/gondang.v7i2.49581.

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This paper aims to reveal the structure and form of Jaya Baya music composition by I Nyoman Windha in JES Gamelan Fusion. Jaya Baya's Music Composition in JES Gamelan Fusion is the result of a rearrangement of the same title worked on with the Sekar Jaya Gamelan Group using Angklung gamelan in 2002 by taking the idea of revealing the meaning of the Bom Bali I Tragedy. This research uses qualitative descriptive research methods, with musicological approach procedures, to analyze the form and structure of the Composition of Musik Jaya Baya in JES Gamelan Fusion. This music turnover is in the sty

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Paigude, Kasturi. "Analysis of an Indian Classical Music Composition." International Journal of Membrane Science and Technology 10, no. 1 (October 11, 2023): 605–15. http://dx.doi.org/10.15379/ijmst.v10i1.2623.

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This research aims to enable analysis of Indian classical music compositions by studying different elements of a composition of vocal music using a statistical method. Indian classical music is an art which is passed on to the next generation through an oral tradition and is mastered by practicing it orally and by listening to it. Writing music has been very minimal in Indian classical music tradition and is essential mainly for the reference purpose. Traditionally, analysis of an Indian classical composition too is done by listening to a composition and by studying its notation. Only medium p

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özbek, hanefi. "Turkish Music and Music Therapy Composition-1." JOURNAL OF ANATOLIAN MEDICINE 1, no. 3 (2022): 11–22. http://dx.doi.org/10.5505/anadolutd.2022.88597.

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Asplund, Jonas. "Compositionism and digital music composition education." Journal for Research in Arts and Sports Education 6, no. 3 (August 30, 2022): 96–120. http://dx.doi.org/10.23865/jased.v6.3578.

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This article aims to explore the sociomaterial relational activities within digital music composition education via the posthumanist concepts compositionism and assemblage. The study is an attempt at a nonlinear and non-reductivist understanding of educational activities where matter, nature, and culture shape performative practices. Engaging with Latour and Actor-Network Theory (ANT) and its onto-epistemological manifest as compositionism, the explorations also find impetus from posthumanist thinking, Barad’s intra-action, Haraway’s becoming-with, and post-qualitative inquiry. Four Year 9 cla

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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (April 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.

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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band direct

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Adorno, Theodor W. "Music, Language, and Composition." Musical Quarterly 77, no. 3 (1993): 401–14. http://dx.doi.org/10.1093/mq/77.3.401.

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Yang, Xiaohan. "Implementation Of Machine Learning and Artificial Intelligence for Music Composition." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 578–84. http://dx.doi.org/10.54097/8nepqh36.

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With the rapid developemnt of machine learning techiniques, it has been widely adopyed in various fields. This paper explores the models and applications of machine learning in music composition. It traces the evolution of computer music from its early days with electronic music pioneers to its contemporary implementations, showcasing the integration of cutting-edge technologies. Various models and techniques employed in music composition, including rule-based systems, deep learning, and stochastic composition methods, are thoroughly examined. Furthermore, significant challenges posed by copyr

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Khair, Muhammad Alfian Nur. "Digitization and Development of Pantok Melody Themes Tongkek Using Leon Stein's Theory Approach." Tamumatra : Jurnal Seni Pertunjukan 6, no. 1 (December 31, 2023): 1–16. http://dx.doi.org/10.29408/tmmt.v6i1.20938.

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ABSTRACTThis paper presents a study on the composition of traditional music performance in Pancor Village, East Lombok, Indonesia with a focus on the creation of digitalized compositions based on traditional music. The study employs the approach of Leon Stein's theory of composition, which emphasizes the importance of understanding the cultural and historical context of musical works in order to create innovative and meaningful compositions.The study involves field research, where traditional music performances in Pancor Village are recorded, transcribed, and analyzed using Stein's approach to

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Ardiyanto, Yoga, Elizar Elizar, and Ediwar Ediwar. "“Five Of Quin” Eksplorasi Nada Pada Pola Ritme Pengantar Lagu Randai Kuantan Di Kabupaten Kuantan Singingi Provinsi Riau." Jurnal Musik Etnik Nusantara 1, no. 1 (July 1, 2021): 57. http://dx.doi.org/10.26887/jmen.v1i1.2014.

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Five Of Quin” ini adalah sebuah karya komposisi musik yang terinspirasi dari pola ritme pengantar lagu musik Randai Kuantan Kabupaten Kuantan Singingi, Provinsi Riau. Pengkarya melakukan analisa dan eksplorasi nada dari pola Tersebut sehingga menghasilkan sebuah interval nada baru yaitu A,B,Cis,E,Fis, dan nterval nada baru inilah yang menjadi fokus pengkarya Dalam penggarapan karya ini. Tujuan dari pembuatan karya ini adalah Untuk Melakukan sebuah inovasi (pembaruan) yang berawal dari sebuah Kesenian tradisional di berbagai aspek garap kedalam sebuah komposisi musik yang sesuai dengan konsep y

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Darmayasa, I. Ketut Agus, and Kadek Suartaya. "Music Composition “Sekar Layu” | Komposisi Musik Inovatif “Sekar Layu”." GHURNITA: Jurnal Seni Karawitan 1, no. 4 (July 3, 2023): 224–33. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i4.422.

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Budaya lokal (Bali) telah banyak mempengaruhi pola pikir, sikap, perilaku dalam berinteraksi dengan lingkungan sekitarnya. Lekatan konsep-konsep berkehidupan dalam bermasyarakat di Bali sudah menyelimuti keseluruhan yakni terkandung rasa dalam melakoninya. Olahan rasa senang-sedih, suka-duka, sudah barang tentu dimiliki manusia pada umumnya berdasarkan pengalaman masing-masing. Rasa yang penulis alami dalam menjalani kehidupan mendaut penulis untuk menjadikan ide dalam sebuah garapan komosisi musik inovatif. Sebagaimana telah penulis paparkan, perjalanan cinta kasih empiris yang penulis

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Herdianto, Ferry, Yusnelli Yusnelli, and Freddy Antara. "KOMPOSISI MUSIK BADONDONG BAIBO DALAM MUSIK INSTRMENTAL." Gorga : Jurnal Seni Rupa 10, no. 1 (May 18, 2021): 115. http://dx.doi.org/10.24114/gr.v10i1.24912.

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The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the m

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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.

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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching,

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Gumilar, Teguh, and Rendi Alhusaini. "Kajian Musikologis Terhadap Komposisi Musik Angklung Toel dan Maqam Hijaz." PROMUSIKA 11, no. 1 (April 11, 2023): 19–29. http://dx.doi.org/10.24821/promusika.v11i1.9202.

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Studi ini bertujuan untuk menunjukan komposisi musik yang menggunakan konsep musik islam dengan kaya fungky. Maqam hijaz merupakah salah satu dari tujuh irama seni membaca Al-Qur’an yang terdapat pada sumber yang dikaji. Hijaz dalam irama memiliki makna doa, panggilan, dan mengingat-ingat sesuatu. Metode yang digunakan dalam penciptaan karya ini adalah pengembangan dasar dari tangga nada maqam hijaz ke dalam bentuk karya musik dengan penggabungan antara dua jenis musik, yaitu musik Timur Tengah, dan musik gaya funky. Karya angklung toel dan maqam hijaz, diketahui bahwa karya musik ini dapat me

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Park, Young-Ju, and Soo-Jin Lee. "Classic Music and A.I. for automated music composition." Semiotic Inquiry 61 (December 30, 2019): 69–94. http://dx.doi.org/10.24825/si.61.3.

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Reese, Sam, and M'aud Hickey. "Internet-Based Music Composition and Music Teacher Education." Journal of Music Teacher Education 9, no. 1 (September 1999): 25–32. http://dx.doi.org/10.1177/105708379900900105.

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Mikawa, Makoto. "FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL'S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE." Tempo 68, no. 270 (September 4, 2014): 57–67. http://dx.doi.org/10.1017/s0040298214000369.

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AbstractIndifferent to the aesthetic dispute between the Parisian musique concrète and the Cologne elektronische Musik schools in the mid twentieth century, Mauricio Kagel took a synthetic approach to his second electroacoustic composition Antithese by combining these compositional principles. His aim was not to offer an eclectic solution to the controversy, but to express his musico-political and musico-social commentary. A close observation of Kagel's sketches, archived at the Paul Sacher Foundation, suggests that his choice of compositional materials and painstaking structural plan were sha

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42

Pietrowicz, Mary, Danish Chopra, Amin Sadeghi, Puneet Chandra, Brian Bailey, and Karrie Karahalios. "CrowdBand: An Automated Crowdsourcing Sound Composition System." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 1 (November 3, 2013): 121–29. http://dx.doi.org/10.1609/hcomp.v1i1.13080.

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CrowdBand, a sound composition system, demonstrates how a crowd can create works that meet requested criteria and fulfill the aesthetic character given by keyword description and examples. CrowdBand allows flexibility in music composition in terms of duration of the music, completion time and cost of music composition by giving the requestor two modes - thrifty and normal. CrowdBand’s workflow divides the composition task into three sections: requesting fundamental sounds, assembling sounds into compositions, and evaluating the results. Based on the crowd workers’ responses, we conclude that c

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43

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)

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DuPree, Mary Herron. "Mirror to an Age: Musical America, 1918–30." Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.

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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styl

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BOENN, GEORG, MARTIN BRAIN, MARINA DE VOS, and JOHN FFITCH. "Automatic music composition using answer set programming." Theory and Practice of Logic Programming 11, no. 2-3 (February 22, 2011): 397–427. http://dx.doi.org/10.1017/s1471068410000530.

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AbstractMusic composition used to be a pen and paper activity. These days music is often composed with the aid of computer software, even to the point where the computer composes parts of the score autonomously. The composition of most styles of music is governed by rules. We show that by approaching the automation, analysis and verification of composition as a knowledge representation task and formalising these rules in a suitable logical language, powerful and expressive intelligent composition tools can be easily built. This application paper describes the use of answer set programming to c

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Li, Ze, Qing Huang, Xinhao Yang, Qing Chen, and Li Zhang. "Automatic Composition System Based on Transformer-XL." Applied Sciences 14, no. 13 (July 1, 2024): 5765. http://dx.doi.org/10.3390/app14135765.

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An automatic composition system that includes music generation and music assessment is designed in this paper. In terms of music generation, we modify the Transformer-XL model for generating music. The Mask mechanism based on Transformer-XL is improved to make the attention of model tend to pay on the bidirectional information, so that the generated popular piano music forms a coherent whole. In terms of music assessment, we combine objective and subjective assessment to judge the generated music in a comprehensive way. Meanwhile, we put forward a new objective assessment method, namely the pi

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Wang, Yu. "Music Composition and Emotion Recognition Using Big Data Technology and Neural Network Algorithm." Computational Intelligence and Neuroscience 2021 (December 16, 2021): 1–11. http://dx.doi.org/10.1155/2021/5398922.

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To implement a mature music composition model for Chinese users, this paper analyzes the music composition and emotion recognition of composition content through big data technology and Neural Network (NN) algorithm. First, through a brief analysis of the current music composition style, a new Music Composition Neural Network (MCNN) structure is proposed, which adjusts the probability distribution of the Long Short-Term Memory (LSTM) generation network by constructing a reasonable Reward function. Meanwhile, the rules of music theory are used to restrict the generation of music style and reali

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Millas Coffie, Mark. "A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’." Journal of Advanced Research and Multidisciplinary Studies 4, no. 3 (July 3, 2024): 23–42. http://dx.doi.org/10.52589/jarms-4xpt3m5p.

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It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, c

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Nevels, Daniel L. "Using music software in the compositional process: A case study of electronic music composition." Journal of Music, Technology and Education 5, no. 3 (January 1, 2013): 257–71. http://dx.doi.org/10.1386/jmte.5.3.257_1.

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Parker, Sylvia. "Béla Bartók’s Arab music research and composition." Studia Musicologica 49, no. 3-4 (September 1, 2008): 407–58. http://dx.doi.org/10.1556/smus.49.2008.3-4.10.

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In 1913 Béla Bartók traveled to Algeria to research Arab folk music. He took with him the most modern technological device then available, the Edison phonograph, and recorded Arab peasants performing their music. Analysis of his ensuing scholarly documentation and free composition reveals the inspiration Bartók drew from Arab folk music, not only in his treatment of traditional musical elements — melody, rhythm, and harmony — but also in novel incorporation of exotic timbre, scales, drum modes, ululation, and exorcism. This paper elucidates diverse musical elements with examples from authentic

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