Exercises in Composing

2021 ◽  
pp. 143-173
Author(s):  
Bruce Adolphe
Keyword(s):  
Structural Analysis ◽  
Music Composition ◽  
New Music ◽  
Composition Class ◽  
Spoken Text ◽  
Private Lesson ◽  
Musical Creativity ◽  
Concept Of Beauty

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.

Miraculous Agitations: On the Uses of Chaotic, Non-Linear and Emergent Behavior in Acoustic Vibrating Physical Systems

2012 ◽  
Vol 22 ◽  
pp. 35-40 ◽  
Author(s):  
Daniel Wilson
Keyword(s):  
Music Composition ◽  
Nonlinear Behavior ◽  
Qualitative Approach ◽  
Emergent Behavior ◽  
New Music ◽  
Physical Systems ◽  
Non Linear ◽  
Subjective Phenomenon

“Miraculous agitation” denotes an acoustic marvel: a striking sound emerging from vibrating physical systems. A somewhat subjective phenomenon, acoustic marvels are typified by expressive or harmonic richness, and their production is reliant on delicate interrelationships between objects under vibration, often involving chaotic or nonlinear behavior. In some cases it is even possible to observe emergent behavior. Significantly, acoustic marvels may commonly strike the auditor as seeming to be “of electronic origin,” thus pointing toward postelectronic electroacoustic techniques. This paper takes a qualitative approach to the examination of such acoustic marvels and their possible applications in new music composition.

Music in French Theatre of the Late Sixteenth Century

1994 ◽  
Vol 13 ◽  
pp. 85-122 ◽  
Author(s):  
Frank Dobbins
Keyword(s):  
Sixteenth Century ◽  
New Music ◽  
Ancient World ◽  
Spoken Text ◽  
Musical Practices ◽  
French Theatre

In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.

Development of electronic music in Ukraine: emergence of a research methodology

2007 ◽  
Vol 12 (2) ◽  
pp. 153-165 ◽  
Author(s):  
Alla Zagaykevych ◽  
Ivan Zavada
Keyword(s):  
Research Methodology ◽  
Electronic Music ◽  
Cultural Context ◽  
Music Composition ◽  
Current Situation ◽  
New Music ◽  
Music Practice ◽  
New Methods ◽  
Musical Systems

AbstractIn this article the authors present an overview of the current situation in Ukraine, with regards to the question of analytical terminology applied to new methods of creation in electronic music composition. The article establishes the differences and the similarities between the analyses of instrumental and electronic music structures, while considering the role of technology in the creation of new electronic music works. This paper also establishes a link between the origin of current analytical processes and electronic music practice in Ukraine, taking into account the function of a given terminology and its characteristic elements relating to a local geographical and cultural context. The authors underline the importance of integrating new music forms in academic circles and discuss external influences in the development of new musical systems. This is demonstrated by exposing selected musical materials, which can be considered representative of the creative and theoretical processes found in the field of electronic music in Ukraine.

scholarly journals Forms, Development and The Application of Music Media in The Kindergartens: A Comparative Study of Two Kindergartens

2015 ◽  
Vol 15 (2) ◽  
Author(s):  
Totok Sumaryanto F. ◽  
Udi Utomo
Keyword(s):  
Comparative Study ◽  
Extracurricular Activities ◽  
Learning Process ◽  
Data Reduction ◽  
Music Composition ◽  
Teaching And Learning ◽  
Data Interpretation ◽  
Qualitative Approach ◽  
Electronic Equipment ◽  
New Music

<p>This study was aimed at investigating the form of music media employed in the teaching and learning process (TLP) in the kindergartens, and the teachers’ effort to develop and apply music media in the TLP. The researchers used a qualitative approach. The research was conducted in TK Hj. Isriati Baiturahman and TK Negeri Pembina Semarang. The subjects of the study were principals, teachers, staffs and students. In collecting the data, the researchers used three different techniques: interview, observation and documentation. Then, the researchers used data reduction, categorization and data interpretation to analyse the data. The result shows that the teachers in both schools have utilized varied music media in the TLP. In TK Hj. Isriati, the teachers used music media in the form of music composition and electronic equipment; and the new music instruments were used by the teachers in extracurricular activities. Meanwhile, the teachers in TK Negeri Pembina utilized music media including music composition, music instruments and electronic equipment. The development of music media by the teachers was done by modifying lyrics, composing simple songs, utilizing rhitmical music instruments and employing electronic equipment in the TLP.</p>

Evaluating Digital Games for Competitive Music Composition

2020 ◽  
Vol 25 (1) ◽  
pp. 75-88
Author(s):  
Thomas Studley ◽  
Jon Drummond ◽  
Nathan Scott ◽  
Keith Nesbitt
Keyword(s):  
Music Composition ◽  
User Study ◽  
Research Question ◽  
Digital Games ◽  
Interactive Music ◽  
Underlying Assumption ◽  
Competitive Game ◽  
Fertile Ground ◽  
Musical Creativity ◽  
High Degree

Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

scholarly journals PROSES PENCIPTAAN KOMPOSISI MUSIK KYAI BADRANAYA DALAM KARYA MUSIK KIDUNG SEMAR

2018 ◽  
Vol 4 (2) ◽  
pp. 103
Author(s):  
Aris Setyoko ◽  
Rahayu Supanggah
Keyword(s):  
General Public ◽  
Music Composition ◽  
New Music ◽  
Musical Composition ◽  
Scientific Thinking ◽  
Human Beings ◽  
Musical Performances ◽  
Alignment Process ◽  
Puppet Show ◽  
The Creation

Kyai Badranaya is another name for figures in the purwa puppet show which is a symbolic figure for Javanese people. The special symbolic means to have variations, concepts of life, and beliefs in Javanese society. In the Javanese purwa puppet show, Semar figures are representations of good and wise qualities in human beings. Real Semar figures are also gods who transformed into commoners and became servants, protectors, and also knights of Pandawa namely Yudhistira, Bima, Arjuna, Nakula, and Sadewa in the Javanese version of the Mahabharata epics. The musical composition of Kyai Badranaya is part of the four musical compositions of Kidung Semar by the author, who presents musical performances with ideas from the values and semar phenomenon of Semar figures in the purwa puppet show in Java. The method is carried out through stages, namely the alignment process, and sound training. With this method, the music composition of Kyai Badranaya is compiled and presented in the form of a musical repertoire, which proposes reflection and thoughts about how one becomes a leader who applies the life concept of Semar, namely tepa selira, lembah manah, and andhap asor. The purpose of various organizations is the application used as a learning medium for the general public in the form of new music works. The result of the creation of this musical composition work is to contribute scientific thinking on how to create new music works by utilizing work from traditional sources of Javanese musical music in particular, as well as archipelago music.

scholarly journals Computer-assisted Music Composition Algorithm Design Dependent on Interactive Genetic Algorithm with Interval Fitness

2021 ◽  
Vol 2066 (1) ◽  
pp. 012035
Author(s):  
Qili Guo
Keyword(s):  
Genetic Algorithm ◽  
Music Composition ◽  
Algorithm Design ◽  
New Music ◽  
Computer Assisted ◽  
Small Data ◽  
Data Set ◽  
Interactive Genetic Algorithm ◽  
Small Data Set ◽  
Simulation Results

Abstract Computer-assisted music composition refers to computer-assisted music composition with the participation of people. However, there are problems such as style and expression. In this paper, a computer-assisted music composition algorithm based on the interactive genetic algorithm with interval fitness is proposed. A new music prediction model is established by integrating melody units and rhythms into traditional models with only notes or rhythms as units. Moreover, the generated music phrases are optimized by the interactive genetic algorithmphrase. The simulation results suggest that the proposed algorithm can generate music phrases quickly with a certain melody logic that conforms to the personal demand of users using a small data set.

scholarly journals PROSES PENCIPTAAN MUSIK SUARA SINDHEN: INTERPRETASI GENDHING GINONJING KARYA NUR HANDAYANI

2019 ◽  
Vol 16 (1) ◽  
Author(s):  
Nur Handayani
Keyword(s):  
Music Composition ◽  
New Music ◽  
Materials Processing ◽  
Packaging Materials ◽  
Musical Thought ◽  
Surround Sound ◽  
The Third ◽  
Central Java ◽  
Musical Concepts ◽  
Spatial Aspect

<p align="center"><strong>ABSTRAK</strong></p><p> </p><p>Karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”, dilatarbelakangi oleh hasil olah pikir sekaligus interpretasi atas Gendhing Ginonjing. Bermula saat pengkarya membaca surat Kartini yang berkisah tentang Gendhing Ginonjing. Kegelisahan Kartini sepurnanya mendengarkan Gendhing Ginonjing, dituangkan lewat surat tersebut dengan sangat dramatis. Esensi surat tersebut, memberikan stimulan kepada pengkarya untuk membuat karya berdasarkan Gendhing Ginonjing. Jika Kartini dapat menuangkan kembali Gendhing Ginonjing secara sastrawi melalui suratnya, pengkarya sebagai <em>pesindhen</em> juga ingin mengungkapkan ulang Gendhing Ginonjing melalui olah pikir musikal dan diwujudkan dengan karya seni orkestrasi <em>sindhen</em>. Dari hasil pengamatan dan analisis, Gendhing Ginonjing dapat dipilah menjadi tiga konsep musikal. Pertama adalah <em>andegan sindhenan</em> Gendhing Ginonjing yang dikembangkan melibatkan <em>wangsalan</em>, <em>abon-abon</em>, <em>parikan</em>, <em>senggakan</em>, serta sekar <em>bebas </em>sebagai unsur teks. Dari unsur lagu, menyajikan perbenturan harmoni<em> adumanis</em>,<em> salahnggumun</em>,<em> kempyung</em>,<em> pendawan</em>, serta<em> gembyang </em>sehingga menciptakan harmoni unik atau nada yang membuat bunyi<em> </em>musik menjadi khas. Kedua adalah komposisi yang berakar dari <em>selingan</em> Gendhing Ginonjing berjudul <em>Lelagon</em> Lelo Ledung, yang digarap dan disajikan dengan model <em>uro-uro</em> atau akapela, dikemas dengan paradigma <em>sindhenan </em>gaya Surakarta, dengan menonjolkan dinamika power suara<em> pesindhen </em>serta memanfaatkan aspek<em> </em>keruangan dengan teknik akustika bunyi <em>surround</em>. Ketiga adalah komposisi yang berakar dari surat Kartini tentang Gendhing Ginonjing. Karya ini merepresentasikan perasaan Kartini yang tertuang dalam surat. Bagian ini menggarap elemen vokal melalui perpaduan berbagai gaya <em>sindhenan</em> meliputi: Jawa Barat, Banyumas, Jawa Tengah, serta Banyuwangi, yang kemudian diformulasikan kembali menjadi konsep musik garapan baru. Penyusunan karya ini menggunakan beberapa metode sebagai langkah penciptaannya, meliputi: menentukan bahan, mencari bahan, mengolah bahan, mengemas bahan, serta mempergelarkannya. Rangkaian tersebut adalah proses dari lahirnya karya “Suara Sindhen: Interpretasi Gendhing Ginonjing”.</p><p> </p><p><strong>Kata kunci: </strong>Suara Sindhen, Gendhing Ginonjing, Komposisi Musik.</p><p> </p><p> </p><p align="center"><strong><em>ABSTRACT</em></strong></p><p> </p><p><em>The work of “ Suara Sindhen: Interpretasi Gendhing Ginonjing “ is based on the analysis and interpretation of Gendhing Ginonjing. It started when the creator read Kartini’s letter about Gendhing Ginonjing. Kartini’s anxiety was as easy as listening to Gendhing Ginonjing, written in the letter dramatically. The essence of the letter gives stimulants to the creator to create works based on Gendhing Ginonjing. If Kartini can rewrite Gendhing Ginonjing literally through his letter, a </em>sindhen<em> also wants to reveal Gendhing Ginonjing through musical thought and embodied through the sindhen’s orchestral artwork. From the observation and analysis, Gendhing Ginonjing can be divided into three musical concepts. The first is adegan of Gendhing Ginonjing which is developed involving </em>wangsalan<em>, </em>abon-abon<em>, </em>parikan<em>, </em>senggakan<em>, as well as sekar </em>bebas<em> as the text elements. The elements of song presents a mix of harmoni </em>adumanis<em>, </em>salahnggumun<em>, </em>kempyung<em>, </em>pendawan<em>, serta </em>gembyang<em> and thereby creating a unique harmony or tone that makes a special music sounds. Sec-ondly, the composition is rooted from Gendhing Ginonjing interval entitled Lelagon Lelo Ledung, which is treated and presented with uro-uro or akapela model, packed in Surakarta style paradigm, focusing on the dynamic power of pesindhen voice and utilizing the spatial aspect with the surround sound acoustic tech-niques. The third is a composition based on the Kartini letter about Gendhing Ginonjing. This work represents Kartini’s feeling written in the letter. This section deals with the vowel elements through a combination of various sindhenan styles including: West Java, Banyumas, Central Java, and Banyuwangi, which are then formulated into the concept of new music.</em></p><p> <em>The composition of this work uses several methods in its creation, including: determining materials, finding materials, processing materials, packaging materials, and then presenting them. The series tells about the process of the work of “Sindhen Voice: Gendhing Ginonjing Interpretation”.</em></p><p> </p><strong><em>Keywords: </em></strong><em>Sindhen Voice, Gendhing Ginonjing, Music Composition</em>

Getting in the Way?

2017 ◽  
pp. 448-462
Author(s):  
Gillian Howell
Keyword(s):  
Social Context ◽  
Music Composition ◽  
New Music ◽  
East Timor ◽  
Community Music ◽  
Music Learning ◽  
School Based ◽  
Timor Leste ◽  
Health Related ◽  
Effective Use

New music technologies are often promoted as tools that can enrich music learning experiences, in and out of the classroom. However, their success is context dependent rather than universally assured. This chapter examines some of the limitations that occur in facilitator-led community music activities, where project goals frequently encompass social and health-related as well as musical dimensions, and where sustainability of activities and outcomes is often a priority. Descriptions of music composition projects in three diverse settings—from a remote village in postwar East Timor (Timor-Leste) to a school-based residency in suburban Australia—illustrate some of the limitations of new music technologies. Issues discussed include environmental capacities, workshop flow, and facilitator knowledge. While new music technologies in community music workshops are not inherently problematic, this chapter argues that their effective use requires thorough consideration of the complete environmental and social context.

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