scholarly journals Representation of Musical Structures and Processes in Simplicial Chord Spaces

2015 ◽  
Vol 39 (3) ◽  
pp. 9-24 ◽  
Author(s):  
Louis Bigo ◽  
Daniele Ghisi ◽  
Antoine Spicher ◽  
Moreno Andreatta
Keyword(s):  
Original Composition ◽  
Music Analysis ◽  
Simplicial Complexes ◽  
Musical Composition ◽  
Spatial Transformations ◽  
Musical Structures ◽  
Musical Transformations

In this article, we present a set of musical transformations based on the representations of chord spaces derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A musical composition is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original composition. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, dedicated to music analysis and composition, respectively.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Embodiment in Composition: 4E Theoretical Considerations and Empirical Evidence from a Case Study

2020 ◽  
pp. 102986492096144
Author(s):  
Ulla Pohjannoro
Keyword(s):  
Real Life ◽  
Extended Cognition ◽  
Point Of View ◽  
Musical Composition ◽  
Compositional Process ◽  
Musical Notation ◽  
Musical Structures ◽  
Sonic Environment ◽  
Theoretical Considerations

The purpose of this study was to theorise on a composer’s corporeality from the point of view of the embodied, enacted, embedded, and extended cognition paradigm, in the light of empirical data that cover the compositional process of creating one particular piece of music. The data include related manuscripts and the composer’s verbal account of those manuscripts. Composition is seen as an interactive coping behaviour and an adaptive process of knowledge acquisition and production in a sonic environment. In this epistemic process, the composer begins working with various kinds of ideas: sounds, timbres, musical structures, experiences, philosophical thoughts. They explicate these intuitive or reflective embodied representations through different kinds of externalisations, such as musical gestures, narratives, visualisation, and finally, musical notation. This study substantiates the way in which embodied, extrabodily, embedded, and enactive processes constitute the cognitive acts of a composer, usually considered as almost purely mental. It shows how musical composition may not only be grounded but also depend on embodied knowledge that the score only partly conveys. In addition to helping composers and performers communicate in real life, the findings may be useful for identifying the different cognitive premises and circumstances that can result in discrepancies between the ways in which they interpret musical notation.

GeNotator: an environment for exploring the application of evolutionary techniques in computer-assisted composition

1999 ◽  
Vol 4 (2) ◽  
pp. 127-133 ◽  
Author(s):  
KURT THYWISSEN
Keyword(s):  
Genetic Algorithm ◽  
Visual Arts ◽  
Formal Model ◽  
Musical Composition ◽  
Computer Assisted ◽  
Genetic Search ◽  
Musical Structures ◽  
Compositional Structures ◽  
Algorithm Theory ◽  
Musical Evolution

A computer-assisted composition tool for investigating the application of evolutionary techniques in the composition of music is presented. The nature of such an application is examined in terms of defining the possible mechanisms that provide a means for automated creativity. These mechanisms take inspiration from processes found in Darwinian-based evolution theory, genetic algorithm theory and similar aesthetically based uses of a genetic search heuristic in the visual arts. A formal model of ‘musical evolution’ is proposed, with particular emphasis placed on the ways in which a genetic algorithm can be used to effectively manipulate a variety of compositional structures within a hierarchical and generative grammar-based model of musical composition. The result is a prototype Windows MIDI application called GeNotator that allows composers to experiment with a range of musical structures by interactively ‘evolving’ them through a familiar and comprehensive graphical user interface.

scholarly journals The modes of music information in a compositional process: a case study

2018 ◽  
Vol 74 (5) ◽  
pp. 987-1007 ◽  
Author(s):  
Ulla Pohjannoro ◽  
Antti Mikael Rousi
Keyword(s):  
Musical Composition ◽  
Verbal Description ◽  
Compositional Process ◽  
Significant Information ◽  
Content Type ◽  
The Third ◽  
Related Information ◽  
Musical Structures ◽  
Music Information

PurposeThe purpose of this paper is to demonstrate an actual compositional process that entails a diversity of music information modes and describe the way these modes contribute to the creative aspirations of a composer.Design/methodology/approachThe music information typology proposed by Rousi, Savolainen and Vakkari is used as a point of departure for defining the different modes of music-related information. First, relevant music information modes are identified from the composer-informant’s verbal description of a compositional process. Then, their proportions and dynamics are examined.FindingsThe findings suggest that the music information typology may be applied within the context of musical composition, that is, all of its five modes of music information could be identified from the composer’s verbal description of the compositional process. However, two additional significant information modes were identified: shaping music as the third mode of enactive representations and genuine iconic representations.Research limitations/implicationsThe purpose of this case study is not to claim that the results regarding the significance of individual music information modes apply to all compositional processes within diverse genres of music.Originality/valueThis study introduces a new mode of music information indicative of the artistic capacity of expressiveness: shaping musical structures as the third mode of enactive representations was the means whereby the composer made musical structures work for himself and hence created performative power in his music.

scholarly journals Computation and Visualization of Musical Structures in Chord-Based Simplicial Complexes

2013 ◽  
pp. 38-51 ◽  
Author(s):  
Louis Bigo ◽  
Moreno Andreatta ◽  
Jean-Louis Giavitto ◽  
Olivier Michel ◽  
Antoine Spicher
Keyword(s):  
Simplicial Complexes ◽  
Musical Structures

scholarly journals CENGKOK GENDERAN DUALOLO SEBAGAI SUMBER IDE PENCIPTAAN KOMPOSISI MUSIK “FANTASIA FROM DUALOLO” KARYA : PURWA ASKANTA

2021 ◽  
Vol 21 (1) ◽  
pp. 111-131
Author(s):  
Purwa Askanta ◽  
Danis Sugiyanto
Keyword(s):  
Music Composition ◽  
Descriptive Analysis ◽  
Music Analysis ◽  
Musical Composition ◽  
Analysis Approach ◽  
Musical Work ◽  
Simple Idea ◽  
Musical Tradition ◽  
Musical Works ◽  
The Creation

This journal is entitled "Cengkok Genderan Dualolo as a Source of Ideas for the Creation of Fantasia From Dualolo Music Composition" by Purwa Askanta. The focus of the problems studied in this paper includes the analysis of musical composition works that use the source of artistic ideas from a dualolo genderan twist in Javanese Karawitan. How the idea is used as a theme and developed to form a sound building in the form of Fantasia in three parts. In this composition, there are several creation systems that need to be expressed in order to understand the reader in order to understand the concept of creating this musical work. The method used in this journal is descriptive analysis with a form of music analysis approach. The findings of this research will show creativity in composing a new musical composition by Purwa Askanta. Meanwhile, the purpose of this research is to contribute in the form of techniques and methods of creating musical works that raise a simple idea from elements of the Javanese musical tradition in the form of the dualolo gendered twisted. It is hoped that the writings in this journal can broaden the readers' insight and become a reference for those who explore the creation of musical works.

Iannis Xenakis: a composer's perspective

2001 ◽  
Vol 6 (1) ◽  
pp. 75-76
Author(s):  
David Worrall
Keyword(s):  
The Body ◽  
Musical Composition ◽  
Sound Waves ◽  
Iannis Xenakis ◽  
Musical Structures ◽  
Concert Halls ◽  
The Times ◽  
The Way

Although music uses sound as its medium of conveyance, music is not just sound. Although musical structures rely on the acoustics of sound-generating devices (instruments) and conveyances (concert halls, loudspeakers) and on the way the body senses the sound waves generated and transformed by these (psychoacoustics), theories of musical composition can work both with and against these principles. Music is involved in sonic discourse, sonic rhetoric, if you will, and history shows us that because of this it is a sociocultural phenomenon which reflects the times in which it is composed.

The Musical Composition of Social Reality? Music, Action and Reflexivity

1995 ◽  
Vol 43 (2) ◽  
pp. 295-315 ◽  
Author(s):  
Tia DeNora
Keyword(s):  
Lived Experience ◽  
Social Life ◽  
A Priori ◽  
Music Analysis ◽  
Social Processes ◽  
Musical Composition ◽  
Social Content ◽  
Sociology Of Music ◽  
Experience Of Time ◽  
Recent Developments

Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns. The worlds' concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experience of time, and social character within opera are used to illustrate this point. Recent developments in feminist music analysis have been suggestive for the ways in which music metaphorizes social processes and categories of being. These developments can enrich the sociology of music. However, as with all attempts to ‘read’ music's social content, they should be conceived as claims made by analysts who are themselves engaged in social projects. Analytical readings of music have no a priori claim of privilege. A constructivist sociology of music should therefore be devoted to the question of how specific music users forge links between musical significance and social life. A sociology of the construction and deployment of musical realities is capable of avoiding the naive positivism otherwise implicit in attempts to ‘read’ music's social content.

scholarly journals Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music

ICONI ◽  
2020 ◽  
pp. 46-55
Author(s):  
Oleksandr O. Perepelytsia ◽  
Keyword(s):  
Contemporary Music ◽  
Piano Music ◽  
Musical Composition ◽  
Special Role ◽  
Main Principle ◽  
Musical Structures ◽  
Third Person ◽  
The Creation ◽  
Musical Genres ◽  
The Third Person

The article is devoted to the innovations in the piano compositions of Karmella Tsepkolenko. The presentation of the present theme demonstrates the complex-dialogical character of the interrelations between the composer and artistic space in contemporary music, which requires a broad contextual approach upon analysis and study of the latter. By the example of Tsepkolenko’s children’s pieces and concert piano pieces, disclosure is made of the main parameters of innovations, such as artistic stimulation, the emotional-energetic context of the composition, the scenary development of the musical material, the principle of synthetic mastery of art, and theatricalization of non-theatrical musical genres. Scenary development (the composer’s expertise) becomes the foundation on which the theatricalized events in the piano pieces are unfolded. At the same time the eventful groundwork of the music does not wedge itself into the Procrustean bed of the traditional, historically developed forms and genres, but directs the composer’s thinking towards innovation, towards the creation of new forms and genres appropriate to the scenario. In the children’s pieces and in the concert piece the narrative unfolds according to the principle of “the theater of representation,” when the narration is stated from the third person. One of the manifestations of the “theater of representation” is the inner theatricalization, based on the dialogic relations between separate structural modules, thematic germs, juxtapositions both within each of the musical structures and between them. An important particularity of inner theatricalization is the presence of the element of play, bringing in the role principle into the development of the musical material, fi lling the composition with “images” of the protagonists. Outward theatricalization is also broadly used, and a special role in outward theatricalization belongs to plastic forms — these are gestures of the musicianactors, their behavioral roles. It is shown that the use of the principles of synthetic mastery of art, relying on the phenomenon of play in its inseparable integrality, theatricalization as the main principle of the unfolding of artistic form and scenary development of the musical material directs the composer towards the creation of new aesthetic models, activates the composer’s subconscious structures for the creation of semantic complexes which are new in their new in their form and content, and fi lls the musical composition with complex dialogic connections and play energy.

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