Indian Culture and Music as a Source of Inspiration for French Opera Composers

"The current paper strives to discover and reveal the influences of Indian culture and classical Indian music in French operas. At first, the evocation of India was obtained through the subjects of the operas and stunning scenic designs, fulfilling the requirements of exoticism. Gradually, the composers attempted to include in their musical discourses exotic rhythmic and melodic elements, in some instances inspired by Indian classical music, thus aiming to evoke a genuine image of India. At the same time, the use of elements pertaining to Indian music (rāgas, rhythmic patterns, timbres) offered the musicians the possibility to create novel sound discourses. The analysis focuses on several operas, composed between the eighteenth century and the beginning of the twentieth century, following the evolution of Indian representations in several dimensions: dramatic (libretto), visual (scenic representations, dance), and musical (melody, rhythm, timbre). The present paper investigates the way Indian themes influenced the conception of the libretto, and at the same time the visual dimension of the works (setting, costumes), observing how these visual elements were gradually absorbed into the musical discourse (analysis of the melodic structures), through the incorporation of Indian rāgas in works conceived according to the rules of Western music composition. Keywords: exoticism, orientalism, India, French opera, rāga "

Music Composition and Emotion Recognition Using Big Data Technology and Neural Network Algorithm

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 realize the intelligent generation of specific style music. Afterward, the generated music composition signal is analyzed from the time-frequency domain, frequency domain, nonlinearity, and time domain. Finally, the emotion feature recognition and extraction of music composition content are realized. Experiments show that: when the iteration times of the function increase, the number of weight parameter adjustments and learning ability will increase, and thus the accuracy of the model for music composition can be greatly improved. Meanwhile, when the iteration times increases, the loss function will decrease slowly. Moreover, the music composition generated through the proposed model includes the following four aspects: sadness, joy, loneliness, and relaxation. The research results can promote music composition intellectualization and impacts traditional music composition mode.

A Mathematical, Graphical and Visual Approach to Granular Synthesis Composition

We show a method for Granular Synthesis Composition based on a mathematical modeling for the musical gesture. Each gesture is drawn as a curve generated from a particular mathematical model (or function) and coded as a MATLAB script. The gestures can be deterministic through defining mathematical time functions, hand free drawn, or even randomly generated. This parametric information of gestures is interpreted through OSC messages by a granular synthesizer (Granular Streamer). The musical composition is then realized with the models (scripts) written in MATLAB and exported to a graphical score (Granular Score). The method is amenable to allow statistical analysis of the granular sound streams and the final music composition. We also offer a way to create granular streams based on correlated pair of grains parameters.

Samoan identity through music composition: The agony of asking

<p>In this thesis, Samoan music and identity are woven together and expressed simultaneously through new composition, critical reflection, and performance. This thesis explores creative practice in both Samoa and New Zealand, and it engages with critical insights in order to produce a body of new creative work in music. Through these efforts, this thesis contributes a new original understanding for how to articulate Samoan identity in current musical composition. In Samoa, cultural practices exist alongside global influences. These are found in song, language, contemporary music and dance in a variety of social contexts, and it is in this space of crossing boundaries where I explore my own identity as a Samoan-born, New Zealand composer, and a broader Samoan communal identity. The two contexts of my journey in Samoa and New Zealand offer sustained influences on my compositions both as a professional musician and educator. They provide very different expectations and cultures that I have negotiated, and have formed the basis of my creative work in this thesis. Adapting the Pasifika-centred framework of Epeli Hau’ofa in “Our Sea of Islands” (1993), in this thesis I provide a personal blueprint for a Samoan interpretation of creative practice in music, based on close readings and interpretations of concepts in new music composition. Through this work I deconstruct my own colonial past to rise above cultural stereotypes, and instead move towards finding connections with local-based styles and values of music. In doing so, my creative output offers an original voice as a composer that is firmly based in Samoan realities, just as it extends to experiences and with a diversity of musical practices. Through my creative work I offer unique musical spaces and mediums that expresses my Samoan identity, in both music and culture. In this way, new composition is a means of navigating and negotiating musical creativity. As I have discovered, I am not the only one moving in and out of these contexts as a Samoan musician and composer. I have worked together, alongside other Samoan composers such as Natalia Mann (based in Queensland, Australia), Metitilani Alo (based in Dunedin, New Zealand), Igelese Ete (based in Fiji) and Maori artists such as Riqi Harawira (based in Kaitaia, New Zealand) and artist BJ Natanahira (based in Kaitaia) sharing ideas and engaging in discussions around process of creativity and identity. In creating our own musical voices, we also take control of the forms and shapes used to express our identities musically and culturally. As Thomas Turino points out in Music as Social Life (2008) this is about navigating and negotiating our identity according to the spaces we move within, and the music we associate with through composition and performance. This is that journey.</p>

Samoan identity through music composition: The agony of asking

<p>In this thesis, Samoan music and identity are woven together and expressed simultaneously through new composition, critical reflection, and performance. This thesis explores creative practice in both Samoa and New Zealand, and it engages with critical insights in order to produce a body of new creative work in music. Through these efforts, this thesis contributes a new original understanding for how to articulate Samoan identity in current musical composition. In Samoa, cultural practices exist alongside global influences. These are found in song, language, contemporary music and dance in a variety of social contexts, and it is in this space of crossing boundaries where I explore my own identity as a Samoan-born, New Zealand composer, and a broader Samoan communal identity. The two contexts of my journey in Samoa and New Zealand offer sustained influences on my compositions both as a professional musician and educator. They provide very different expectations and cultures that I have negotiated, and have formed the basis of my creative work in this thesis. Adapting the Pasifika-centred framework of Epeli Hau’ofa in “Our Sea of Islands” (1993), in this thesis I provide a personal blueprint for a Samoan interpretation of creative practice in music, based on close readings and interpretations of concepts in new music composition. Through this work I deconstruct my own colonial past to rise above cultural stereotypes, and instead move towards finding connections with local-based styles and values of music. In doing so, my creative output offers an original voice as a composer that is firmly based in Samoan realities, just as it extends to experiences and with a diversity of musical practices. Through my creative work I offer unique musical spaces and mediums that expresses my Samoan identity, in both music and culture. In this way, new composition is a means of navigating and negotiating musical creativity. As I have discovered, I am not the only one moving in and out of these contexts as a Samoan musician and composer. I have worked together, alongside other Samoan composers such as Natalia Mann (based in Queensland, Australia), Metitilani Alo (based in Dunedin, New Zealand), Igelese Ete (based in Fiji) and Maori artists such as Riqi Harawira (based in Kaitaia, New Zealand) and artist BJ Natanahira (based in Kaitaia) sharing ideas and engaging in discussions around process of creativity and identity. In creating our own musical voices, we also take control of the forms and shapes used to express our identities musically and culturally. As Thomas Turino points out in Music as Social Life (2008) this is about navigating and negotiating our identity according to the spaces we move within, and the music we associate with through composition and performance. This is that journey.</p>

ANALISIS STRUKTUR MUSIKOLOGIS ARANSEMEN LAGU O INA NI KEKE UNTUK ORKESTRA

AbstrakIndonesia memiliki kekayaan lagu rakyat yang beragam sesuai keberadaan suku-suku yang tersebar dari Sabang sampai Merauke. Warisan budaya yang tak ternilai ini tidak hanya perlu dilestarikan, tapi juga diberi langkah strategis agar dapat berkembang dan dikenal lebih jauh. Dalam konteks ini, O Ina Ni Keke, sebuah lagu rakyat dari Sulawesi Utara, telah menjadi repertoar standar orkestra yang mendunia. Penelitian ini bertujuan mengetahui bagaimana komposisi struktur musikal yang diciptakan oleh Joko suprayitno untuk lagu sederhana khas lagu rakyat seperti O Ina Ni Keke mengubah lagu tersebut menjadi kelindan melodi, harmoni, tekstur, dan struktur elemen musikal lainnya dan pada akhirnya menjadi sebuah karya yang pernah dimainkan oleh Shanghai Philharmonic Orchestra. Penelitian ini menggunakan metode penelitian kualitatif dengan paparan deskriptif. Proses analisis menggunakan analisis teoretis musikologis atas bentukan struktur elemen musikal dalam aransemen lagu O Ina Ni Keke. Pendalaman proses analisis akan ditunjang oleh sumber-sumber tertulis seperti buku-buku komposisi musik dan juga notasi atau score hasil aransemen sebagai data pokok dalam proses analisis. Penelitian ini menemukan penggunaan variasi melodi kontrapungtal, penempatan melodi pokok di hampir semua instrumen musik yang memunculkan karakter bunyi yang berbeda-beda, dan penggunaan teknik pedal point.AbstractIndonesia has a wealth of folk songs that vary according to the existence of tribes that spread from Sabang to Merauke. This valueless cultural heritage should not only be preserved but also need strategic steps to strive for it to develop and be known further. From a folk song from North Sulawesi to a global standard orchestra repertoire. This study aims to find out how to composed the musical structure of simple songs typical of folk songs such as the song O Ina Ni Keke by Joko Suprayitno into a combination of melodies, harmonies, textures and other musical elements into a masterpiece that was once played by the Shanghai Philharmonic Orchestra during a concert at the Shanghai Philharmonic Orchestra. Simfonia Hall Jakarta in the framework of the Fundraising Concert for Palu & Donggala Tsunami Victims. This research uses qualitative research with descriptive exposure. The analysis process uses musicological theoretical analysis of the formation of musical elements in the arrangement of the song O Ina Ni Keke. The deepening of the analysis process will be supported by written sources such as music composition books and of course the notation or score of the arrangement as the main data in the analysis process. The results of the study found that the use of contrapuntal melody variations, the placement of the main melody in almost all instruments gave rise to different characters, and the use of the pedal point technique