Questions related to Musical Composition
What will be impact of technology in popularity of Western Music Notation for musicology and music composition? Since invention of phonograph transcribing songs and music for the purpose of preservation became useless because simply we can record it to avoid a song to be forgotten. Today development of technology provide a huge possibility of analyzing a piece of music. Most of young composers benefit from a great verity of sound processors and music software in their music compositions. Does it mean that western music notation is going to be less required in future of musicology and composition?
Does anybody know whether there is a computerized test that assess musical composition (or creativity) abilities? I've looked quite extensively into the literature but I haven't found many possibilities. Ideally, the test should be used on a non-musician population too.
I am investigating on boys and girls (15/16yrs) behaviour in the creative process of using technology (electronic music).
The teacher (me) will give a short introduction about the basic functions of the program using my computer working with a projector.
After that, the students will build groups of 3-5 people*.
I still need to clarify if the group should work on one computer or on more computers using "Soundtrap’s collaboration mode."
Tasks given to the students by the teacher will be very limited*. The groups will work in two sessions each 2 hours during one or two weeks time (depends, if the students have music once or twice a week) and they have to finish a musical composition after that time (= 1 cycle). The project will be repeated in another class in the same age group.
During the project I will write down my observations in form of field notes. Additionally two observers (two fellow students), who take notes with a given focus by me will be present. After each project cycle I will interview 4-5 participating pupils about their attitudes and experiences.
I wonder if I should let my students (for my research project) work totally independently or if I should give tasks like:
Form groups of only your gender, or build mixed gender groups or should they build the groups themselves
Create one signature sound each one of you, and each signature sound has to be heard in your group result
My research questions are:
- How can I understand and map the possible gender stereotypes in a music classroom with 15 or 16 year old pupils in a Gymnasium or Efterskole related to music technology? ( I will investigate with a focus group interview after the sessions)
- How do girls and boys use and deal with technology in the of music creation?
- Are there differences and why?
- Which needs have female and male students in this setting to feel comfortable?
- Which roles and tasks do students chose to take in the music creation and in the group?
I am researching on Affective Algorithmic Music Composition and will like to know more about the factors that influence emotions to be perceived or induced.
I am creating a set of pieces which address these questions.
By incorporation, we mean any level of relationship between the traditional manifestation and the compositional process of the author.
We want to find pieces wherein music parameters from both new composition and traditional music would be somehow related.
For instance, the composer could create his pitch logics, sense of time, textures, musical gestures, rhythmic, sound colors, process, performance rituals, among others, based on aspects of the traditional culture's music.
I have a recorded of 134 singers (acoustic variables) and 40 judges (audio-perceptua is variable). The judges have judged the voices of singers. Is it possible to establish the relationship of acoustic variables (numerical variables) and audio-perceptual (nominal and ordinal variables) via ODA? If so, what papers of ODA journal do you recommended me to read ?.
Thank you very much,
I'm searching for a method to find the transpositions of the seven traditional scales that contain a specific major or minor triad, and a dominant or half-diminished chord.
I've looked everywhere. I suspect that since this work was done before we started using the internet for this sort of thing (storing music scores online), no one ever got around to it, the principals having gone on to something else.
There were a number of performance decisions1 that I would dearly love to know Adrian Shepherd's thinking.
1. The performance in question: Thomas Augustine Arne Symphonie 1 - 4, LP later a CD on Chandos.
I'm conducting a research on Frescobaldi's toccatas. Any help or contributions would be very appreciated. The results will be presented in the Milano's Conservatory of Music within next June.
The decline in CD sales by retailers. The decline in new music being sent to radio stations the decline in concert bookings and performances decline in recording company jobs.
I was recently told that performance is not scholarship because I'm merely playing what someone else wrote. I strongly disagree as the performer brings scholarship to the process of music performance. I am not only interested in your thoughts on that, but more, how does your institution accept/or not creativity as scholarship? Also, it would seem to me that "getting the call" for a performance, either because of your reputation or because you submitted a recording, would serve as peer review, but my institution says no. Thoughts?
I am someone from a different discipline who has been given the task of researching the music of Skrillex. As part of what I am doing, I would like to give a musicologist's interpretation of perhaps just one of his songs, but unfortunately I cannot do this myself and don't know anyone who can. I would just be looking for someone who could tell me simple things about the composition, or any anomalies if there happen to be any, or even someone who could transcribe it into sheet music for me. This would be the song http://www.youtube.com/watch?v=2cXDgFwE13g. I am interested in the part that happens from 1:26 of this video, to 2:08, and similar.
Thank you in advance to anyone who can help me out, or can point me in the direction of someone who can.