Musical composition

About: Musical composition is a research topic. Over the lifetime, 5607 publications have been published within this topic receiving 74888 citations. The topic is also known as: music composition & composition.

The New Grove Dictionary of Music and Musicians

Abstract: This work contains almost 30,000 articles containing over 25 million words on musicians, composers, musicologists, instruments, places, genres, terms, performance practice, concepts, acoustics and more. All the articles are written by experts in their subject. There are over 500 biographies of composers, performers and writers on music and over 1,500 articles on styles, terms, and genres. It also includes: over 500 articles on ancient music and church music over 700 articles on regions, countries and cities over 2,000 articles on instruments and their makers and performance practice over 650 articles on printing and publishing over 1,200 articles on world music over 1,000 articles on popular music, light music and jazz over 250 articles on concepts 85 articles on acoustics 126 articles on sources and a one volume index.

The psychology of music

Abstract: J.R. Pierce, The Nature of Musical Sound. M.R. Schroeder, Concert Halls: From Magic to Number Theory. N.M. Weinberger, Music and the Auditory System. R. Rasch and R. Plomp, The Perception of Musical Tones. J-C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis. J. Sundberg, The Perception of Singing. E.M. Burns, Intervals, Scales, and Tuning. W.D. Ward, Absolute Pitch. D. Deutsch, Grouping Mechanisms in Music. D. Deutsch, The Processing of Pitch Combinations. J.J. Bharucha, Neural Nets, Temporal Composites, and Tonality. E. Narmour, Hierarchical Expectation and Musical Style. E.F. Clarke, Rhythm and Timing in Music. A. Gabrielsson, The Performance of Music. W.J. Dowling, The Development of Music Perception and Cognition. R. Shuter-Dyson, Musical Ability. O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance. E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition. Index.

The Oxford handbook of music psychology

Abstract: PART 1: THE ORIGINS AND FUNCTIONS OF MUSIC PART 2: MUSIC PERCEPTION PART 3: RESPONSES TO MUSIC PART 4: MUSIC AND THE BRAIN PART 5: MUSICAL DEVELOPMENT PART 6: LEARNING MUSICAL SKILLS PART 7: MUSICAL PERFORMANCE PART 8: COMPOSITION AND IMPROVISATION PART 9: THE ROLE OF MUSIC IN OUR EVERYDAY LIVES PART 10: MUSIC THERAPY PART 11: CONCEPTUAL FRAMEWORKS, RESEARCH METHODS AND FUTURE DIRECTIONS

The Study of Ethnomusicology: Twenty-nine Issues and Concepts

Abstract: The Musics of the World The Harmless Drudge: Defining Ethnomusicology The Art of Combining Tones: The Music Concept Inspiration and Perspiration: The Creative Process The Universal Language: Universals of Music The non-universal Language: Varieties of Music Apples and Oranges: Comparative Study I Can't Say a Thing until I've Seen the Score: Transcription and Notation In the Speech Mode: Contemplating Repertories The Most Indefatigable Tourists of the World: Tunes and Their Relationships In the Field Come Back and See Me next Tuesday: essentials of Fieldwork You Will Never Understand this Music: Insiders and Outsiders Hanging on for Dear Life: Preservation and Archives I Am the Greatest: Ordinary and Exceptional Musicians You Call That Fieldwork? Redefining the 'Field' What Do You Think You're Doing? The Host's Perspective In Culture Music and That Complex Whole': Music in Culture The Meat-and-Potatoes Book: Musical Ethnography Music Hath Charms: Uses and Functions of Music In the Beginning: Origins of Music The Continuity of Change: On People Changing Their Music Recorded, Printed, Written, Oral: Traditions The Basic Unit of All Human Behavior and Civilization: Signs and Symbols Location, Location, Location! Interpreting Geographic Distribution The Whys of Musical Style: Determinants In All Its Varieties I've never heard a Horse Sing: Musical Stratification The Creatures of Jubal: Organology How Do You Get to Carnegie Hall? Teaching and Learning I'm a Stranger here Myself: Women's Music, Women in Music Diversity and Difference: Some Minorities A New Era: The 1990s and Beyond The Shape of the Story: Remarks On History

The Cognition of Basic Musical Structures

Abstract: In this book, David Temperley addresses a fundamental question about music cognition: how do we extract basic kinds of musical information, such as meter, phrase structure, counterpoint, pitch spelling, harmony, and key from music as we hear it? Taking a computational approach, Temperley develops models for generating these aspects of musical structure. The models he proposes are based on preference rules, which are criteria for evaluating a possible structural analysis of a piece of music. A preference rule system evaluates many possible interpretations and chooses the one that best satisfies the rules.After an introductory chapter, Temperley presents preference rule systems for generating six basic kinds of musical structure: meter, phrase structure, contrapuntal structure, harmony, and key, as well as pitch spelling (the labeling of pitch events with spellings such as A flat or G sharp). He suggests that preference rule systems not only show how musical structures are inferred, but also shed light on other aspects of music. He substantiates this claim with discussions of musical ambiguity, retrospective revision, expectation, and music outside the Western canon (rock and traditional African music). He proposes a framework for the description of musical styles based on preference rule systems and explores the relevance of preference rule systems to higher-level aspects of music, such as musical schemata, narrative and drama, and musical tension.