Music, Composers, Sources, and Transmission

UID/EAT/00693/2019 PTDC/CPC-MMU/0314/2014 DL 57/2016/CP1453/CT0083 CEECIND/00195/2017publishersversionpublishe

The Wedding at Cana (2004)

Two flutes – composed for the Christian Fellowship of Art Music Composers “Forging Links” conference – premiered by two flutistshttps://digitalcommons.butler.edu/jca_scores/1054/thumbnail.jp

The digital revolution : how technology changed the workflow of composers for media = La révolution numérique : comment les technologies ont changé les méthodologies de travail pour les compositeurs à l'image

Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans.Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years

Reflections on a Hymn of Thanksgiving (2004)

Two violins or violin and viola – composed for Brandon Page and the Christian Fellowship of Art Music Composers “Forging Links” conference – premiered by Davis and Lisa Brooks, November 2004https://digitalcommons.butler.edu/jca_scores/1065/thumbnail.jp

Retrospective analysis of plagiaristic practices within a cinematic industry in india – a tip in the ocean of icebergs

Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry. A list of plagiarised songs was produced by using YouTube® searches for “comparative videos” made by the vigilant music lovers about accused/detected music plagiarism. Some of these individuals were also interviewed to understand their views on this. During the investigation, it was possible to identify a vast number of plagiarised tunes, snippets, or even the full songs. In fact, some of these examples’ dates to 1954, during the era when no one would have noticed plagiarism. The paper would highlight the similarities of these music files. It will also show some examples of the excuses/denial given by the composers and would try to highlight the attitudes of general public towards these types of activities.N/

The Word Made Flesh (2004)

A round in four to eight parts – text is a paraphrase by Frank Felice from the Gospel of John - composed for the Christian Fellowship of Art Music Composers “Forging Links” conference – premiered by Eric Stark and the Butler Chorale, November 2005https://digitalcommons.butler.edu/jca_scores/1032/thumbnail.jp

Can the evolution of music be analyzed in a quantitative manner?

We propose a methodology to study music development by applying multivariate statistics on composers characteristics. Seven representative composers were considered in terms of eight main musical features. Grades were assigned to each characteristic and their correlations were analyzed. A bootstrap method was applied to simulate hundreds of artificial composers influenced by the seven representatives chosen. Afterwards we quantify non-numeric relations like dialectics, opposition and innovation. Composers differences on style and technique were represented as geometrical distances in the feature space, making it possible to quantify, for example, how much Bach and Stockhausen differ from other composers or how much Beethoven influenced Brahms. In addition, we compared the results with a prior investigation on philosophy. Opposition, strong on philosophy, was not remarkable on music. Supporting an observation already considered by music theorists, strong influences were identified between composers by the quantification of dialectics, implying inheritance and suggesting a stronger master-disciple evolution when compared to the philosophy analysis.Comment: 8 pages, 6 figures, added references for sections 1 and 4.C, better mathematical description on section 2. New values and interpretation, now considering a bootstrap metho

Pragmatic Considerations in Mixed Music: a Case Study of La Rage

With access to powerful real-time DSP languages now easier than ever, the new generation of mixed music composers are able to manage both sides of the coin: they have the programming skills and the compositional concerns that were traditionally the responsibility of two different persons. This brings more and more sophisticated integration of technical resources and compositional gestures. A good example of such integration is the author’s piece La Rage. In the light of general comments on the seamless integration of technology in this piece, the author, by discussing how compositional and technical concerns interact in his process of creation, tries to pinpoint key considerations that help him achieve this. He proposes two major categories, portability and adaptability, and explains how they were addressed in this specific work