Andere Kunden interessierten sich auch für
![Aesthetic in Temporal Forces and Electroacoustic Composition]( "Aesthetic in Temporal Forces and Electroacoustic Composition")
Aesthetic in Temporal Forces and Electroacoustic Composition38,99 €![The Performance Practice of Electroacoustic Music]( "The Performance Practice of Electroacoustic Music")
The Performance Practice of Electroacoustic Music63,85 €![Musical composition from a personal expression]( "Musical composition from a personal expression")
Musical composition from a personal expression51,99 €![Marketing Strategies in the UK Classical Music Business]( "Marketing Strategies in the UK Classical Music Business")
Marketing Strategies in the UK Classical Music Business51,99 €![Electroacoustic music]( "Electroacoustic music")
Electroacoustic music22,99 €![Visions Fugitives: Glimpses into Prokofiev¿s Compositional Development]( "Visions Fugitives: Glimpses into Prokofiev¿s Compositional Development")
Visions Fugitives: Glimpses into Prokofiev¿s Compositional Development32,99 €![Annang Dances: A Contemporary Compositional Approach]( "Annang Dances: A Contemporary Compositional Approach")
Annang Dances: A Contemporary Compositional Approach51,99 €
This thesis aims to discuss compositional strategies.
The pieces were to explore ways of creating
relationships between musical materials of differing
natures. Structuring methods are outlined using
examples from two acousmatic and three mixed works.
Analyses from a macro- and micro-perspective aid in
describing the principal elements of musical
discourse and the personal methods of achieving
musical coherence.Three stages of the compositional
process are defined and discussed, forming a
framework within which the computer transformations
and instrumental sources are described. The first
stage consists of the generation of material and the
qualifying of the sounds as the basis for initial
musical relationships. Then the structuring of the
musical discourse is discussed, highlighting links at
macro and microstructural levels. Finally, issues of
performance are discussed. Feedback from the
performer and the design of a common synchronisation
method for the three pieces drives the structural
design of the works. Musical material and the visual
information during performance are investigated, and
consideration is given to their implications
throughout the compositional process.
The pieces were to explore ways of creating
relationships between musical materials of differing
natures. Structuring methods are outlined using
examples from two acousmatic and three mixed works.
Analyses from a macro- and micro-perspective aid in
describing the principal elements of musical
discourse and the personal methods of achieving
musical coherence.Three stages of the compositional
process are defined and discussed, forming a
framework within which the computer transformations
and instrumental sources are described. The first
stage consists of the generation of material and the
qualifying of the sounds as the basis for initial
musical relationships. Then the structuring of the
musical discourse is discussed, highlighting links at
macro and microstructural levels. Finally, issues of
performance are discussed. Feedback from the
performer and the design of a common synchronisation
method for the three pieces drives the structural
design of the works. Musical material and the visual
information during performance are investigated, and
consideration is given to their implications
throughout the compositional process.