Fritsche, 2022 - Google Patents

Composing Moods: My experience of composing for a cross-genre ensemble of improvisers

Fritsche, 2022

View PDF
Document ID
11221303708337622204
Author
Fritsche J
Publication year

External Links

Snippet

My master's thesis project is about creating music for piano and improvising ensemble based on compositions that set the ground for an open improvisation. I wanted to find out methods of how to write and communicate a piece that gives the performing musician a …
Continue reading at www.diva-portal.org (PDF) (other versions)

Classifications

    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00Details of electrophonic musical instruments
    • G10H1/0033Recording/reproducing or transmission of music for electrophonic musical instruments
    • G10H1/0041Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
    • G10H1/0058Transmission between separate instruments or between individual components of a musical system
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00Details of electrophonic musical instruments
    • G10H1/0033Recording/reproducing or transmission of music for electrophonic musical instruments
    • G10H1/0083Recording/reproducing or transmission of music for electrophonic musical instruments using wireless transmission, e.g. radio, light, infrared
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/101Music Composition or musical creation; Tools or processes therefor
    • G10H2210/151Music Composition or musical creation; Tools or processes therefor using templates, i.e. incomplete musical sections, as a basis for composing
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00Details of electrophonic musical instruments
    • G10H1/0008Associated control or indicating means
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00Details of electrophonic musical instruments
    • G10H1/36Accompaniment arrangements
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/031Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2240/00Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/171Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
    • G10H2240/281Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument
    • G10H2240/295Packet switched network, e.g. token ring
    • G10H2240/305Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10DSTRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00General design of stringed musical instruments
    • G10D1/12General design of stringed musical instruments of zithers, e.g. autoharp
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2220/00Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/005Non-interactive screen display of musical or status data
    • G10H2220/011Lyrics displays, e.g. for karaoke applications
    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H3/00Instruments in which the tones are generated by electromechanical means
    • G10H3/12Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
    • G10H3/14Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
    • G10H3/18Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar
    • G10H3/186Means for processing the signal picked up from the strings
    • G10H3/187Means for processing the signal picked up from the strings for distorting the signal, e.g. to simulate tube amplifiers

Similar Documents

Publication Publication Date Title
Alperson The instrumentality of music
Fritsche Composing Moods: My experience of composing for a cross-genre ensemble of improvisers
Nestler The influence of Japanese composers on the development of the repertoire for the saxophone and the significance of the fuzzy bird sonata by Takashi Yoshimatsu
Feng From Pre-Recorded Tape to Live Computer Processing: Piano Music from Davidovsky to the Present Day.
Barth Music for Solo Trumpet and Electronics: A Repertoire Study
Farr Julia Wolfe's Zigzag for Wind Band: The Commission, Analysis, and Interviews
White The Viola-Guitar Duo: Analysis and Performance Considerations in Gilbert Biberian's Folklore III
Kasper Adam Gorb's Bohemian Revelry: a conductor's analysis and performance guide
Mainwaring Tipping points: a saxophone led investigation into three continua
Durst A descriptive catalog of the saxophone compositions of Robert Lemay
Mason Spectral Music; why create compositions with such a limited palette?
Tolman An Exploration of Methodologies for Transcription as Applied to Kevin Day's
Cacavas The Art of Writing Music
Pouncey A Conductor’s Guide to the Use of Ensemble Pedaling and Acoustic Recreation of Electronic Delay Processing in the Wind Band Music of Viet Cuong
Zimmerman Kevin Day’s Concerto for Euphonium and Wind Ensemble: A Comprehensive Performance Guide
Vial Strategies and Techniques for Multiple-Voice Jazz Piano Improvisation
Rye Four X Three: Unconventional Contemporary Chamber Music Trios Featuring Solo Trumpet
Zhang Saxophone Music Inspired by Birds: An International Perspective
Gibens Preparing and Performing a Trumpet Recital
Linscheid Illuminating the Compositional Process in Jazz: A Study of the Compositional Methods of Jerry Bergonzi, Miguel Zenón, and Donny McCaslin
Landrus The Evolution of the Baritone Saxophone Concerto
Crowley Studies of Musical Borrowing: Borrowing as Compositional Tool in Béla Bartók's Second Piano Concerto and The Influence of Luciano Berio on the Grateful Dead's Approach to Live Improvisation
Fronckowiak The oboe concerto of John Harbison: A guide to analysis, performance, and the collaboration with oboist, William Bennett
Fadale A comprehensive examination of the saxophone chamber music of John Fitz Rogers
Johnson Selected Wind Band Works of Jennifer Higdon: A Conductor's Analysis