Wang, 2020 - Google Patents
The Reshaping of My Compositional Approaches by the Application of Improvised ComponentsWang, 2020
- Document ID
- 8818764368506109732
- Author
- Wang Q
- Publication year
External Links
Snippet
My interest in composition in the past two years focuses on exploring the possibility, flexibility, potential, and expressiveness of conduction and improvisation. The relationship between improvisation and composition makes me reconsider my compositional approach …
- 239000000203 mixture 0 abstract description 39
Classifications
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
- G10H1/0041—Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
- G10H1/0058—Transmission between separate instruments or between individual components of a musical system
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects 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
- G10H2210/101—Music Composition or musical creation; Tools or processes therefor
- G10H2210/151—Music Composition or musical creation; Tools or processes therefor using templates, i.e. incomplete musical sections, as a basis for composing
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0008—Associated control or indicating means
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/36—Accompaniment arrangements
- G10H1/361—Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
- G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
- G10H2240/281—Protocol or standard connector for transmission of analog or digital data to or from an electrophonic musical instrument
- G10H2240/295—Packet switched network, e.g. token ring
- G10H2240/305—Internet or TCP/IP protocol use for any electrophonic musical instrument data or musical parameter transmission purposes
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects 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
- G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
- G10H2220/005—Non-interactive screen display of musical or status data
- G10H2220/011—Lyrics displays, e.g. for karaoke applications
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
- G10H2220/005—Non-interactive screen display of musical or status data
- G10H2220/015—Musical staff, tablature or score displays, e.g. for score reading during a performance.
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
- G10H2240/075—Musical metadata derived from musical analysis or for use in electrophonic musical instruments
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B15/00—Teaching music
- G09B15/02—Boards or like means for providing an indication of notes
- G09B15/04—Boards or like means for providing an indication of notes with sound emitters
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B5/00—Electrically-operated educational appliances
- G09B5/06—Electrically-operated educational appliances with both visual and audible presentation of the material to be studied
- G09B5/065—Combinations of audio and video presentations, e.g. videotapes, videodiscs, television systems
-
- G—PHYSICS
- G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
- G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
- G09B15/00—Teaching music
- G09B15/001—Boards or like means for providing an indication of chords
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
- G10H7/08—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform
- G10H7/10—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform using coefficients or parameters stored in a memory, e.g. Fourier coefficients
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H5/00—Instruments in which the tones are generated by means of electronic generators
Similar Documents
| Publication | Publication Date | Title |
|---|---|---|
| Michaelsen | Analyzing musical interaction in jazz improvisations of the 1960s | |
| Kallionpaa | Beyond the piano: the super instrument. Widening the instrumental capacities in the context of the piano music of the 21st century | |
| Payling | Electronic Visual Music: The Elements of Audiovisual Creativity | |
| Beavers | Beyond mere novelty: Timbre as primary structural marker in Ravel’s Piano Concerto in G Major | |
| Wang | The Reshaping of My Compositional Approaches by the Application of Improvised Components | |
| Byun | New Korean Voices: Three Female Composers and Their Works | |
| Colangelo | The composer-performer paradigm in Giacinto Scelsi's solo works | |
| Young | The Eternal Pulse: creating with konnakkol and its adaptation into contemporary vocal performance | |
| Lee | Interpreting Korean Images and Elements in Hyowon Woo's Choral Compositions' Amazing Grace'and'O Magnum Mysterium' | |
| Mcgregor | Of Instrumental Value: Flutist-Composer Collaboration in the Creation of New Music | |
| Jablonska | Exploring boundaries of improvisation and genre in contemporary cello practice | |
| Luyin | Recurrence and (Dis) Continuity as Identity in Chen Yi’s Trans-Cultural Musical Style | |
| Coleman | Polycyclic Comprovisation | |
| Bergström | Approaching Improvisation as a Classical Violinist." Paganini non ripete". | |
| Herron | Composing with Musical Instruments: Physicality and Instrument Intervention in the Creative Process | |
| Aguila | ghost tones Concepts and Concert | |
| Durante et al. | Exploring transdisciplinary performance and creation in Le corps qui habite en moi for solo flute | |
| Blankenship | Programmatic and Performance Observations for Two Chamber Works by Chen Yi | |
| Li | Resonating beyond the sound: reflection on cultural confluence through timbre exploration in my compositions | |
| Turner | New Approaches to Performance and the Practical Application of Techniques from Non-Western and Electro-acoustic Musics in Compositions for Solo Cello since 1950: A Personal Approach and Two Case Studies | |
| Bonds | STEVEN BRYANT’S THE AUTOMATIC EARTH: A CONDUCTOR’S ANALYSIS AND PERFORMANCE PERSPECTIVES | |
| Fraker | The oboe works of Isang Yun | |
| Du | A Performance Analysis and Pedagogical Reference Guide to Three of Chen Yi’s Piano Solo Compositions: Variations on “Awariguli”, Bamboo Song, and Plum Blossom | |
| Chen | Distinctive Perspectives on Chinese Themes: An Exploration and Comparison on the Avshalomov Violin Concerto and the Butterfly Lovers’ Violin Concerto | |
| Blumenthal | A Performer’s Approach to the Horn Solo and Chamber Works of Thomas E. Weaver |