Investigation Music Sources

Analysis of Composition

The art form of creating an original form of arranging the tones, tempo, changes in the volumes and the audible qualities of resonating sound and its consistency is called the composition of music (Chmiel and Schubert, 2017). It determines that directly coming through the vocal chords of any human through the use of written, printed or by the use of symbols can be used in musical notations at intervals to depict the absence of music for the certain period of time, which is then used by a melodist and the other musicians. For those needing specialised support in this field, art dissertation help can provide valuable guidance and insights into the nuances of musical composition.

Song writing in this form of art is a very important part which demands the designing of the fundamental contouring of the song in the traditional as well as in the popular music trend (Scirea et al. 2017). In other words, it can also be described, as the framing of the notations that emphasises the exclusive notes of the popular song like its tune, words and its consonance, which embarks on the melodic and harmonious use of a series of a chord played in sequence.

However, traditional music consists of study on modifications of music composition of a different gathering of various musical instruments coding themselves in sequential notations of tunes (Julia et al. 2019). In case of popular tunes of music or in theatres of music fundamentally comprising of various songs, dialects, dance forms and some parts of recitation and acting together, moods or emotions in music are affective in terms of emotional adjectives like, “gloomy”, pathetic or Urbane”.

The lyric of the songs performed by Russell is associated with two bipolar dimensions of study and analysis. In fact, it takes a lot attempt to engage or link tune with key aspects of the music for example, tempo, its loudness and its perfect pitch to do its ensemble with the respective instruments required to set the tunes of the band.

The notational representation of the music in a form of fine arts is always performance oriented that is depending upon the artistes or the troupe to contribute a melodic count into an audible accomplishment.

The formula used in the Meta composition concept usually gets transformed and abstract that is accepted by real time affective composer. In other words, this kind of composition often brings generosity and authenticity (Scirea et al. 2017). Depending upon the artistes carrying its notes thoroughly and also on the audiences, as the way they comprehend the notations into their conscious brain; although if the musical performance renders twinning musical notations one after the other depending upon the music and the mood that is created into the listeners, it is elucidated in different forms. In this regard, Johann Sebastian Bach implements melodies within single piece of work here for the purpose of making it an active piece of work (Hakenberg, 2020).

Each of this musical delivery is a mixture of expression, alterations, inclusions and removal of a variety of notations to form a melodically soothing and entertaining orchestrate in itself due to the great endeavour and repressed staging of artistes. A significant factor that causes the presentation of a sequential notation and orchestrate is evident here with the ones, where the creator and the presenter generally has categorised into the western culture of music (Miranda et al. 2018). This conceptualization of performing a primary set of notations is crystal clear and a noted compulsory activity, irrespective of being a studio recording or a performing art. These types of case studies often interprets high independence level of the creator of the sequential notations for circumstantial changes brought into a stage management program than presenting a defined notational performance in a classical form which can in no way be deviated from the exact noted presentation (Herremans et al. 2017).

Practices

The most important and foremost substantial part of this musical world is the music performer and the listener. According to Velankar et al. (2018), music has been interpreted as a co relational existence with harmonic product spectrum. In this regard, Indian vocal music is used, as different pitch estimation as well as algorithm.

It shows that there are multiple segments and underwent Fast Fourier Transformation at 4096 with such as high resolution. At the same time, fundamental frequency was between 100 Hz to 500 Hz.

On the basis of the above studies dealing with performances and practices, it can be assumed that the skilled listeners now not only are able identify the features of the performance but also understand the valid intentions of a performer behind the dedication showed for his work performance (GASIMOVA, 2020). It can bring clarity of concepts and emotions exist with significant aspects of performances that could not be evaluated by human recognition.

Explorations of rehearsal methods

Random studies have been conducted to understand the correspondence between the teacher and the student behavioural understanding in certain consecutive classes by the experts. Williams (2017), stated that Teacher’s interaction with the students and interaction were covered in the activities of teacher-like, commanding, specifications, examining with an affirmative approach. In fact, it also rejects reviews from the students along with the other off-job tasks given to the students by the teacher.

For example, Teacher Simulation has been classified into another three fragments for a better understanding as optimistic simulation, pessimistic simulation and tutored simulation. These are distinctively based on the type of the performances to be delivered by the teacher for the students (McGrath and Love, 2017). For evidence, mobile music performance is another ethnographic study and exploration..

On the contrary teaching a musical piece with a wrong interpretation of the notations or the flow of the music is considered as a pessimistic simulation (Randlett, 2019). Rather tutored simulation was pointed out when a teacher performs in between the students learning session within the chosen figures of time.

Music Literature Reviews

Music education did not concentrate on some predetermined instructional objectives like conventional teaching learning methods of education. According to Randlett (2019), the success of music literature and education lies in the ability of the learner to connect the words or the lyrics of music to world. The main objective of classroom music directive was to entitle the students to be true musicians.

An overview of the range of musicological fields of study

This takes into consideration the technical skills and aspects of music learning and teaching (Velankar et al. 2018). This is a key to understand the different forms of music which is again closely related to socio-cultural aspects of different people and places.

This is the detailed study of music as a subject for those who love music and wants to gather knowledge about the subject in a certified course following the stipulated pedagogical instructions of the university (McGrath and Love, 2017).

It is the study of music encompassing the historical and cultural aspects of it.

This is a clinically proven study of music as a healer of different psychological as well as behavioural disorders (Hakenberg, 2020). Thus this becomes a field of study concerning the health department where music works as a therapy.

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References

• Chmiel, A. and Schubert, E., 2017. Back to the inverted-U for music preference: A review of the literature. Psychology of Music, 45(6), pp.886-909.
• GASIMOVA, A.R., 2020. FEATURES OF MUSICAL LANGUAGE IN THE SYMPHONIC CREATIVITY OF COMPOSER NARIMAN MAMMADOV. Актуальні питання гуманітарних наук, 1(30), pp.79-85.
• Hakenberg, J., 2020. Music Analysis And Composition. [online] Hakenberg.de. Available at:
• Herremans, D., Chuan, C.H. and Chew, E., 2017. A functional taxonomy of music generation systems. ACM Computing Surveys (CSUR), 50(5), pp.1-30.
• Hoefnagels, A., Klassen, J. and Johnson, S., 2020. The Study of Music in Canada: Ethnomusicological Sources and Institutional Priorities. Contemporary Musical Expressions in Canada, p.13.
• Julia, J., Iswara, P.D. and Supriyadi, T., 2019. Redesigning and implementing traditional musical instrument in integrated technology classroom. International Journal of Emerging Technologies in Learning (iJET), 14(10), pp.75-87.
• McGrath, S. and Love, S., 2017. The user experience of mobile music making: An ethnographic exploration of music production and performance in practice. Computers in Human Behavior, 72, pp.233-245.
• Miranda, E.R., Antoine, A., Celerier, J.M. and Desainte-Catherine, M., 2018. i-Berlioz: Interactive Computer-Aided Orchestration with Temporal Control.
• Randlett, P., 2019. Training Worship Leaders Through the Worship Wars: A Study of the Development of Liberty University's Undergraduate Music and Worship Leadership Degree Programs from 1971 to 2018.
• Scirea, M., Togelius, J., Eklund, P. and Risi, S., 2017. Affective evolutionary music composition with MetaCompose. Genetic Programming and Evolvable Machines, 18(4), pp.433-465.
• Velankar, M., Deshpande, A. and Kulkarni, P., 2018. Music Melodic Pattern Detection with Pitch Estimation Algorithms.
• Williams, J.B., 2017. Analytical explorations of creative interaction and collaborative process through composition, rehearsal and performance: a composer-composer case study of acoustic music with live electronics.