Musical composition

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MUSICAL COMPOSITION. The act of congress of February 3, 1831, authorizes the granting of a copyright for a musical composition. A question was formerly agitated whether a composition published on a single sheet of paper, was to be considered a book, and it was decided in the affirmative. 2 Campb. 28, n.; 11 East, 244. See Copyright.

References in periodicals archive ?
Finally, if you want to avoid being predictable in your use of repetition and patterns, what you can do is to combine them along with other compositional techniques. For example, you may capture patterns that are in contrast with strong, solid space.
Compiled, organized and edited by Keith Polk, Tielman Susato And The Music Of His Time: Print Culture, Compositional Technique And Instrumental Music In The Renaissance is the fifth volume of the "Bucina: The Historical Brass Society Series" and combines biography with musicology to provide readers with a fully descriptive and informative history of the life and accomplishments of one of the most productive and influential men in Renaissance Europe.
Of course, as Agostino Di Scipio argues, the dimension of the techne is very important, (5) but the techne includes all compositional technique, and cannot be reduced to the new music technologies.
A recent book by the American musicologist Lawrence Dreyfus, Bach and the Patterns of Invention (Harvard), does a great deal to illuminate the special nature of Bach's compositional technique by showing how he fully assimilated and understood the conventions of his time.
Perhaps most surprisingly of all (at least to those who criticize the prescriptiveness of the serial method while warmly embracing recent tonal effusions), the tintinnabuli style itself is at least as systematic as any compositional technique other than the short-lived aberration of total serialism.
If one accepts the three main figures as "themes," then Jelinek's compositional technique might be described as themes with variations.
4) where the author claims that the middle style, properly handled, will project an air of `manly confidence', and we see it again in the opening lines of Sermones 2.1, where Horace comfortably and naturally posits a connection between moral character and compositional technique. He too has been charged with having both a lack and a superabundance of `manly confidence,' criticism which cuts both at the content of his work as well as its compositional style.(7) In the poems that follow in Book 2, pursuing the general tenor of these lines, Horace delivers extreme and contradictory precepts (some by Stoics, other by Epicureans) in verse that is equally varied and extreme.
A valuable clue to help us answer this question is provided by the second major Spanish treatise on improvisation, Santa Maria's Arte de rafter fantasia, in what seems to be the earliest published complete description of an improvisational and compositional technique based on the supremacy of a treble-bass duet filled in with vertical sonorities.
This speedy production reveals a compositional technique which, far from the 'laborious' method, had, in fact totally bypassed the need for manuscript draft or fair copy.
The text Ellington reads in order to offer the listener his performed reading is an evocative prompt which conjures up the possibility of composition and performance, and the narrative Ellington offers as discussion of his compositional technique shows that the evocative prompt goes to the listener as well.