Composition (music)

composition (lat. Composition) designates the invention (authority) of music through i.d.R. a person, in order to deliver it for the repeatable execution. Gegenbegriffe are

  • verbal excessive quantity or traditional excessive quantity: A music work can be attributed not to a person, but becomes asCommunity property further-carried and every now and then also develops further.
  • Improvisation: Music develops during the play process and is not meant not for the repeated execution.
  • Interpretation: A music work available as composition is specified of an interpreter.

As composition just as the result , becomes a completed, ready for the performancelying work of a composer marks.

Table of contents

to composition of “classical music

composition is v.a. the work process characteristic of the “classical music “. It designates thoseInvention of a music work and the exact adjustment of the same in notation by the composer. The definitions, which the composer meets, are differently compelling thereby depending upon parameter. The pitches are absolute and accurate, the clay/tone lasting and the rhythm resulting in thereby are in relation toBasic speed accurately assignable. Thus these can be called primary parameters or composition categories.Dynamics and articulation can be prescribed also very differentiated, are however not representable not like the primary parameters in exact values in the notation and thus secondary parameters or composition categories. As suchthey are interpretation thing by the interpreter. This applies also to the speed, since there is no appropriate absolute speed perception, the deviations from a prescribed speed (e.g. in impacts per minute) actually also as deviation from the composition interpret yourself, so long not the speed impression (“fast”,“changes moderately”, “slowly”). In the hand of the composer lies besides the choice of occupation and the instrumentation. With progressive Ausdifferenzierung of the sinfonischen orchestra these got 19 in the course. and 20. Century increasingly likewise the character of a composition category, whereby it itself however mostly neverthelessaround one pre-aged to the actual composition (choice of occupation) or subordinate process (instrumentation) acts.

music-historical meaning

in the concentration of the musical work process on the composers and thus on an individual lies a crucial feature of the classical music, that for its historical developmentis determining. It is a condition for since that the 19. Century increasing admiration of the composer as a “genius “, for the excessive quantity of an increasing canon at “masterpieces” and finally for the ever stricter separation and specialization of composer and interpreter. Paradoxically however straight these ledDevelopments in 20. Century to a removing meaning of the composer in relation to the interpreter, since those generally recognized on on the canons “masterpieces” fall back can, to whom the contemporary composer into competition step must. “Classical music” meant thereby increasingly the transformation of historically delivered music ina current music happening and the interpreter their actual carrier became. The composers found their niches only in itself from the historical material always far differentiating experiment (also the above mentioned. Characteristics it “composing” concerned and occasionally in question placed), were thereby however in specialized concert rowsand festivals pushed aside. As consequence of it also the public in listeners split up “classically” and ” new music “(see. Music history). Since the Schallaufzeichnung makes again a “canon” deliverable at “master interpretations”, the interpreters see themselves to the composer today in a comparable situation, whichthe entire “classical music” into a stagnation leads, it is questionable from which whether she can free herself from it.

composition in jazz and skirt music

, where there is composition and composer outside of the “classical music”, is it of comparatively smaller importance, there that,which lies completely in the hand of the composer of classical music, here arbeitsteilig comes. Thus in the jazz as composition only the melody and the harmonious basic structure of a piece are usually designated, during at the audible final result the arrangement and meaning a likewise the improvisationPortion has. Important composers of the jazz such as Duke Ellington, Miles Davis or Wayne Shorter stand accordingly in its own shade as exercising musicians. Thus contrary to the “classical music” the historical development of the jazz is coined/shaped also by exercising musicians and not by composers.

In the skirt music are composition, arrangement and performance a usually collective, never completely process classifyable into its details, also only for presentation by their authors meant its result are and not for excessive quantity of other interpreters, it in the “classical” sense therefore herealso does not give.

These differences in the role, which takes a composing in “classical music”, in jazz and in skirt, are a reason for the non-uniform use of yardsticks in the esteeming aesthetic comparison.

see also

 

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