Download Composition Book _HOT_
Ann Iacobucci
Composition API is a built-in feature of Vue 3 and Vue 2.7. For older Vue 2 versions, use the officially maintained @vue/composition-api plugin. In Vue 3, it is also primarily used together with the syntax in Single-File Components. Here's a basic example of a component using Composition API:
Despite an API style based on function composition, Composition API is NOT functional programming. Composition API is based on Vue's mutable, fine-grained reactivity paradigm, whereas functional programming emphasizes immutability.
Each academic year, in addition to a number of organized collaborations, special projects, and ad hoc events, we schedule eight general student composition recitals and two focusing on works created at the Center for Electronic and Computer Music.
Musical composition can refer to an original piece or work of music,[1] either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score", which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, countermelody, bassline and so on) is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.
Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when all members of a band collaborate to write a song or in musical theatre, when one person writes the melodies, a second person writes the lyrics and a third person orchestrates the songs.
A piece of music can also be composed with words, images or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as Karlheinz Stockhausen's Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman and Witold Lutosławski. A more commonly known example of chance-based, or indeterminate, music is the sound of wind chimes jingling in a breeze. The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include the creation of popular music and traditional music songs and instrumental pieces, and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers.
Composition consists in two things only. The first is the ordering and disposing of several sounds...in such a manner that their succession pleases the ear. This is what the Ancients called melody. The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant. This is what we call harmony and it alone merits the name of composition.[2]
Piece is a "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards....other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies....composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]....In vocal music...the term is most frequently used for operatic ensembles..."[3]
Composition techniques draw parallels from visual art's formal elements. Sometimes, the entire form of a piece is through-composed, meaning that each part is different, with no repetition of sections; other forms include strophic, rondo, verse-chorus, and others. Some pieces are composed around a set scale, where the compositional technique might be considered the usage of a particular scale. Others are composed during performance (see improvisation), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar.[citation needed]
The scale for the notes used, including the mode and tonic note, is important in tonal musical composition. Similarly, music of the Middle East employs compositions that are rigidly based on a specific mode (maqam) often within improvisational contexts, as does Indian classical music in both the Hindustani and the Carnatic system.[4]
As technology has developed in the 20th and 21st century, new methods of music composition have come about. EEG headsets have also been used to create music by interpreting the brainwaves of musicians.[5] This method has been used for Project Mindtunes,[6] which involved collaborating disabled musicians with DJ Fresh, and also by artists Lisa Park and Masaki Batoh.
The task of adapting a composition for different musical ensembles is called arranging or orchestration, may be undertaken by the composer or separately by an arranger based on the composer's core composition. Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work. In the 2010s, the contemporary composer can virtually write for almost any combination of instruments, ranging from a string section, wind and brass sections used in a standard orchestras to electronic instruments such as synthesizers. Some common group settings include music for full orchestra (consisting of strings, woodwinds, brass, and percussion), concert band (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo. Solos may be unaccompanied, as with works for solo piano or solo cello, or solos may be accompanied by another instrument or by an ensemble.
Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, some symphonies, operas, and musicals). Composers can also write for percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth.[7] In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba playing with the piccolo. This would clearly drown the piccolo out. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work.[8]
The scope of copyright in general is defined by various international treaties and their implementations, which take the form of national statutes, and in common law jurisdictions, case law. These agreements and corresponding body of law distinguish between the rights applicable to sound recordings and the rights applicable to compositions. For example, Beethoven's 9th Symphony is in the public domain, but in most of the world, recordings of particular performances of that composition usually are not. For copyright purposes, song lyrics and other performed words are considered part of the composition, even though they may have different authors and copyright owners than the non-lyrical elements. Many jurisdictions allow for compulsory licensing of certain uses of compositions. For example, copyright law may allow a record company to pay a modest fee to a copyright collective to which the composer or publisher belongs, in exchange for the right to make and distribute CDs containing a cover band's performance of the composer or publisher's compositions. The license is "compulsory" because the copyright owner cannot refuse or set terms for the license. Copyright collectives also typically manage the licensing of public performances of compositions, whether by live musicians or by transmitting sound recordings over radio or the Internet.
Even though the first US copyright laws did not include musical compositions, they were added as part of the Copyright Act of 1831. According to a circular issued by the United States Copyright Office on Copyright Registration of Musical Compositions and Sound Recordings, a musical composition is defined as "A musical composition consists of music, including any accompanying words, and is normally registered as a work of the performing arts. The author of a musical composition is generally the composer, and the lyricists if any. A musical composition may be in the form of a notated copy (for example sheet music) or in the form of a phonorecord (for example cassette tape, LP, or CD). Sending a musical composition in the form of a phonorecord does not necessarily mean that there is a claim to copyright in the sound recording."[10]
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