Composer For Php 7.4

[Nella Mcnairy]

Thisinstaller script will simply check some php.ini settings, warn you if they are set incorrectly, and then download the latest composer.phar in the current directory. The 4 lines above will, in order:

By default the installer and composer self-update will download the latest stable version only. You may select a different download channel though.

If you would like to help test pre-release versions you can use the --preview flag on either the installer or self-update.

For snapshot builds, which are done from the latest Composer commit, you can use the --snapshot flag.

To programmatically install specific major versions you can use the --1 or --2 flag. To select the latest 2.2 LTS you can use --2.2.

A composer is a person who writes music.[1] The term is especially used to indicate composers of Western classical music,[2] or those who are composers by occupation.[3] Many composers are, or were, also skilled performers of music.

The term is descended from Latin, compōnō; literally "one who puts together".[4] The earliest use of the term in a musical context given by the Oxford English Dictionary is from Thomas Morley's 1597 A Plain and Easy Introduction to Practical Music, where he says "Some wil [sic] be good descanters [...] and yet wil be but bad composers".[1]

"Composer" is a loose term that generally refers to any person who writes music.[1] More specifically, it is often used to denote people who are composers by occupation,[3] or those who work in the tradition of Western classical music.[2] Writers of exclusively or primarily songs may be called composers, but since the 20th century the terms 'songwriter' or 'singer-songwriter' are more often used, particularly in popular music genres.[5] In other contexts, the term 'composer' can refer to a literary writer,[6] or more rarely and generally, someone who combines pieces into a whole.[7]

In the development of European classical music, the function of composing music initially did not have much greater importance than that of performing it.[citation needed] The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance.

Although a musical composition often 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 a band collaborates to write a song, or in musical theatre, where the songs may be written by one person, the orchestration of the accompaniment parts and writing of the overture is done by an orchestrator, and the words may be written by a third person.

A piece of music can also be composed with words, images, or, in the 20th and 21st centuries, computer programs that explain or notate how the singer or musician should create musical sounds. Examples of this range from wind chimes jingling in a breeze, to avant-garde music from the 20th century that uses graphic notation, to text compositions such as 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.

The nature and means of individual variation of the music are varied, depending on the musical culture in the country and the time period it was written. For instance, music composed in the Baroque era, particularly in slow tempos, often was written in bare outline, with the expectation that the performer would add improvised ornaments to the melody line during a performance. Such freedom generally diminished in later eras, correlating with the increased use by composers of more detailed scoring in the form of dynamics, articulation et cetera; composers became uniformly more explicit in how they wished their music to be interpreted, although how strictly and minutely these are dictated varies from one composer to another. Because of this trend of composers becoming increasingly specific and detailed in their instructions to the performer, a culture eventually developed whereby faithfulness to the composer's written intention came to be highly valued (see, for example, Urtext edition). This musical culture is almost certainly related to the high esteem (bordering on veneration) in which the leading classical composers are often held by performers.

The historically informed performance movement has revived to some extent the possibility of the performer elaborating seriously the music as given in the score, particularly for Baroque music and music from the early Classical period. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In genres other than classical music, the performer generally has more freedom; thus for instance when a performer of Western popular music creates a "cover" of an earlier song, there is little expectation of exact rendition of the original; nor is exact faithfulness necessarily highly valued (with the possible exception of "note-for-note" transcriptions of famous guitar solos).

In Western art music, the composer typically orchestrates their compositions, but in musical theatre and pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop songwriter may not use notation at all, and, instead, compose the song in their mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The study of composition has traditionally been dominated by the examination of methods and practice of Western classical music, but the definition of composition is broad enough for the creation of popular 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.

During the Middle Ages, most composers worked for the Catholic church and composed music for religious services such as plainchant melodies. During the Renaissance music era, composers typically worked for aristocratic employers. While aristocrats typically required composers to produce a significant amount of religious music, such as Masses, composers also penned many non-religious songs on the topic of courtly love: the respectful, reverential love of a great woman from afar. Courtly love songs were very popular during the Renaissance era. During the Baroque music era, many composers were employed by aristocrats or as church employees. During the Classical period, composers began to organize more public concerts for profit, which helped composers to be less dependent on aristocratic or church jobs. This trend continued in the Romantic music era in the 19th century. In the 20th century, composers began to seek employment as professors in universities and conservatories. In the 20th century, composers also earned money from the sales of their works, such as sheet music publications of their songs or pieces or as sound recordings of their works.[citation needed]

In 1993, American musicologist Marcia Citron asked, "Why is music composed by women so marginal to the standard 'classical' repertoire?"[10] Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers.[10]

According to Abbey Philips, "women musicians have had a very difficult time breaking through and getting the credit they deserve."[11] During the Medieval eras, most of the art music was created for liturgical (religious) purposes and due to the views about the roles of women that were held by religious leaders, few women composed this type of music, with the nun Hildegard von Bingen being among the exceptions. Most university textbooks on the history of music discuss almost exclusively the role of male composers. As well, very few works by women composers are part of the standard repertoire of classical music. In Concise Oxford History of Music, "Clara Shumann [sic] is one of the only female composers mentioned",[11] but other notable women composers of the common practice period include Fanny Mendelssohn and Ccile Chaminade, and arguably the most influential teacher of composers during the mid-20th century was Nadia Boulanger.[citation needed] Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."[11]

Famous composers have a tendency to cluster in specific cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques, the most important cities for classical music can be quantitatively identified.[13]

Paris has been the main hub for western classical music in all periods. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eighth in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eighth in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten rankings only in the 18th century and was ranked third most important city in both the 19th and 20th centuries. New York City entered the rankings in the 19th century (in fifth place) and stood at second rank in the 20th century. The patterns are very similar for a sample of 522 top composers.[14]

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