Lecture

Musical Theory and Creativity

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In course

HUM-274: Musical theory and creativity

This course provides an introduction into music theory and analysis, composition, and creativity, and combines theoretical teaching with hands-on practical exercises and music making. ...

Description

This lecture delves into the creative process of using algorithms for music composition, showcasing a piece called Bebfehler as an example. The instructor explains how graphics are used to organize music structures, demonstrating the integration of visuals and sound. The lecture explores the concept of algorithmic composition, revealing the intricate relationship between music, graphics, and programming. The instructor shares insights into the development of a piece over time, highlighting the use of algorithms to generate graphics automatically and transform them into music. The lecture also touches on the importance of irregularities in music composition, showcasing how subtle shifts in patterns can create engaging musical elements.

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Instructor

Martin Alois Rohrmeier

Teaching & PhD PhD Students Joris Monnet, Marina Borsodi-Benson, Xinyi Guan, Xiaoxuan Wang, Zeng Ren Past EPFL PhD Students Fabian Claude Moss, Daniel Harasim, Christoph Finkensiep, Johannes Hentschel, Gabriele Cecchetti, Shuxin Meng Courses Digital musicology DH-401 This course will introduce students to the central topics in digital musicology and core theoretical approaches and methods. In the practical part, students will carry out a practical project. Musical theory and creativity

Official source

Ontological neighbourhood

Art

Performing arts: Music

Related concepts (32)

Algorithmic composition

Algorithmic composition is the technique of using algorithms to create music. Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic determinacy. The term can be used to describe music-generating techniques that run without ongoing human intervention, for example through the introduction of chance procedures.

Musical composition

Musical composition can refer to an original piece or work of music, 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.

Computer music

Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering, and psychoacoustics.

Music and mathematics

Music theory analyzes the pitch, timing, and structure of music. It uses mathematics to study elements of music such as tempo, chord progression, form, and meter. The attempt to structure and communicate new ways of composing and hearing music has led to musical applications of set theory, abstract algebra and number theory. While music theory has no axiomatic foundation in modern mathematics, the basis of musical sound can be described mathematically (using acoustics) and exhibits "a remarkable array of number properties".

Aleatoric music

Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities. The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s.

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