Creation And Composition
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Creation and Composition
The contributors to this book analyze how the redactors of the Talmud transformed and reworked earlier aggadic (non-legal) traditions. Critical study of the Babylonian Talmud is founded on the distinction between two literary strata: traditions attributed to named sages (the Amoraim, c. 200-450 CE) and setam hatalmud, the unattributed or anonymous material. The conclusion of modern scholars is that the anonymous stratum postdates the Amoraic stratum and should be attributed to the Talmudic redactors, also known as Stammaim (c. 450-700 CE.) The contribution of the Stammaim to the aggadic (non-legal) portions of the Talmud - to midrash, narratives, ethics and theology - has received minimal scholarly attention. The articles in this book demonstrate that the Stammaim made a profound contribution to the aggadic portions of the Babylonian Talmud and illustrate the processes by which they created and composed many aggadic traditions.
The Routledge Companion to Teaching Music Composition in Schools
The Routledge Companion to Teaching Music Composition in Schools: International Perspectives offers a comprehensive overview of teaching composing from a wide range of countries around the world. Addressing the current state of composition pedagogy from primary to secondary school levels and beyond, the volume explores issues, including different curricular and extracurricular settings, cultural aspects of composing, aesthetics, musical creativity, the role of technology, and assessment. With contributors from over 30 countries, this volume encompasses theoretical, historical, empirical, and practical approaches and enables comparisons across different countries and regions. Chapters by experienced educators, composers, and researchers describe in depth the practices taking place in different international locations. Interspersed with these chapters, interludes by the volume editors contextualize and problematize the teaching and learning of composing music. The volume covers a range of contexts, including formal and informal, those where a national curriculum is mandated or where composing is a matter of choice, and a range of types, styles, and genres of musical learning and music-making. Providing a wide-ranging and detailed review of international approaches to incorporating music composition in teaching and learning, this volume will be a useful resource for teachers, music education researchers, graduate and undergraduate students, and all those working with children and young people in composing music.
Musical Creativity
Author: Guerino Mazzola
language: en
Publisher: Springer Science & Business Media
Release Date: 2011-11-03
This book represents a new approach to musical creativity, dealing with the semiotics, mathematical principles, and software for creativity processes. After a thorough introduction, the book offers a first practical part with a detailed tutorial for students in composition and improvisation, using musical instruments and music software. The second, theoretical part deals with historical, actual, and new principles of creative processes in music, based on the results and methods developed in the first author’s book Topos of Music and referring to semiotics, predicative objects, topos theory, and object-oriented concept architectures. The third part of the book details four case studies in musical creativity, including an analysis of the six variations of Beethoven's sonata op. 109, a discussion of the creative process in a CD coproduced in 2011 by the first and second authors, a recomposition of Boulez’s "Structures pour deux pianos" using the Rubato software module BigBang developed by the third author, and the Escher theorem from mathematical gesture theory in music. This is both a textbook addressed to undergraduate and graduate students of music composition and improvisation, and also a state-of-the-art survey addressed to researchers in creativity studies and music technology. The book contains summaries and end-of-chapter questions, and the authors have used the book as the main reference to teach an undergraduate creativity studies program and also to teach composition. The text is supported throughout with musical score examples.