Influences of research on the creation of pre-composed material of contemporary Sample Clauses

Influences of research on the creation of pre-composed material of contemporary modal music Here I will focus on tracing how my research into metric improvisation has influenced my own work on pre-composed musical works165. It is in line with Xxxxxxxx’x view of the process of music making within the framework of a historical genre. The practice of metric improvisation encompasses all the different stages described in the previous chapters: thorough listening, transcription, analysis, systematisation of tools and models, and work on metric improvisation in practice and performance. All these stages, and the subsequent work on each of them, have allowed me to create pre-composed works directly influenced by my work on rhythm and improvisation. The process was not linear. Rather, during the time I was working on the tools and 164 XxXxxxx, Xxxxx, “Ep68: ‘An Armenian in America’, meet Xxx Xxxxxxxx and enjoy a great music history,” produced by Xxxxxx Xxxxxxxx, April 2021, xxxxx://xxxxxxxxxx.xxx/fadilalturki/ep68?utm_source=clipboard&utm_medium=text&utm_campaign=social_sh aring, retrieved April 24, 2022. 165 Full scores available at Appendix III and at: xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/7OQko6dp2Y6oFxH. vocabulary of other artists, and while I was trying to build my own vocabulary on rhythm and rhythmic tools, I created the works included in this research, through improvisation. After the creation of the works (and for the purposes of this research), I decided to look closely at the material and to trace the influences of the research on each of the works, in this way providing a meta-level of contemplation. As the analysis will show, there are direct influences from the artists whose work and performances were analysed, and from the rhythmic tools and models of metric improvisation brought to light through analysis. The continuum of improvisation and composition is therefore made evident through both artistic processes. Some of the works composed through this process are shown in the table below. Title Rhythmic cycle / meter / time signature Xxxxx Link Xxxxxx Sokak 10/8 (curcuna) Uşşak xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/0KfSZkavG NG6aeX (5:55–8:26) Vertigo 9/4 (aptaliko) & 12/8 Hicaz xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/14kL6wU0 41QiVbf J 8/8 & 4/4 Xxxxxxx xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/OjsdgCDhn LF0m8U & (1:00–5:50) in xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/14kL6wU0 41QiVbf Karma 4/4 Kürdi xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/28i7N5FX qMe219R Unsaid 4/4 & 2/4 Kürdi /Nihavend (26:00-30:36) ...
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