While many teachers of music composition have influenced both the aesthetic and eventual success of their students, few have equaled the contributions of Arnold Schoenberg and Nadia Boulanger in the twentieth-century. A larger volume of a more comprehensive collection including all music composition teachers of the era would serve a certain purpose. However, the unique aspect of the current text examines, in detail, and herein presented for the first time in print, many of the teaching materials and approaches of these two famed musicians. Selection of these two teachers for comparison was made owing to the musical position so famously attributed to each: Schoenberg’s predilection to the German School; Boulanger’s favoritism to the French/Stravinsky aesthetic. In making the case for both Schoenberg and Boulanger, the Author has chosen two differing philosophies of music education practice of the late twentieth-century and early twenty-first century: those of Bennett Reimer and David Elliott. The Author examines the materials and methods of each Schoenberg and Boulanger in light of each Reimer’s and Elliott’s case for music education philosophy. Among the subjects discussed: the nature of musical creativity, the process and methods of teaching creativity/music, and the teacher/student dynamic, to name a few. In closing, the Author has presented his own suggestions for teachers, or would-be teachers, of music composition in a seven-step process leading to an effective pedagogy of the subject.

With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.

Machine Learning Proceedings 1992

Showing how philosophical topics can benefit from interaction with Asian philosophy, this text explores: the formation of the self as an ethical problem; the fluidity of the self; the ethical nature of choice; the scope and demands of ethics. Kupperman shows how six important philosophical topics of current interest can benefit from interaction with Asian philosophy. The topics are: the formation of the self as an ethical problem, the fluidity of the self, the ethcial nature of choice, the scope of ethics, the demands of ethics, and the nature of philosophy as an enterprise. For each of these topics he introduces the relevant Asian sources and shows how new consideration of them can enrich oru understanding of the very range and scope of ethical concern, and enhance our own ability to describe and account for importnat features of human life. In so doing, he builds a bridge acrss two important disciplines.

This volume is a selection of papers presented at the Fourth International Workshop on Artificial Intelligence and Statistics held in January 1993. These biennial workshops have succeeded in bringing together researchers from Artificial Intelligence and from Statistics to discuss problems of mutual interest. The exchange has broadened research in both fields and has strongly encour aged interdisciplinary work. The theme ofthe 1993 AI and Statistics workshop was: "Selecting Models from Data". The papers in this volume attest to the diversity of approaches to model selection and to the ubiquity of the problem. Both statistics and artificial intelligence have independently developed approaches to model selection and the corresponding algorithms to implement them. But as these papers make clear, there is a high degree of overlap between the different approaches. In particular, there is agreement that the fundamental problem is the avoidence of "overfitting"-Le., where a model fits the given data very closely, but is a poor predictor for new data; in other words, the model has partly fitted the "noise" in the original data.

Career profiles include:ActorsCartoonists and animatorsFilm directorsLighting techniciansMusic directors and conductorsStunt performersTalent agents and scoutsand more.

A comprehensive, practical guide to composing video game music, from acquiring the necessary skills to finding work in the field. Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservatory, including the creation of linear loops, music chunks for horizontal resequencing, and compositional fragments for use within a generative framework. In A Composer's Guide to Game Music, Winifred Phillips—herself an award-winning composer of video game music—provides a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. Musicians and composers may be drawn to game music composition because the game industry is a multibillion-dollar, employment-generating economic powerhouse, but, Phillips writes, the most important qualification for a musician who wants to become a game music composer is a love of video games. Phillips offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business. A Composer's Guide to Game Music offers indispensable guidance for musicians and composers who want to deploy their creativity in a dynamic and growing industry, protect their musical identities while working in a highly technical field, and create great music within the constraints of a new medium.