Music in the making; Art of composing
The music in the making produced by Milliken university under a grant from the Educational Television and Radio Center in cooperation with the National Association of educational broadcasters. The Milliken School of Music presented recorded consideration of the art of composing featuring an original composition by Elton Berg's doller assistant professor of music and conductor of the Milliken concert band. Mr Briggs dollar was a young composer of great promise some of whose works have been published. One of his more recent compositions an opera written especially for television was produced with gratifying acceptance. Professor Briggs dollar is called the featured composition transfiguration at the last of the program you'll hear it played into entirety by the Milliken symphonic concert band on the piano Professor Briggs dollar will play the melody the first and second themes and suggest the development of the piece. First I'd like you to listen to a few measures from Transfiguration. It sounds rather minor doesn't it. Now a bit of the second theme may be quite
different. Second was different from the first wasn't it. What lies behind the composition of music. How does a composer think of melody harmony melody and rhythm. Well there are many ways and means of composing music. Some composers work at the keyboard and others work away from the piano. The first thing that enters the mind of the composer is the melody the melody can come to one while walking while working or in periods of relaxation it comes perhaps two or three measures.
Now where does such a thematic fragment lead the creative mind. Creative thinking is like fertile soil that waits only for the seed of inspiration to make a whole creation out of a fragment a whole essay out of a leading thought from such a phrase grows an entire theme with suggested harmony. A thorough working understanding of the form of music and the theory of harmony must be a part
of each composer to the point that he isn't bound to the fundamentals. We can make these elements work for him. Contrast is very important to hold interest. It also changes the mood so that when the original theme re occurs it appears in a refreshing manner of the first theme in the minor gives one a feeling of labored suspense and of turmoil and uncertainty. At this point the departure of our second theme appears in a different key in a calm and serene style. One has been led to anticipated change by the harmony and slowing of the tempo of
the next section wants to have a style change in both rhythm and mood. Here we want to create excitement and agitation for a final reoccurrence of the first thing. The first makes its final appearance in the grandiose movement but this time not in the minor but in a major key through the major key it is calculated to give rise to the expected first theme here to the theme is developed section wise to put emphasis on various fragments of thematic material. The composition could end in this manner.
As you can hear this leaves one up in the air but from this point comes what musicians call the coda. The closing section of the composition which is a series of evasive last chords with substitution to heighten the final note. In this composition the introduction was written last. The struggle and pain of the first team in the minor mode the serene second theme and the conflict of return to the first game which at last makes its appearance in the major mode to lift the listener
prompted the composer to entitle this composition Transfiguration. So the introduction was composed with the thought of a fanfare and hymn. Composer in order to write for instruments must be familiar with them so the sounds of an instrumental organization playing is composition does not come as a disappointment to him with the composer conducting the Milliken symphonic concert band will play Transfiguration. You're
you're. You're. You're. You're. Many. The Milliken School of Music has brought your record in consideration of the art of composing featuring
original composition by Altenburg style. Music in the making was produced by Milliken university under a grant from the Educational Television and Radio Center. This program is distributed by the National Association of educational broadcasters. This is the end E.B. Radio Network.
- Music in the making
- Art of composing
- Producing Organization
- Millikin University
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-js9h873p).
- Episode Description
- This program discusses the various details that must be considered when composing music.
- Series Description
- Instructional comments and musical illustrations using faculty and students from the Millikin University School of Music. The first thirteen programs in the series focus upon historical aspects of music. The second half of the series explores music's technical side.
- Broadcast Date
- Media type
Producing Organization: Millikin University
Speaker: Burgstahler, Elton
- AAPB Contributor Holdings
University of Maryland
Identifier: 56-8-22 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Chicago: “Music in the making; Art of composing,” 1962-06-11, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 5, 2023, http://americanarchive.org/catalog/cpb-aacip-500-js9h873p.
- MLA: “Music in the making; Art of composing.” 1962-06-11. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 5, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-js9h873p>.
- APA: Music in the making; Art of composing. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-js9h873p