Composer
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| - | A '''composer''' is a person who writes [[music]]. The term refers particularly to someone who writes music in some type of [[musical notation]]; thus, allowing others to [[performance|perform]] the music. This distinguishes the composer from a [[musician]] who [[improvisation|improvises]] or plays an [[instrument]]. The term can also include someone who writes [[electroacoustic music]] which may or may not be transcribed into some form of musical notation. | + | A '''composer''' (Latin ''com''+''ponere'', literally "one who puts together") is a person who creates [[music]], either by [[musical notation]] or [[oral tradition]], for [[interpretation (aesthetics)|interpretation]] and [[performance]], or through direct manipulation of sonic material through [[electronic media]]{{Clarify|date=July 2010}}. The level of distinction between composers and other [[musician]]s varies, which affects issues such as [[copyright]]{{Specify|date=April 2010}} and the deference given to individual interpretations of a particular piece of music.{{Citation needed|date=April 2010}} In the development of [[European classical music|European music]], the function of composing music initially did not have much greater importance than that of performing it.{{Citation needed|date=April 2010}} |
| + | The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the [[concerto]] form, the soloist would often compose and perform a [[cadenza]] as a way to express their individual interpretation of the piece. | ||
| - | The level of distinction between composers and other musicians also varies, which affects issues such as [[copyright]] and the deference given to individual interpretations of a particular piece of music. For example, in the development of [[European classical music|classical music]] in Europe, the function of composing music initially had no greater importance than the function of performing music. The preservation of individual compositions received little attention, and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer has come to be treated as strict instructions, from which performers should not deviate without good reason. Performers do, however, play the music and interpret it in a way that is all their own. | + | In as much as the role of the composer in [[western art music]] has seen continued solidification, in alternative idioms (i.e. [[jazz]], [[experimental music]]) it has in some ways become increasingly complex or vague. For instance, in certain contexts - the line between composer and [[performer]], [[sound designer]], [[Arrangement|arranger]], [[Record producer|producer]], and other roles - can be quite blurred. |
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| + | The term "composer" is often used to refer to composers of [[Instrumental|instrumental music]], such as those found in [[classical music|classical]], [[jazz]] or other forms of [[Art music|art]] and [[traditional music]]. In [[popular music|popular]] and [[folk music]], the composer is usually called a [[songwriter]], since the music generally takes the form of a [[song]]. | ||
| + | Since the mid-20th century, the term has expanded to accommodate creators of [[electroacoustic music]], in which composers directly create sonic material in any of the various [[electronic media]]. This is distinct from instrumental composition, where the work is represented by a [[Sheet music|musical score]] to be interpreted by [[performers]]. | ||
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| + | Famous composers have tended to cluster in certain cities throughout history. Based on over 12,000 prominent composers listed in [[Grove Music Online]] and using [[word count]] measurement techniques the most important cities for classical music can be quantitatively identified. | ||
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| + | Paris has been the main hub for classical music of all times. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eight in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eight in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten ranking only in the 18th century, and was | ||
| + | ranked third most important city in both the 19th and 20th centuries. New York entered the rankings in the 19th century (at fifth place) and stood at second rank in the 20th century. | ||
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| + | The patterns are very similar for a sample of 522 top composers. | ||
| - | The term "composer" is often used specifically to mean a composer in the Western tradition of classical music. In [[popular music|popular]] and [[folk music|folk]] music, the composer is typically called a [[songwriter]] (since the music generally takes the form of a [[song]].)s | ||
| ==See also== | ==See also== | ||
| *[[Lists of composers]] | *[[Lists of composers]] | ||
| {{GFDL}} | {{GFDL}} | ||
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A composer (Latin com+ponere, literally "one who puts together") is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic mediaTemplate:Clarify. The level of distinction between composers and other musicians varies, which affects issues such as copyrightTemplate:Specify and the deference given to individual interpretations of a particular piece of music.Template:Citation needed In the development of European music, the function of composing music initially did not have much greater importance than that of performing it.Template:Citation needed The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the concerto form, the soloist would often compose and perform a cadenza as a way to express their individual interpretation of the piece.
In as much as the role of the composer in western art music has seen continued solidification, in alternative idioms (i.e. jazz, experimental music) it has in some ways become increasingly complex or vague. For instance, in certain contexts - the line between composer and performer, sound designer, arranger, producer, and other roles - can be quite blurred.
The term "composer" is often used to refer to composers of instrumental music, such as those found in classical, jazz or other forms of art and traditional music. In popular and folk music, the composer is usually called a songwriter, since the music generally takes the form of a song. Since the mid-20th century, the term has expanded to accommodate creators of electroacoustic music, in which composers directly create sonic material in any of the various electronic media. This is distinct from instrumental composition, where the work is represented by a musical score to be interpreted by performers.
Famous composers have tended to cluster in certain cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques the most important cities for classical music can be quantitatively identified.
Paris has been the main hub for classical music of all times. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eight in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eight in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten ranking only in the 18th century, and was ranked third most important city in both the 19th and 20th centuries. New York entered the rankings in the 19th century (at fifth place) and stood at second rank in the 20th century.
The patterns are very similar for a sample of 522 top composers.
See also
