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Mozart appears to have possessed an excellent memory for music, though probably not the quasi-miraculous ability that has passed into legend. In particular, the use of keyboards and sketches to compose, noted above, would not have been necessary for a composer who possessed superhuman memory. Various anecdotes attest to Mozart's memory abilities.
3. Prince. Like many people on this list, Prince made up for not being able to read sheet music by having an unusually good ear for melody and an intuitive sense of what chord should go where. He ...
Since the invention of sound recording, a classical piece or popular song may exist as a recording.If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and ...
Beethoven's method of composition has long been debated among scholars. His sketches of composition drafts, and his written letters, provide contrasting evidence about his process of composition. However, many scholars agree that, for him, composition was a slow and laborious process.
At first intending to unite the Japanese and the western musical instruments in the composition, he came to the decision early on that the differences between the two musical traditions were too vast to overcome. [5] On the brink of abandoning the project, he instead decided to make the difference between the two traditions a theme of the work.
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Basil Konstantine Poledouris (/ ˌ p ɒ l ɪ ˈ d ɔːr ɪ s /; August 21, 1945 – November 8, 2006) was an American composer, conductor, and orchestrator of film and television scores, [1] best known for his long-running collaborations with directors John Milius and Paul Verhoeven.
The Schillinger system of musical composition, named after Joseph Schillinger (1895–1943) is a method of musical composition based on mathematical processes. It comprises theories of rhythm, harmony, melody, counterpoint, form and semantics, purporting to offer a systematic and non-genre approach to music analysis and composition; a descriptive rather than prescriptive grammar of music.