Thaniye Lyric Video 2020
Thaniye Lyric Video 2020: Amazing composition by Akash and team of II BCom. Well talented. Though this involves a lot of effort. Well Appreciated. Best Wishes!!
The act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, the composition is necessarily distinct from improvisation.
Whether referring to the process or to the completed work, composition implies the creation of a unique musical event that may or may not be based on original musical materials. At certain cultural levels and in many non-Western societies, unique performance characteristics tend to assume greater significance than composition itself. In oral traditions, related variants of common origin often take the place of unalterable musical entities, so that tune families rather than single autonomous tunes form the collective repertoire. Where certain patterns of musical structure have gained broad recognition (as the ragas, or melody types, of India), musicians will as a rule rework such patterns extemporaneously though in accordance with prevailing conventions.
At its most fundamental level, the act of composition involves the ordering of pitched sounds in musical time and space. Pitch relationships are referred to as intervals; their specific occurrence in musical time is determined by rhythm, a concept that embraces all durational aspects of music. Rhythm, in turn, may or may not be regulated by the metre. In metrically organized rhythm, recurring patterns of accented and unaccented “beats” furnish a durational substructure that necessarily affects all the other elements of composition, including the nature of melody, harmony, and texture.
Metrical rhythm is nearly always present in dance music because its patterning is largely analogous to that of bodily motions and step figurations. But logogenic, or word-determined, music also often employs metrical patterns, corresponding as a rule to those of the poetic text. The first large corpus of logogenic compositions transmitted through the ages is that of medieval plainchant. This also consisting of monophonic settings (limited to a single melodic line) of liturgical texts for the entire year. It is based on a system of eight church modes, diatonic scales. Which are abstracted from the melodic motives utilized by medieval singers.
whether referring to a melodic or a rhythmic framework—furnishes compositional frames of reference in a wide variety of essentially monophonic musical styles, especially in Asia. Asian influences upon early European music cannot be ruled out, whether by way of ancient Judaea, Greece, Byzantium, or the medieval Arab invasions. But unlike their Asian counterparts, Europeans at first limited modality to melody, through pitch arrangements. The rhythmic properties of plainchant have largely remained a matter of conjecture, for no systematic discussion of plainchant rhythm survives, and the notation used was noncommittal with respect to the rhythm. By the same token, plainchant no doubt owed much of its amazing vitality to the absence of an all-encompassing notation, which made possible the flexibility of performance and regional variation inherent in a partly written, partly oral tradition.