Musical composition
In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory.
A more commonly known example of chance-based, or indeterminate, music is the sound of wind chimes jingling in a breeze.
Compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures.
Klavierstück]....In vocal music...the term is most frequently used for operatic ensembles..."[3] Composition techniques draw parallels from visual art's formal elements.
[5] This method has been used for Project Mindtunes,[6] which involved collaborating disabled musicians with DJ Fresh, and also by artists Lisa Park and Masaki Batoh.
Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work.
Some common group settings include music for full orchestra (consisting of strings, woodwinds, brass, and percussion), concert band (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two).
Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth.
[7] In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete.
[8] Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works.
The process of deciding how to perform music that has been previously composed and notated is termed "interpretation".
Different performers' or conductor's interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies.
For example, Beethoven's 9th Symphony is in the public domain, but in most of the world, recordings of particular performances of that composition usually are not.
For example, copyright law may allow a record company to pay a modest fee to a copyright collective to which the composer or publisher belongs, in exchange for the right to make and distribute CDs containing a cover band's performance of the composer or publisher's compositions.
Copyright collectives also typically manage the licensing of public performances of compositions, whether by live musicians or by transmitting sound recordings over radio or the Internet.
Sending a musical composition in the form of a phonorecord does not necessarily mean that there is a claim to copyright in the sound recording.
