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26 results

Page 1 of 2

  • Part II - Techniques

  • Edited by Toby Young, Guildhall School of Music and Drama
  • Book:
    The Cambridge Companion to Composition
    Published online:
    25 May 2024
    Print publication:
    30 May 2024, pp 89-174

  • Summary

    This brief introduction asks what a compositional technique actually is, and what sorts of skills, knowledge, and experience a composer needs to draw on when working with music and sound. It thinks first about the idea of musical genre and function, before briefly addressing musical technology, style, and finally the importance of listening as a core compositional technique.

  • Part IV - Building a Career

  • Edited by Toby Young, Guildhall School of Music and Drama
  • Book:
    The Cambridge Companion to Composition
    Published online:
    25 May 2024
    Print publication:
    30 May 2024, pp 285-318

  • Summary

    This section thinks about the relationship between compositional creativity, labour, and money. It outlines how artistic freedom and agency have often been inversely related to stable income, and suggests some ways that composers today might navigate these elements in order to monetise their work.

  • Introduction

  • Edited by Toby Young, Guildhall School of Music and Drama
  • Book:
    The Cambridge Companion to Composition
    Published online:
    25 May 2024
    Print publication:
    30 May 2024, pp 1-18

  • Summary

    What is a composer, and what do they do? This introduction explores the idea of composition – in both Western traditions and further afield. It begins by tracing a brief cultural history of the composer in the classical music tradition and their shifting role in society, before considering a range of narratives and definitions of composition, challenging us to think about what the word ‘composition’ might mean for us in the twenty-first century.

  • 8 - Composing for Voice

  • from Part II - Techniques
  • Edited by Toby Young, Guildhall School of Music and Drama
  • Book:
    The Cambridge Companion to Composition
    Published online:
    25 May 2024
    Print publication:
    30 May 2024, pp 120-138

  • Summary

    This chapter explores the voice as a complex, expressive instrument. It begins by outlining voice types, techniques, and styles – ranging from opera to musical theatre and popular music –  before looking at the relationship between language and music, and finally exploring the nature of idiomatic vocal writing and so-called extended techniques. The chapter finishes with a nod to the future of vocal music by briefly thinking about the voice in conjunction with electronics.

The Cambridge Companion to Composition
  • Edited by Toby Young
  • Published online:
    25 May 2024
    Print publication:
    30 May 2024
  • There are as many ways of creating music as there are composers in the world, with a vast array of possible methods and practices. This book provides essential critical and practical tools for composers as they try to navigate this complex landscape, whilst also offering provocations for practitioners discovering their own voices and solidifying their place in their musical communities. Designed to be a companion in the truest sense, the book offers practical support throughout the creative process and thought-provoking insights on technical questions for a range of compositional approaches.

  • Comparison of short-term (saliva) and long-term (hair) cortisol levels in out-patients with melancholic and non-melancholic major depression

  • Andrés Herane-Vives, Allan H. Young, Toby Wise, Juan Aguirre, Valeria de Angel, Danilo Arnone, Andrew Papadopoulos, Anthony J. Cleare
  • Journal:
    BJPsych Open / Volume 6 / Issue 3 / May 2020
    Published online by Cambridge University Press:
    23 April 2020, e41
    • Article
      • You have access
      • Open access
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  • Background

    Major depressive episodes (MDEs) show diverse cortisol level alterations. Heterogeneity in symptom profiles, symptom severity and cortisol specimens may explain these heterogeneous results. Less severely ill out-patients with a non-melancholic MDE (NM-MDE) may have a variation in the rhythm of cortisol secretion rather than in its concentration.

    Method

    Cortisol measures were taken (a) over a short-term period (12 h) by measuring daily salivary output using the area under the curve with respect to the ground (AUCg) and (b) over a long-term period (3 months) in hair. Additionally, cortisol reactivity measures in saliva – the cortisol awakening response and the 30 min delta cortisol secretion after awakening (DELTA) – were investigated in 19 patients with a melancholic MDE (M-MDE) and 52 with a NM-MDE, and in 40 matched controls who were recruited from the UK and Chile. Depression severity scores were correlated with different cortisol measures.

    Results

    The NM-MDE group showed a decreased AUCg in comparison with controls (P = 0.02), but normal cortisol reactivity and long-term cortisol levels. The M-MDE group did not exhibit any significant cortisol alterations nor an association with depression severity scores. Higher Hamilton Rating Scale for Depression score was linked with decreased hair cortisol concentration (HCC, P = 0.05) and higher DELTA (P = 0.04) in NM-MDEs, whereas decreased HCC was the sole alteration associated with out-patients with severe M-MDEs.

    Conclusions

    The contrasting short- and long-term cortisol output results are compatible with an alteration in the rhythm of cortisol secretion in NM-MDEs. This alteration may consist of large and/or intense episodes of hypercortisolaemia in moderate NM-MDEs and frequent, but brief and sharp early-morning DELTAs in its severe form. These changes may reflect the effects of environmental factors or episodes of nocturnal hypercortisolaemia that were not measured by the short-term samples used in this study.

  • METAPHYSICS AND HEAVY BREATHING (OR TIPPETT'S FOURTH SYMPHONY)

  • Toby Young
  • Journal:
    Tempo / Volume 70 / Issue 276 / April 2016
    Published online by Cambridge University Press:
    05 April 2016, pp. 34-42
    Print publication:
    April 2016

  • Michael Tippett's Fourth Symphony opens with the striking sound of an intake of breath, a gesture, which – according to the composer – describes the very nature of existence. Such statements are not uncommon from Tippett, yet nevertheless this is a broad claim, which naturally poses more questions than it answers. This article explores whether such a claim has any validity, presenting a philosophically led reading of the opening breath motif in an attempt to understand whether art can really shed new light on the well-rehearsed arguments of metaphysical enquiry.

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