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The Open University

Composition and improvisation in cross-cultural perspective

The Open University via OpenLearn

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Overview

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Improvisation and composition are words frequently used in the western world to describe the creation of music. But are they really two distinct processes, or are they aspects of the same phenomenon? In this free course, Composition and improvisation in cross-cultural perspective, we will explore the relationship between the two using examples of Asian music to help us clarify the concepts.

Syllabus

  • Introduction
  • Learning outcomes
  • 1 The creation of music
  • 1 The creation of music
  • 1.1 Composition and improvisation in the world's musics
  • 1.2 Different perspectives on the creation of music
  • 1.3 Studying unwritten musics
  • 1.4 Models and building blocks
  • 1.5 The limits of memory
  • 1.6 Summary
  • 2 A performance of North Indian art music
  • 2 A performance of North Indian art music
  • 2.1 An introduction to khyal singing
  • 2.2 Notation
  • 2.3 Conclusion
  • 3 A performance of Sundanese gamelan music
  • 3 A performance of Sundanese gamelan music
  • 3.1 An introduction to gamelan music
  • 3.1.1 Background information
  • 3.2 Parts of the gamelan salendro
  • 3.3 The musicians at work
  • 3.4 Variation
  • 3.5 Expansion and contraction of the piece: wilet
  • 3.6 Conclusion
  • 4 Some final thoughts
  • 4 Some final thoughts
  • 4.1 What is a composition?
  • 4.2 Summary: creating music
  • Conclusion
  • References
  • Acknowledgements

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Reviews

5.0 rating, based on 1 Class Central review

4.5 rating at OpenLearn based on 2 ratings

Start your review of Composition and improvisation in cross-cultural perspective

  • Profile image for Enrique Enriquez
    Enrique Enriquez @EEnriquez
    17

    Cross-cultural examination reveals composition and improvisation as fluid concepts, not rigid categories. This course meticulously deconstructs these ideas through the lens of North Indian *khyal* and Sundanese *gamelan*, moving beyond Western notation-centric views to explore music as a process of performance. The provided description proved accurate, detailing an engagement with models, oral traditions, and the interaction between fixed elements and variation. Completing the modules required the stated duration, culminating in a verified certificate of participation.
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