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Composer

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What is a composer?

A composer (from the Latin “componere”, meaning “to put together”) creates musical works known as compositions. An older German word for composer is “Tonsetzer”. These works can take various forms, from handwritten scores to digital recordings. Composers own intellectual property rights to their works, which can be either exclusive or pro rata. Historical terms for composers are “compositeur” or “composer”.

The creation of a composition

Traditionally, the result of a compositional process is presented in notated form, either handwritten or with the help of notation software. In modern music, especially in electronic music and studio recordings, works are often recorded. The music of a composer is brought to life by performers such as musicians or singers or realized using studio technology.

Composing and interpreting

A composer is usually the creator of musical texts that are to be interpreted by other musicians. A work can be instrumental (without text) or vocal (with text). The composer can also be the librettist, but the text can also be written and set to music by other people. The term “vocal music” includes all compositions with voice, even without lyrics or singing. The collecting society GEMA refers to any original copyright holder of a musical work as a composer, which indicates an extended definition of the term.

Historical and legal aspects

Especially in the electronic musicbut increasingly also in all genres whose works are created during the work in the recording studio are also finalized in the form of recordings. This has led to a splitting of the profession and to conceptual delimitation difficulties. In Germany, music and lyrics are regarded as independent works that are combined for joint exploitation in accordance with Section 9 UrhG. This combination creates a partnership under civil law between the lyricist and the composer. Both can exploit their works separately as long as the joint exploitation is not impaired.

Utilization and remuneration

The collecting society GEMA has special rules for the remuneration of composers and lyricists. For the public performance of an unpublished work of light music, the composer receives 8/12 of the royalties, the lyricist 4/12. If a music publisher is involved, these shares change accordingly. A participating arranger receives 1/12 of the royalties, which reduces the composer’s share. These distribution rules can be adjusted contractually.

Differentiations in the professional profile of the composer

The profession of composer includes various roles such as arranger or arranger, who works on given melodies and harmonies. Improvisations are often not counted as compositions, as they are not considered completed works. In the 20th century, the avant-garde questioned the concept of the work in favor of open works of art. Karlheinz Stockhausen, for example, wrote text fragments as a compositional basis for his works of intuitive music.

Differentiations in the professional profile of the composer

Introduction

The profession of composer is diverse and encompasses numerous facets and specializations. Different musical styles and cultural trends have led to the term “composer” being broadly defined and interpreted in different ways today. This text explores the various roles and challenges composers face and examines historical, cultural, social and technological aspects of their profession.

Editors and arrangers

In many musical genres, a distinction is made between composers and arrangers. Arrangers and arrangers adapt given melodies and harmonies and create new pieces of music or arrangements for different instrumentations. This work requires a deep understanding of the original composition as well as creativity and technical skill to make the work shine in a new form.

Improvisation and composition

Traditionally, improvisations were often not considered part of the composition, as they were not regarded as completed works. In the 20th century, however, avant-garde composers such as Karlheinz Stockhausen questioned the concept of a work in favor of open works of art. Stockhausen, for example, wrote text fragments as a compositional basis, which were then intuitively developed further by musicians. This practice shows how the boundaries between composition and improvisation can shift.

The role of sound recording

Since the 1960s, sound recordings have become increasingly important as the most important form of disseminating compositions. Recorded improvisations can be fixed and thus regarded as completed works. In terms of copyright law, a work is defined by the achievement of a minimum level of creation that can be recorded in a typical musical medium such as sheet music or CDs. The distinction between works of art and new musical genres such as sound installations is blurred, but rarely leads to problems in practice.

Legal and institutional aspects

Anyone who creates works in the above sense is considered a composer by GEMA. This definition does not always coincide with the general public’s perception, as the term “composer” is not protected. Self-taught musicians, music teachers, improvisers and performing musicians can also call themselves composers. GEMA uses a complex rating system to classify compositions and composers and to calculate royalties. In addition to frequency of performance and duration of the work, qualitative criteria are also taken into account.

The challenges of objective classification

The objective classification of compositions is a challenge, as the musical avant-garde calls traditional evaluation criteria into question. Works that derive their value from breaking with conventional norms are difficult to assess according to technical criteria. The differentiation of divergent musical styles since the 1970s also makes a uniform assessment difficult, as many new genres have not yet been recorded by musicologists.

Self-designation and cultural differences

Outside of traditional and academic music circles, the self-designation “composer” is less common. In modern music genres such as electronic music, terms such as “producer”, “singer/songwriter” or “artist” are often used. These self-designations reflect the different roles and identities that musicians take on in different contexts.

Differentiation between professional and occasional composers and classification criteria

The distinction between professional and occasional composers is complex and goes beyond simple tax criteria. In the history of music, there are many influential composers who were either self-taught, wrote mainly for their own instrument or only composed as a sideline. Some composers never received any formal training and yet have become important figures in music history. Examples of this are Antonín Dvořák, Arnold Schönberg, Frank Zappa, Peter Warlock and Mauricio Kagel. Others, such as Frédéric Chopin and Niccolò Paganini, wrote mainly for their own instrument, lending their works a special virtuosity and intimacy.

However, there are also composers, such as Charles Ives, who only pursued their musical activity as a sideline or as a hobby. These composers often created innovative and unique works even though they did not work full-time in the music industry. The importance and rank of a composer can be determined on the basis of various indicators, particularly in the academic-institutional field. These include a degree in composition from a recognized university, works that can be performed faithfully by other musicians, awards and scholarships, commissions from renowned performers, reviews in the specialist press and musicological analyses as well as the publication of sheet music by a publishing house.

A further indicator is the full-time practice of the composer’s profession, often supplemented by teaching or secondary activities as a performer or conductor, membership of renowned academies as well as the training of own students and the influence on subsequent generations of composers. With these criteria, the significance of a composer in the academic field can be well captured. The cultural, social and historical relevance of a composer, on the other hand, is more difficult to determine. Compositions from areas that were previously considered trivial, such as jazz and pop music, often have a lasting effect and even influence academic art music. The long-term influence of such compositions can be greater than that of some 20th century academic works.

Many composers who enjoyed academic dignity during their lifetime were later devalued in favor of innovators. This development shows that historical recognition does not always correspond to academic status. For example, composers who were later recognized as important may not have received professional recognition during their lifetime. The distinction between professional composers and occasional composers and the assessment of their significance is therefore complex and multi-layered. Various criteria help to determine a composer’s rank, but historical and cultural relevance can change over time. A comprehensive and holistic approach is required to adequately recognize the diverse contributions of these artists.

German Composers’ Association and GEMA

The German Composers’ Association, founded by Werner Egk, is the leading professional association for composers in Germany and organizes its more than 1500 members both nationwide and in regional groups. GEMA is the central collecting society where composers in Germany have their copyrights administered in trust. It distributes royalties to composers from various sources such as the Internet, radio and television broadcasts, public performances and sound carrier productions. In other countries, similar collecting societies perform this task, whereby the international regulations are comparable.

Rights and publishing contracts

A composer concludes an authorization agreement with GEMA in which he grants GEMA the rights required to use his musical works. In addition, many composers conclude publishing agreements with music publishers who take care of the commercial exploitation of the works. This includes the production and distribution of sheet music as well as the promotion and administration of the works, including the licensing of sound carriers and use in films.

Composition studies at music academies

Composition studies at German music academies require students to pass an entrance examination and generally complete ten semesters of full artistic studies. During this course, students acquire comprehensive technical skills, including music theory, aural training, instrumentation, instrumental playing and performance practice.

List of famous composers

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