• claude was born on the August 22,1862, in Saint-Germain-en-Laye, France.
• Died March 25, 1918, Paris.
• Married; with Emma Bardac (m.1908-1918)
• Children: Claude-Emma Debussy
• During this period,debussy dedicted himself to the piano,
• His first piano volume,tittled 'Pour Le Piano'(three movements — Prélude, Sarabande, and Toccata ),untilized rich harmonies and textures that woud pave the way for jazz music.
•  His use of non-traditional scales and chromaticism

• “Prelude to the Afternoon of a Faun”
• “Suite bergamasque”
• “Pelléas et Mélisande”
• “Clair de lune”
• “Nocturnes”
• “The Children’s Corner”
• “Voiles”

(Nurassima Binti Hakim-64099)

• Born; on March 7,1875,in Ciboure,France.
• In 1887, he began studying harmony, counterpoint and composition with Charles-René. Charles-René found Ravel to be a highly musical boy, whose conception of music was natural. Ravel’s earliest known composition was written sometime during this period.
• In 1888, Ravel befriended the young pianist Ricardo Viñes, who eventually became an important link between him and Spanish music. A friend for life, Viñes also became an important interpreter of Ravel’s works.
• In 1889,at age of 14. He began taking courses at the Paris conservatoire,a prestigious music and dance school located in capital of France.
• Studying under Gabriel Faure
• First important work in the line was ’Miroirs’, a piece written for piano in 1904-1905. It consisted of five movements. In 1906, Ravel orchestrated its thirds and fourth movement, ‘Une barque sur l'océan’ and ‘Alborada del gracioso’.
• During this period, Ravel also wrote many original works, premiering ‘Histoires Naturelles’ in 1907. Consisting of satirical verses on animals and biting music, it led him into another controversy. Critics claimed that he had plagiarized Claude Debussy’s work.
• Died; December 28,1937, Paris,France.
• Parents; Joseph Ravel, Marie Delouart

•  Impressionism
• Orchestral
• Ballet
• keyboard
• Opera
• Vocal Music
• Concerto

• Classical
• 
  

• “Boléro”
• “The Child and the Enchantments”

(Nurasima Binti Hakim-64099)

•  was born June 24, 1935 in Colfax, California,
• American Composer
• His work is deeply influenced by both  jazz and Indian classical Music
•  He began performing professionally as a solo pianist during the '50s;
• by the middle of the decade, he was studying composition in San Francisco and Berkeley, where among his classmates was fellow minimalist innovator Monte Young.
• In 1965 he move to New York and joined La Monte Young’sTheater of Enternal Music
• 1967 was the year of his first all night concert at the Philadelphia College of Art and he began a collaboration with visual artist Robert Benson resulting in more all night concerts.

• Avant-Garde
• Classical
• Electronic
• Jazz

• Minimalism 
• Modern Composition 
• Tape Music
• Chamber Music
• Ambient
• World Fusion
• Avant-Garde Music
• Keyboards

(Nurassima Binti Hakim-64099)

• BORN;October 3, 1936 ,New York.
• Married with Beryl Korot in  1976
• He was a American composer who was one of the leading exponents of minimalism, a style based on repetitions and combinations of simple motifs and harmonies.
• Reich is the son of an attorney and a singer-lyricist
• He majored in philosophy at Cornell University (1953–57) and  then he studied composition at the Juilliard School  (formerly the Juilliard School of Music) before receiving a Master's Degree from Mill's College (1963), where his teachers included composers Darius Milhaud and Luciano Berio. Reich also played keyboard instruments and percussion. By 1966, when he formed his own ensemble, he was already creating minimalist compositions.
•  he studied African drumming in Ghana (1970), Balinesemgamelan usic in seattle and Berkeley, California (1973–74), and Middle Eastern chanting in New York City and Jerusalem (1976–77).
• Reich’s early works include Four Organs (1970), for four electric organs  and maracas; Drumming (1971), for small tuned drums, marimbas, glockenspiels, two voices, whistling, an piccolo; and Clapping Music (1972), for two pairs of clapping hands
•  in 1976 he completed Music for 18 Musicians,

• Classical
• Avant-Garde

• Minimalism
• Avant-Garde Music
• Chamber Music
• Tape Music
• Vocal Music

• Polar Music Prize (2007)
•  Praemium Imperiale (2006)
•  Grammy Award (1998)
• Grammy Award(1989)
•  Pulitzer Prize

(Nurassima Binti Hakim-64099)

• born on January 31, 1937, in Baltimore,
• Glass took classes at the Peabody Institute’s conservatory and later studied at the University of Chicago and The Juilliard School. He also took up the violin and flute and began performing before reaching his teens.
• He  graduated in 1956 
•  traditional formal qualities as harmony, tempo, and melody in his music.
• He began creating ensemble pieces in a monotonous and repetitive style.
• In September 2015, President Barack Obama presented Glass with a National Medal of Arts.

• Minimalism

• "Concerto for saxophone Quartet and Orchestra"
• "Violin Cocerto No.2"
•  "Words without Music"

• National Medal Of Arts (2015) 
• Praemium Imperiale (2012)

(Nurassima Binti Hakim-64099)

• Born in Worcester, Massachusetts, in 1947, Adams grew up in New England.
• married with Deborah O'Grady,
• His was study  encouraged by his parents, and both of whom were amateur is musicians.
• he studied clarinet with Felix Viscuglia, a member of the Boston Symphony Orchestra. Adams also performed on the clarinet as the soloist
• at Harvard University, where he enrolled in 1965, Adams studied composition with Leon Kirchner, 
• Adams was the first undergraduate in the history of Harvard University to be allowed to submit a musical composition
• in 1972, He moved to San Francisco  to teach at the San Francisco Conservatory of Music until 1984.
• Adams worked in an electronic music studio and was the conductor of the New Music Ensemble.
  
  

• Composer-in-residence, Marlboro Festival, 1970; 
• member of composition faculty, San Francisco Conservatory, 1972–82; 
• director and founder, 1978, of San Francisco Symphony's "New and Unusual Music" series;
•  composer-in-residence, San Francisco Symphony, 1982–85; 10-CD Earbox career retrospective released, 1999; 
• commissioned by New York Philharmonic Orchestra to compose On the Transmigration of Souls, 2002.

•  Friends of Switzerland, Julius Stratton Prize, 1969; 
• Guggenheim Foundation fellowship, 1982; 
• Grammy Award for Nixon in China, 1987; 
• Grawemeyer Prize for Violin Concerto, 1995.

(Nurassima Binti Hakim-64099)

(Willson Meringgai Anak Aing-64399)

(Goh Ching Yee-60859)

(Marley Arwady Agang-61375)

•  Music of the romantic period  was a about making big splash or overhelming the audiences with emotional of music,romantic composers is a good love story,
•  such as the opera had a been  the main of musical story genre,but some composers a wanted to communicate with the audiences through the instrument music and start to focus on telling story without a lyrics or a singer,to do this composers should create the highly emotional in music 

• The romantic orchestra was larger and more varied in tone color than a classical orchestra its almost 100 musicians. 
• Then the composers increased the power of tthe brass section for spectacular sounds effect. For example woodwind section made the piccolo,bass and clarinet and also English horn members of the orchestra 

• In Melody and rhythm can exist without harmony,in music, is the sound of two or more notes heard simultaneously 

• In Romantic period,the rhythm  are became more complex, and extremities of speed were explored. 

• In 20^th century the tone colour is unusual playing techniques for sounf effects, for example glissando,flutter tongue,col legno and extended notes.Next the percussion is use greatly,new instruments is added or created like xylophone celesta,and the other instrument is typewriter 

• Melodies in the twentieth century are even more complicated and rather difficult to play and are usually unpredictable. 

• concepts basic to traditional harmony began to lose their importance. In counterpoint harmonies became the incidental result of the combination of melodic lines 

• In 20^th of century rhythm is organization of time in music which mean the rhythm is always changing. 
• The rhythm is also irregular and unpredictable. 

(Nurassima Binti Hakim-64099)

• ·         Born in Warsaw, Poland; composer, pianist
• ·         French father, Polish mother
• ·         Age twenty-one: moved to Paris, artistic center in 1830s
• ·         Affair with Aurore Dudevent(George sand)
• ·         Composed for Parisian salon, gathering of musicians, artists and intellectuals
• ·         Output revolved around the piano
•       i.      works central to piano repertoire
•       ii.      originated modern piano style
•       iii.      ornamented melodies: trills, grace notes, 
•       iv.      widely spaced chords in bass line
•        v.      ballads, sonatas, concertos, preludes, études, mazurkas,
•       vi.      polonaises, scherzos, waltze, impromptus, noctunes, chamber music, and songs

• ·         During the nineteenth century. Bohemia was part of the Austrian Empire, but it had its own language and culture. Today most of it is part of the Czech Republic. It produced two nationalistic composers, Bedřich Smetana and Antonín Dvořák. Dvořák composed a large amount of music, some of which was not nationalistic. However, Smetana confined his efforts almost entirely to nationalistic compositions. 
• ·   Smetana: The Moldau
• • The river Moldau runs through Bohemia
• • Music is associated with scenes along it
• – “Two springs”
• – “Mighty stream”
• – “Hunter’s horn”
• – “Wedding feast
• – “Water nymphs”
• – “Fortresses and castles”
• – “St. John’s Rapids”
• – “Majestic peace”

• ·         is a Czech composer at the end of Romantik music, which uses Moravian folk idioms and originally Bohemian.
• ·         During the nineteenth century. Bohemia waspart of the Austrian Empire, but it had its ownlanguage and culture. Today most of it is partof the Czech Republic. It produced twonationalistic composers, Bedřich Smetana andAntonín Dvořák. Dvořák composed a largeamount of music, some of which was notnationalistic. However, Smetana confined hisefforts almost entirely to nationalisticcomposit

• ·         Full name Edvard Hagerup Grieg
• ·         born June 15, 1843, Bergen, Nor.—died Sept. 4, 1907, Bergen
• ·         composer who was a founder of the Norwegian nationalist school of music.
• ·         His father, Alexander Grieg, was British consul at Bergen.
• ·         His  mother, Gesine Hagerup, who belonged to a well-established Norwegian family, studied music at Hamburg.
• ·         of Scottish origin, the composer’s grandfather having emigrated after the Battle of Culloden.
• ·         From the age of six Grieg received piano lessons from her, and in 1858, at the recommendation of the violin virtuoso Ole Bull, he entered the LeipzigConservatory, where he was influenced by the tradition of Mendelssohn and Schumann.
• ·         In the winter of 1864–65 Grieg became one of the founders of the Copenhagen concert society, Euterpe, for the production of works by young Scandinavian composers. 
• ·         He spent the winters of 1865–66 and 1869–70 in Rome, where he first met Ibsen and also Liszt, who was roused to enthusiasm by his piano concerto.
• ·         Between 1867 and 1901 he wrote ten collections of Lyric Pieces (Lyriske Stykker) for piano. 
• ·         His harmonies, developed from the late Romantic style, were considered novel. In his few works in the larger forms—the Piano Concerto, Opus 16; the String Quartet in G Minor, Opus 27; and the three violin and piano sonatas—he uses a free sonata form. His original Ballad for piano, Opus 24, is a set of variations on a folk theme. 
• ·         Among his most popular works are his incidental music to Peer Gynt, Opus 23, and the suite Holberg, Opus 40.
• ·          His arrangements of Norwegian dances and songs, Opus 17 and Opus 66, and especially his Slåtter, Norwegian Peasant Dances, Opus 72, show his characteristic sense of rhythm and harmony.
• ·          His vocal works include the songs on texts of A.O. Vinje, Opus 33; and the Haugtussa cycle, Opus 67. Intuitively, he identified himself with the poet’s imagery in these songs and discovered its musical equivalent.
•  

• ·         Johan Julius Christian Sibelius(8 December 1865 – 20 September 1957), was a Finnish composer and violinist of the late Romantic and early-modern periods.
• ·          He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia.
• ·         The core of his oeuvre is his set of seven symphonies which, like his other major works, continue to be performed and recorded in his home country and internationally.
• ·          His other best-known compositions are Finlandia, the Karelia Suite, Valse triste, the Violin Concerto, the choral symphony Kullervo, and The Swan of Tuonela (from the Lemminkäinen Suite).
• ·          Other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the Kalevala, over a hundred songs for voice and piano, incidental music for numerous plays, the opera Jungfrun i tornet (The Maiden in the Tower), chamber music, piano music, Masonic ritual music,and 21 publications of choral music.

• ·         25 March 1881 – 26 September 1945
• ·         was a Hungarian composer, pianist and an ethnomusicologist.
• ·          He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers (Gillies 2001).
• ·          Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.

(Muhammad Alif Haiqal Bin Shaiful Bharin-61582)