Editing Composer (section)

===Relationship with performers===
In the development of European [[classical music]], the function of composing music initially did not have much greater importance than that of performing it.{{Citation needed|date=April 2010}} The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance.

In the Western world, before the [[Romantic music|Romantic period]] of the 19th century, composition almost always went side by side with a combination of either singing, instructing and [[music theory|theorizing]].{{sfn|Everist|2011|p=2}}

Even in a conventional Western piece of instrumental music, in which all of the [[Melody|melodies]], [[Chord (music)|chords]], and [[bassline]]s are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to the work, by such means as by varying their articulation and [[Musical phrasing|phrasing]], choosing how long to make [[fermata]]s (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as [[vibrato]] or [[portamento]]. For a singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' 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. Composers and songwriters who present their music are interpreting, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as [[Historically informed performance|performance practice]], whereas interpretation is generally used to mean the individual choices of a performer. {{Citation needed|date=September 2015}}

Although a [[musical composition]] often has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in [[popular music]] when a band collaborates to write a song, or in [[musical theatre]], where the songs may be written by one person, the [[orchestration]] of the accompaniment parts and writing of the [[overture]] is done by an orchestrator, and the words may be written by a third person.

A piece of music can also be composed with words, images, or, in the 20th and 21st centuries, computer programs that explain or notate how the singer or musician should create musical sounds. Examples of this range from [[wind chimes]] jingling in a breeze, to avant-garde music from the 20th century that uses [[graphic notation (music)|graphic notation]], to text compositions such as ''[[Aus den Sieben Tagen]]'', to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called [[aleatoric music]], and is associated with contemporary composers active in the 20th century, such as [[John Cage]], [[Morton Feldman]], and [[Witold Lutosławski]].

The nature and means of individual variation of the music are varied, depending on the musical culture in the country and the time period it was written. For instance, music composed in the [[Baroque music|Baroque era]], particularly in slow tempos, often was written in bare outline, with the expectation that the performer would add improvised [[ornamentation (music)|ornaments]] to the melody line during a performance. Such freedom generally diminished in later eras, correlating with the increased use by composers of more detailed scoring in the form of dynamics, articulation et cetera; composers became uniformly more explicit in how they wished their music to be interpreted, although how strictly and minutely these are dictated varies from one composer to another. Because of this trend of composers becoming increasingly specific and detailed in their instructions to the performer, a culture eventually developed whereby faithfulness to the composer's written intention came to be highly valued (see, for example, [[Urtext edition]]). This musical culture is almost certainly related to the high esteem (bordering on veneration) in which the leading classical composers are often held by performers.

The [[historically informed performance]] movement has revived to some extent the possibility of the performer elaborating seriously the music as given in the score, particularly for [[Baroque music]] and music from the early [[Classical period (music)|Classical period]]. The movement might be considered a way of creating ''greater'' faithfulness to the original in works composed at a time that expected performers to [[Musical improvisation|improvise]]. In genres other than classical music, the performer generally has more freedom; thus for instance when a performer of Western popular music creates a "cover" of an earlier song, there is little expectation of exact rendition of the original; nor is exact faithfulness necessarily highly valued (with the possible exception of "note-for-note" transcriptions of famous [[guitar solo]]s).

In Western art music, the composer typically [[orchestration|orchestrates]] their compositions, but in musical theatre and pop music, songwriters may hire an [[arranger]] to do the orchestration. In some cases, a pop songwriter may not use notation at all, and, instead, compose the song in their mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The study of composition has traditionally been dominated by the examination of methods and practice of Western classical music, but the definition of composition is broad enough for the creation of popular and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of [[free jazz]] performers and African percussionists such as [[Ewe drumming|Ewe drummers]].