Orchestration and Arranging Research Papers (original) (raw)

An analysis on Brahms Symphony No. 1. Brahms was highly sought after to be the one that was the "hope" of Germanic music after Beethoven. After taking nearly 15 years on this masterpiece, Brahms shows why he truly is an academic... more

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- Orchestral Conducting, Orchestral Composition, Orchestration and Arranging, Orchestra

"Terimalah di Hati-Mu" (in English: Accept it in Your heart) is catholic offering song. This is one of my favorite song which composed by Putut Pudyantoro. Mr. Putut is a songwriter also as known as maestro for catholic church music in Indonesia. He has made many songs for mass (worship/ritual). I tried to create the orchestration and I used some instruments. This score actually is for choir, but I just did it for instrumental song so I don't put in the lyrics. I make one full part without any repetition.

This is the complete 132 pages of this monumental work, with my notes showing themes, use of doubling, form, harmony and much more. One of Ravel's longest works, it is a seldom played, or studied, masterpiece. A perfect work to examine... more

- by Dr. Norman Ludwin
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- French Impressionism, Orchestration and Arranging, Film Music, Maurice Ravel

Analysis, Historical information, and facts about Dvorak's New World Symphony: Symphony No 9

After the enormity of the Third Symphony, Mahler now gives us a much more manageable piece, in length and in palette, as though after two such pieces, another of this scope were simply unnecessary, or rather, it has now become necessary to step back, to reconsider more modest means. Mahler's Fourth has always been a much more manageable piece, in length and in palette, and referred to as the " little one, " lacking low brass and with triple woodwinds instead of quadruple, and missing even Mahler's trademark in orchestral writing, the section of eight horns. " Little, " however, is not the right word. In scope, it is no less than the pieces that precede it, and in breadth, it is still a long piece by the standards of a Brahms or a Dvorak, and uses a much larger orchestra than those composers typically demanded. The correct word is not " little " but " taut, " at least in this first movement. Mahler's timbral materials are somewhat reduced, but more interesting is the fact that there is none of the sprawling motivic or harmonic architecture of the previous pieces. All of the basic motives of the piece are introduced in the first two key areas, and this economy of means is not surprising, but I haven't seen Mahler taking it to this degree until now. In addition, Mahler's formal construction is very traditional–the closest yet to a sonata-allegro form in the " textbook " sense. The piece begins with a very characteristic texture–flutes in fifths doubling sleigh bells, followed by oboe and clarinet figurations. These three measures set the stage in a very specific, very unique manner. Mahler does not continue with this music, but brings it back at key locations throughout the piece, and the open fifths become a motor rhythm that gives a propulsive aspect to the " exposition " of this movement. The " first theme " begins on the anacrusis to m. 4 in the violins, but most importantly, the downbeat of that measure features a falling sixth. This interval and its rising form are another crucial motive for the movement. Measure 5 and 6 also contain material that is developed later–six-sixteenth notes leading to the downbeat and a rising dotted eighth-sixteenth rhythm. In this sonata form, the transition from first to second key area begins in m. 18 with a modified version of the first theme. A spinning out of the sixteenth-note motive leads to m. 38 and the entrance of the second theme, beginning with a rising sixth–a motivic relation between the two very different themes. Following the rising 6th are three repeated notes, which are echoed in rhythmic diminution throughout the rest of the piece (for example, in the clarinets in m. 47ff. Following a half cadence in m. 57, oboe and bassoon present music that appears to sum

Trabajo sobre acompañamiento de la gaita de furro con analisis interpretativo de Humberto Bracho.

- by Edepson Gonzalez
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- Musical Composition, Music Theory, Musicology, Orchestration and Arranging

INTRODUCCIÓN El abordaje de la composición para las orquestas de nivel infantil en nuestro país, supone para los compositores una gran oportunidad para la puesta en práctica de sus ideas musicales y planteamientos estéticos, no obstante, la escasez de referencias existentes en relación a la manera en que puede ser enfocada la composición para tales agrupaciones, ha derivado en una contada producción de obras nuevas concebidas para dicho formato. Numerosos son los tratados de orquestación e instrumentación disponibles hoy en día para los compositores en los que se detallan, de manera minuciosa, las posibilidades técnicas de los instrumentos y ejecutantes promedio de una orquesta de nivel profesional, así como también, existen numerosas referencias que tratan sobre diversos temas relacionados con los lenguajes compositivos creados y desarrollados durante el siglo XX y su aplicación en la composición, sin embargo, se haría necesario un texto en el cual confluyan estos dos aspectos, reorientados hacia el modo de hacer uso de estos recursos sonoros en obras concebidas para orquestas de nivel infantil, tomando en cuenta sus habilidades instrumentales.

Traducción con fines exclusivamente pedagógicos. Se prohibe cualquier uso comercial de este trabajo.

- by Miguel Astor
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- Orchestral Composition, Orchestration and Arranging, Orchestration

In this dissertation, I examine the work of Rogério Duprat as arranger for tropicalista songs and the way some of his musical arrangements dialog with the melodized words with which they were recorded in the late 1960s. As a mix of orchestral sounds, film music cliches, and sound effects, Duprat’s arrangements give an audiovisual character to tropicalista recordings. As an experienced composer of serial, electroacoustic, computer, and advertising music, as well as theater and cinema soundtracks, Duprat employed his broad knowledge of Western concert music and Brazilian popular music in order to make audio references to diverse works and music styles interwoven into his arrangements. As a craftsman, he sought to understand and to answer the demands from song composers, singers, the record company producer, recording technicians, and other professionals that became collaborators of his arrangements. His arrangements were also influenced by agents such as John Cage, The Beatles, the concrete poets, and the composers, conductors and musicians of Música Nova, a São Paulo avant-garde group that was integrated by Duprat and the other arrangers for tropicalista songs.

Orquestación de las 17 piezas infantiles para piano (1956) del compositor venezolano Antonio Estévez (1916-1988). Estrenada por la Orquesta Simón Bolívar bajo la dirección de Alfredo Rugeles. Interpretada también por la Orquesta Sinfónica... more

In this dissertation, I propose a hypothesis that the arrangement in popular music, requires a redefinition of the initial work. This process has as undisguised hermeneutic bias and demands cognitive processes, since it consists of the attribution of new meanings to the composer's idea, which, in turn, must be previously perceived and understood by the arranger. In this perspective, I propose that musical arrangement must be taking your meaning as more generic, before all, as a form of musical interpretation and will be more original as the arranger, interpreter of quality, distancing themselves from the composer’s original form, without, however, it changing its characteristics. From the analysis of the musician Dori Caymmi’s Works as an arranger, I believe that the world of popular music, the elaboration of the arrangement of a song is mainly an interpretative activity and it is expected that the arranger will express a personal perspective of the musical work, intrinsically different from the original form. This proposition will be initiated with the definition of some concepts, such as musical meaning, interpretation and reinterpretation. The following proposal of reinterpretation for a comparison between the original arrangements of the song "Cinema Paradiso" by Ennio Morricone, and “Aquarela do Brazil” by Ary Barroso, prepared by Radames Gnattali, and interpretation of the same musical works by Dori Caymmi, confirming the viability of this hypothesis.
Keywords: Dori Caymmi, musical arrangement, musical meaning, reframing, Interpretation, reinterpretation.

- by Antonio Bigonha
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- Musical Composition, Musicology, Aesthetics, Popular Music

Sol de América (1981-1982) es una composición para narrador, coro y orquesta del compositor uruguayo Antonio Mastrogiovanni (1936-2010). El presente estudio utiliza el método hermenéutico (Nattiez, 1990) para dar cuenta de esta obra a partir del análisis de su orquestación. En este caso, se le da preeminencia a las texturas, timbres y sonoridades por encima de la armonía, las alturas o la forma, parámetros que usualmente se priorizan en la mayoría de los métodos analíticos. Como resultado se obtiene una visión inédita de la música, desde una perspectiva que permite descubrir las propiedades fuertemente cohesivas de la orquestación.

- by Дмитрий Тимохин
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- Georgia, Azerbaijan, Orchestration and Arranging, South Caucasus
- by Jonathan Coote
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- European History, European Studies, Spanish Literature, Musical Composition

The article studies how original music was re-orchestrated and adapted in Fantasia and Fantasia 2000, to prove how two approaches to sound actually concur to the definition of the aesthetic of those films. Moreover, it will be demonstrated how the differences in the ways of manipulating music in the two features could be understood as a consequence of the modification of the audiovisual taste of the audience from 1940 to 2000, and also as a trace of the change in the scopes and the aesthetic of Disney films.

- by Marco Bellano
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- Animation, Film Music And Sound, Walt Disney Company, Orchestration and Arranging

Este projeto de investigação foca a análise das diversas problemáticas no domínio da redução para piano suscitadas por linguagens e por obras emblemáticas do repertório musical contemporâneo. O estudo teve como principal objetivo compreender realizar uma redução para piano, tendo como base os estudos que se debruçam sobre questões de orquestração, transcrição, acompanhamento, bem como inúmeros exemplos de reduções existentes. São realizados estudos sobre as diferenças entre redução e transcrição para piano, sobre os critérios de escolha de material musical, sobre a reorquestração da conteúdo nas reduções, sobre a problemática de execução das reduções ao piano, sobre questões de leitura à primeira vista e, finalmente, sobre aspetos de apresentação. O conteúdo de investigação é dividido de acordo com três especificidades das reduções para piano. Como exemplo de cada uma delas foram realizadas novas reduções das seguintes obras: Concerto da Camera col Violoncello Obbligato de Lopes-Graça; Pli selon pli de Boulez e ópera Lady Sarashina de Eötvös. A génese destas obras e os procedimentos necessários à sua redução foram também objeto de estudo nesta dissertação. Todas as reduções foram apresentadas publicamente e preparadas para edição. O estudo aqui realizado pretende contribuir para a melhoria do conhecimento sobre as reduções para piano, procurando definir ou ajudar à compreensão das soluções viáveis pianisticamente e facilmente aplicáveis na prática. This research project focuses on the analysis of various problems in the field of piano reduction that are caused by languages and emblematic works of contemporary repertoire. This work aims to understand how to make a piano reduction and is based on studies that address various issues in orchestration, transcription, accompaniment and numerous examples of existing piano reductions. Studies were made on the difference between piano reduction and transcription, on the selection criteria of musical material, on re-orchestration of content in piano reduction, and on issues related with performance of reduction at the piano, sight-reading and aspects of score presentation. The content of this research is divided into three specifications of piano reductions. For each section an example was done of each of these works: Lopes-Graça´s Concerto da Camera col Violoncello Obbligato; Boulez´s Pli selon pli and Eötvös´s opera Lady Sarashina. The genesis of these works and their related process of reduction was also studied in this dissertation. All reductions were prepared for edition and presentation to the public. This study aims to contribute to the knowledge on piano reduction, seeking for viable pianistic solutions which can be easily applied in practice.

- by Yan Mikirtumov
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- Music, Piano, Orchestration and Arranging, Transcription

État des lieux de mon travail (en 2013) sur l'application de méthodes qui permettraient d'évaluer l'impact des stratégies d'orchestration sur la structure. Pour l'expérience, mon choix s'est porté sur les Variations op. 30 de Webern. La première étape de l'approche, exposée ici, prend sa source dans les informations consignées par le compositeur dans la partition. La méthode passe par la réalisation d'une pondération qualitative de toutes les configurations instrumentales, pour laquelle l'évaluation du taux d'indépendance des parties joue un rôle décisif.

- by Didier Guigue
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- Sound studies, Computer musicology, Webern, Orchestration and Arranging
- by TC Serhan Aykac
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- Music, Musicology, Piano, Electronic Music

Após a estreia do monodrama Pierrot Lunaire, escrito por Arnold Schoenberg em 1912, a música vocal de concerto não seria mais a mesma. Afastando-se cada vez mais da consagrada prática do bel canto, compositores e intérpretes passariam a explorar, de forma veemente, novas sonoridades, e as diversas pesquisas realizadas nos campos da fonética e da fisiologia da voz contribuiriam de forma significativa para que a música composta a partir da segunda metade do século XX elevasse a voz humana a um nível de maior destaque e importância. O presente trabalho investiga a flexibilidade da voz na música de concerto contemporânea objetivando uma reflexão sobre a multiplicidade de estilos e tendências a partir da análise das obras Stimmung, do compositor alemão Karlheinz Stockhausen, Tehillim, do norte-americano Steve Reich, e Sound, do brasileiro Luiz Carlos Csekö.

Η μεταπτυχιακή εργασία: «Η οθωμανική κυκλική φόρμα κοντσέρτου «Fasil», ως πεδίο έρευνας και σύνθεσης σύγχρονης τροπικής μουσικής», αποτελεί μια ερευνητική μελέτη, διαρθρωμένη σε δύο μέρη/ενότητες. Στο πρώτο μέρος εξετάζονται οι ιδιαιτερότητες και οι μοναδικές μορφές της χαρακτηριστικής κυκλικής μακροφόρμας της παλαιάς Οθωμανικής κοσμικής μουσικής παράδοσης «Fasil (φασήλ)» μορφολογικά, ιστορικά και μουσικοποιητικά. Αναλύεται διεξοδικά, μέσα από την εξελικτική του πορεία στις μουσικές πολυεθνικές κοινότητες μουσικών της Κωνσταντινούπολης, από την εδραίωσή της, τον 17ο αιώνα, μέχρι την τελική διαμόρφωσή της, τον 19ο αιώνα. Τα παραπάνω, διανθίζονται και «συνηχούν» με στοιχεία ιστορικά και πολιτισμικά, που αφορούν τις καταβολές της παράδοσης του «Fasil», μέσα από την αδιάσπαστη ενότητα και νόηση της κυκλικότητας που στοχάζονται οι αραβοπερσικές πραγματείες. Τέλος, στην δεύτερη ενότητα, που έρχεται να συνδέσει την παρούσα εργασία με το επιτελεστικό της μέρος (διπλωματικό ρεσιτάλ), προτείνεται μια σύγχρονη τροπική πολυμερής σύνθεση βασισμένη στο οθωμανικό «Fasil», υπό το πρίσμα των συνεχειών -και ασυνεχειών- του, μέσα από σύγχρονες συνθέσεις και ενορχηστρώσεις για σύνολο δωματίου ήδη υπάρχοντος ρεπερτορίου.
/
The master's thesis: "The Ottoman cyclic genre’ concert format “Fasil”, as a field of research
and composition of contemporary modal music", is a research study, structured in two sections
/ categories.
The first section examines the peculiarities and unique “micro-forms” of the most characteristic
cyclic genre’ suite of the early Ottoman urban and palatial music tradition "Fasil" in
morphological, historical and musicological aspect. “Fasil” is analyzed in detail - through its
evolutionary course in the multinational music communities of Istanbul, from its stabilization
in the 17th century until its final configuration in the 19th century. The above inferences are
embellished with historical and cultural elements, which concern the origins of the "Fasil"
tradition, through the inseparable unity and understanding of the cyclicity, in the context of the
Arab-Persian treatises reflection.
Finally, in the second section, which comes to connect the present research study with its
performative part (master’s recital), a contemporary modal multi-movement composition
based on the Ottoman "Fasil" is proposed, in the light of its continuations - and discontinuities
- through contemporary compositions and orchestrations, of existing repertoire for chamber
music ensemble.

- by Aristotelis Dimitrakopoulos
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- Musical Composition, Musicology, Composition (Music), Modality
- by Alexander Komarov
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- Music History, Musicology, Russian Music, Nineteenth-Century Russian Music

V príspevku autor predstavuje jeden z možných spôsobov práce s pôvodným hudobným materiálom vo folklórnych súboroch, a to na príklade hudby k choreografii „Vtáka po perí, tanec po muzike“, v ktorom bol spracovaný tradičný hudobno-tanečný folklór z obce Horné Pršany. Na základe reflexie teoretických a praktických východisk a postupov, uplatnených pri scénickom spracovaní tradičnej hudby v rámci choreografie “Vtáka po perí, tanec po muzike“ z repertoáru Folklórneho súboru Technik sa autor venuje problematike analýzy herných štýlov z filmového, resp. zvukového záznamu, osvojovaniu si princípov štýlovej interpretácie hudby s využitím hudobnej improvizácie a aranžérskym a kompozičným metódam uplatneným pri tvorbe konkrétneho hudobno-tanečného diela.

- by Peter Obuch
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- Folklore, Traditional Music, Orchestration and Arranging, Folklorism

Arranjo para Big Band by Maia

The aim of this research was to examine how the use of a music notation program influenced the development of thinking and learning skills in musical orchestration and arranging course. The population included first-degree students in their second year of studies who participated in the course "writing and editing music in a computerized environment". The students studied in the computer lab in self-learning and used 'Finale' software to perform the tasks. The study material was collected in the moodle and included examples, explanations, audio and video files. The research method included questionnaires that were given to students at the beginning and end of the course and in-depth interviews with students during and after the course. Findings indicated that the pedagogic model studied, which examined an innovative teaching-learning strategy, established digital-musical literacy and led to meaningful learning, while experiential experience during musical creation.

Arranjo para trio masculino, Tenor, Barítono e Baixo, e violão para "Num cantinho qualquer", bossa nova de Zininho.

Herein we introduce a reliable and effective method, allowing any musician, regardless of the theoretical background, to carry out a 4-way jazz harmonization of whatever melodic progression almost instantly, with few exceptions. Many jazz students experience a deep frustration in dealing with the harmonization of non-diatonic notes. Sometimes, moreover, a coherent harmonization of the aforementioned notes can turn out to be a very challenging task even for extremely skilled professionals. In this paper, the harmonization of the chromatic scale in different harmonic contexts is accurately discussed, by resorting to the well-known concepts of harmonic functions, tonicization, chromatic and diatonic parallelism, and auxiliary chords. All the chords are labelled so as to allow the reader to immediately understand their role in the particular harmonic context. Consequently, the procedure essentially translates into an optimization of the "harmonic flow".

"I have transformed a single sonata of mine into a quartet for violin instruments, which is why I was asked so much, and I know for a fact that another does not imitate me so easily." Beethoven's letter of 13 July 1802 to his publisher Breitkopf betrays some pride. His only arrangement of a piano sonata for string quartet is indeed much more than finger exercises, casual work or marketing. No, his transfer, made in the context of his groundbreaking Opus 18, seems so convincingly idiomatic that it has even been discussed as the original on several occasions.
Read as a contribution to interpretation research, it is also an explanation, commentary on his own work. It thus imparts important knowledge on dynamics, phrasing, articulation, and can even shed new light on questions of editing. Where is Beethoven perhaps right with articulatory or dynamic distinctions that are noted in the critical report but levelled out - if not tacitly aligned?
It is precisely in these surprising solutions that Beethoven clarifies compositional intentions. With inventive effects, he also directs his attention to tonal condensations. The article tries to give answers to open questions: To what extent does it clarify voice and movement? What are the consequences of the transposition by a semitone? How is the pedal effect implemented and what can be learned from it?
The transplantation into the medium of the string quartet is no better than the original; it could not assert itself either but is interesting as an example - not least as a guide to arrangement.
It is also a reenactment, but also traces of interpretations that can be found in arrangements and in the reception.

- by Thomas Gartmann
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- Musicology, Nineteenth Century Studies, Performance Studies, Beethoven

Excerpt of a seminar work at the Humboldt-Universität Berlin (Department of Musicology and Media Studies) discussing the role of composer and arranger Peter Kreuder in Nazi Germanys music production. Contains a comparison of three early... more

- by Thorsten Broda
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- Propaganda, Jazz Studies, Duke Ellington, Jazz History

Transcrição musical e musicologia histórica É muito comum que transcrições de obras de J. S. Bach (1685-1750) para o violão moderno de seis cordas omita-ou descaracterize-determinadas figuras retóricas musicais presentes na partitura original do compositor. Talvez seja pelo fato de existir um legado de violonistas transcritores adjacentes as discussões da nova musicologia histórica como por exemplo, as investigações em torno da Musica Poetica na práxis musical do século XVIII e suas contribuições à interpretação e reelaboração musicais. Estes aspectos viriam a ganhar espaço, pouco a pouco, nas universidades a partir da segunda metade do século XX porém, ainda assim, parte da produção contemporânea de transcrições da música barroca para violão reproduzem uma visão essencialmente pragmática com relação a complexidade inerente da linguagem musical barroca. Nesse sentido, esta produção reproduz uma prática de transcrição na qual desafios de tessitura, tonalidade, articulação, textura, polifonia e expressão retórica sejam reelaborados de maneira a viabilizar, prioritariamente, as facilidades mecânicas-instrumentais e os recursos idiomáticos do violão. Essas transcrições se disseminaram no século XX pelo cenário musical do violão através de fonogramas, partituras, materiais didáticos e pesquisas acadêmicas. Porém, é possível observar que grande parte dessas-sob um prisma historicamente orientada-, apresentam inconsistências com relação a compreensão do repertório musical barroco e, consequentemente, ao ensino da linguagem musical barroca nos cursos superiores de música. Nesse sentido, nesse artigo abordaremos as problemáticas em torno da transcrição musical e seus diálogos com a musicologia histórica investigando (i) o violão de onze cordas e sua relevância à

- by Ricardo Henrique
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- Musical Composition, Cello, J S Bach, Orchestration and Arranging

Between December 1861 and July 1863, Anton Bruckner studied form and orchestration with the Linz conductor and cellist Otto Kitzler. The exercises he did for Kitzler are preserved as Music.Hs 44706 in the Music Collection of the Austrian National Library and have recently been published in facsimile as Vol. 25 of the Anton Bruckner Sämtliche Werke, This article provides an introduction to this so-called Kitzler Studienbuch which is fascinating for its insights into the history of musical pedagogy as well as for the historical and theoretical implications of its terminology.

- by Paul Hawkshaw
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- Musical Composition, Music Education, Music Theory Pedagogy, Music History

This article is an excerpt from a research study conducted between 2010 and 2012 in the framework of a Master's degree in Musical Composition at the Federal University of Bahia (UFBA), Brazil. It aims to expose a set of intertextual compositional procedures relating to the third movement of Aporia. Therefore, the concept of a reinventing intertextuality, mentioned by Barbosa & Barrenechea (2003), was adopted as a guiding thread in this movement, linking authors from the literary and musical intertextual areas. The third movement has diversity, plurality and a level of tolerance between the texts, many of them contrasting and from different periods, producing new sonorities arising from the intertextual compositional technique.

The book ‘Dynamics of Stage performance’ is a book that state pedagogy of stage performance. This book is forwarded by the renowned gospel music composer and performer, Dr. Panam Percy Paul. The seven chapter book focuses on the outward expression of all artistic and scientific elements learnt in the rudiments of music. Music, though composed and arranged in paper does not speak in paper. Hence there is need to lift music from the pages of music scores and bring it to the fore by performing it for the listening audience, who will appreciate the melody, rhythms, timbre and dynamics of the work of arts. Each chapter of this book discusses in details the following relevant to stage performance; Music as Art and Science, The stage and its intricacies, Rehearsal and Practice, Misconception about Gospel music performance, Stage performance, Music aesthetic respectively in first to the sixth chapter while the conclusion and recommendations takes the seventh chapter.
The major purpose of this book as portrayed by the author, in my own view is to expatiate on the relevance of musical training and education of every church musician, choir directors, music directors, conductors , band leaders and other relevant portfolios to the performance of music as it affects live performance on stage. Especially in the church music circuit, because it is mostly and erroneously believed among church musicians that striving for the mastery of performance is not relevant to church or Christian music since it is meant to glorify God and not to entertain humans. Pinmiloye argues in this book that if God deserves anything at all, it should be the best.

- by Shola Folalu
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- Musical Composition, Educational Research, Orchestration and Arranging