Relevant bibliographies by topics / Arrangement (Music)

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Academic literature on the topic 'Arrangement (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Arrangement (Music)"

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Soputan, Ferdinand A. "Aransemen Musik Populer dalam Ansambel Musik Kolintang Kayu Minahasa." Urban: Jurnal Seni Urban 4, no. 1 (April 15, 2020): 43–60. http://dx.doi.org/10.52969/jsu.v4i1.63.

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Kolintang is a traditional musical instrument from Minahasa, North Sulawesi. This music is traditional because the instruments or instruments are made of wood. This music is played by hitting so that the type of music is included in the type of pitched percussion music. Kolintang music is a type of musical instrument that can play various genres of music, ranging from keroncong, classical, jazz, chacha, and so on. With its openness to various genres, the music from Minahasa is certainly played with a certain arrangement. There are two arrangement models that the author will describe in this paper, namely the standard arrangement with three chords and the modern arrangement with progressive chords. In this article, the author will describe these two arrangement models to show that the audience’s enthusiasm is also determined by an attractive arrangement in a kolintang musical performance. The method used is a method of comparison of two different arrangements. From the search conducted, the author will show that kolintang music can be arranged with various chords and musical genres. Thus, it was found that the novelty that emerged was that the kolintang musical arrangements that could be presented with various genres were part of the adaptation to the popular arrangement model. So, the development and progress of music that occurs in general can also be found in kolintang music, especially with regard to the problem of arrangement as seen in the data studied.Kolintang adalah alat musik tradisional dari Minahasa, Sulawesi Utara. Musik ini bersifat tradisional karena instrumen atau alatnya terbuat dari kayu. Musik ini dimainkan dengan cara pukul sehingga jenis musiknya termasuk ke dalam jenis musik perkusi bernada. Musik kolintang adalah jenis alat musik yang dapat memainkan berbagai genre musik, mulai dari keroncong, klasik, jaz, chacha, dan lain sebagainya. Dengan keterbukaannya pada berbagai genre, musik asal Minahasa ini tentu dimainkan dengan sebuah aransemen tertentu. Terdapat dua model aransemen yang akan penulis uraikan dalam tulisan ini, yakni aransemen standar dengan tiga akor dan aransemen modern dengan akor progresif. Dalam artikel ini, penulis akan menguraikan kedua model aransemen ini untuk memperlihatkan bahwa antusias audiens juga ditentukan oleh aransemen yang menarik dalam sebuah penampilan musik kolintang. Metode yang digunakan adalah metode perbandingan dua aransemen yang berbeda. Dari penelusuran yang dilakukan, penulis akan memperlihatkan bahwa musik kolintang dapat diaransemen dengan berbagai akor serta genre musik. Dengan demikian, didapatkan hasil bahwa kebaruan yang muncul adalah bahwa aransemen musik kolintang yang dapat disuguhkan dengan berbagai genre itu merupakan bagian dari adaptasi dengan model aransemen yang populer. Jadi, perkembangan dan kemajuan musik yang terjadi pada umumnya juga dapat ditemukan dalam musik kolintang, khususnya berkaitan dengan masalah aransemen sebagaimana terlihat pada data yang diteliti.
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Novandhi, Nanda Kurnia. "IMPLEMENTASI TEORI BELAJAR DALAM MATA KULIAH “ARRANGEMENT” DI S1 SENDRATASIK UNIVERSITAS NEGERI SURABAYA." Imaji 17, no. 2 (December 3, 2019): 179–84. http://dx.doi.org/10.21831/imaji.v17i2.27778.

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Arrangement merupakan salah satu ilmu yang harus dikuasai oleh seorang musisi atau orang yang berkecimpung dalam dunia seni musik. Aransemen juga merupakan salah satu yang paling penting dalam menunjang keberhasilan menciptakan sebuah komposisi musik. Pembelajaran aransemen diperlukan seorang musisi atau mahasiswa seni khususnya dalam seni musik karena, untuk membekali mereka dalam menjalani kehidupan sebagai seorang pemain musik. Jenis penelitian yang digunakan dalam penelitian ini adalah kualitatif. Metode pembelajaran yang digunakan adalah pendekatan metode belajar secara konstruktivistik dan behavioristik. Tujuan penelitian adalah untuk mengetahui metode pembelajaran apa yang cocok untuk digunakan dalam perkuliahan aransemen. Manfaat penelitian secara teoritis adalah menambah literatur tentang metode pembelajaran dalam seni musik, dan manfaat secara praktis adalah membantu dalam refensi dalam membangun pembelajaran yang baik. Kata Kunci : Arrangement, Metode Belajar, Behavior, Konstruktif IMPLEMENTATION OF LEARNING THEORY IN THE “ARRANGEMENT” COURSE IN S1 SENDRATASIK, SURABAYA STATE UNIVERSITY Abstract Arrangement is one of the sciences that must be mastered by a musician or person working in the world of music art. Arrangement is also one of the most important in supporting the success of creating a musical composition. Arrangement learning is needed by a musician or art student, especially in the art of music because, to equip them to live life as a music player. This type of research used in this study is qualitative. The learning method used is a constructivist and behavioristic approach to learning methods. The purpose of this research is to find out what learning methods are suitable for use in lecturing arrangements. The theoretical benefit of research is to add to the literature on learning methods in the art of music, and the practical benefit is to help in the refinement in building good learning. Keywords: Arrangement, Learning Method, Behavior, Constructive
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Sukmawati, Eni. "UPAYA PENINGKATKAN HASIL BELAJAR SISWA PADA PELAJARAN SENI BUDAYA ARANSEMEN MUSIK MANCANEGARA DENGAN MEDIA PEMBELAJARAN AUDIO VISUAL." Pedagogia: Jurnal Ilmiah Pendidikan 12, no. 2 (December 29, 2020): 74–77. http://dx.doi.org/10.55215/pedagogia.v12i2.2940.

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EFFORTS TO IMPROVE STUDENT LEARNING OUTCOMES IN INTERNATIONAL MUSIC ARRANGEMENT CULTURAL ARTS LESSONS USING AUDIO VISUAL LEARNING MEDIA This research departs from the phenomenon that occurs in class, namely the lack of understanding of composing a song using audiovisual media. This study aims to (1) find out that audio visual learning media can improve student learning outcomes about international music arrangements. (2) To describe the process of improving student learning outcomes about International Music Arrangements before and after using audio-visual learning media. (3) To measure the magnitude of the increase in student learning outcomes about International Music Arrangements after using audio-visual learning media. Audio-visual learning media can improve student learning outcomes on International Music Arrangement material in SMA Negeri 9 Bogor.
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Mulyadi, Hendrikus, and Hery Supiarza. "Software sibelius: Eksplorasi Teknik Arransemen Lagu Indonesia Pusaka Karya Ismail Marzuki di Masa Pandemi Covid 19." PROMUSIKA 9, no. 1 (September 7, 2021): 01–10. http://dx.doi.org/10.24821/promusika.v1i1.5296.

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Penelitian ini mengkaji eksplorasi teknik aransemen orkestrasi melalui penggunaan software sibelius pada lagu Indonesia Pusaka karya Ismail Marzuki. Tujuan dari penelitian ini adalah untuk mengidentifikasi teknik dan keputusan yang perlu dilakukan dalam penyusunan aransemen dan untuk menguji keefektifan software sibelius dalam mendukung suatu orkestrasi. Metode yang digunakan adalah metode kualitatif dengan pendekatan eksploratif. Analisis teks musik digunakan untuk mendapatkan gambaran umum terkait aspek musik dan teknis, sedangkan analisis data dilakukan melalui reduksi data. Dalam penelitian ini ditentukan 3 nara sumber utama untuk mendapatkan informasi mengenai tanggapan karya virtual aransemen Indonesia Pusaka di masa pandemic covid 19. Penelitian ini menemukan bahwa arransemen Indonesia Pusaka mewakili nasionalisme, keberagaman dan alternatif tontonan di masa pandemi, kemudian terdapat 3 elemen dasar dalam eksplorasi aransemen orkestrasi lagu Pusaka Indonesia, yaitu: 1) bentuk aransemen, 2) idiom musik yang dimunculkan, 3) Softwaresibelius memiliki tingkat kesesuaian yang tinggi. efisiensi dalam membantu siswa membuat aransemen dan orkestrasi, juga dapat membantu arranger untuk membuat aransemen orkestrasi tanpa harus melibatkan pemain musik. Penelitian ini dapat menjadi acuan bagi dunia pendidikan musik dalam penggunaan softwaremusik khususnya penggunaan sibelius untuk orkestrasi dan keperluan kreasi musik lainnya.AbstractSibelius Software: Exploration of The Technique of Arranging Indonesian Songs Pusaka by Ismail Marzuki in the Covid 19 Pandemic. This study examines orchestration arrangement techniques through Sibelius software in the song Indonesia Pusaka by Ismail Marzuki. This research aims to identify the methods and decisions that need to be arranged and test the Sibelius software’s effectiveness in supporting an orchestration. The method used is a qualitative method with an exploratory approach. Music text analysis is used to get an overview regarding musical and technical aspects, while data analysis is done through data reduction. In this study, three primary sources were determined to obtain information about the response to the virtual work of the Indonesian Pusaka arranger during the Covid 19 pandemic. This study found that the Indonesia Pusaka arrangement represented nationalism, diversity and alternative spectacle during the pandemic, then there were three essential elements in exploration. Pusaka Indonesia song orchestration arrangements, namely: 1) arrangement form, 2) musical idioms that appear, 3) Sibelius software has a high level of conformity. Efficiency in helping students make arrangements and orchestration can also help the arranger make orchestration arrangements without involving music players. This research can be a reference for the world of music education in the use of music software, especially the use of Sibelius for orchestration and other musical creation purposes.Keywords: exploration; arrangement; Indonesia Pusaka; Ismail Marzuki; Sibelius software
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Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (August 6, 2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.

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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untuk mengetahui bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk duet vokal dan orkestraAnalysis of the music is learning to find some of the elements of music which in principle covers all aspects of music, among others; melody, harmony, rhythm, dynamics, and forms of music. This paper is an analysis of musical form and structure of Tanah Airku song from Ibu Soed arrangement works by Joko Suprayitno for vocal duet and orchestra format . This research method is a type of qualitative research methods with musicological approach to the arranger. The method includes a historical review, analysis of musical form and structure of the arrangement. This study aims to determine the musical form and structure of Tanah Airku song arrangement by Joko Suprayitno for vocal duet and orchestra.Keywords: Joko Suprayitno, Analysis of Arrangement of My Tanah Air Song by Ibu Soed
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Christy, Analis, and Abdul Rachman. "Form of Bundengan Traditional Music Arrangement by Sanggar Akustika in Wonosobo." Jurnal Seni Musik 12, no. 1 (June 30, 2023): 1–11. http://dx.doi.org/10.15294/jsm.v12i1.67147.

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Bundengan is one of the traditional musical instruments in Indonesia that originates and developes in Wonosobo Regency, Central Java. The bundengan music group Akustika provides arrangements for bundengan music. This research aims to determine and provide a description of the form of bundengan music arrangement by the bundengan music group Akustika. The method used in this research was qualitative with a musicological approach. Data collection was carried out through observation, interviews, and documentation techniques. Data analysis was conducted through data reduction, data presentation, and conclusion drawing. The research results show that the musical arrangement of Bundengan in Sanggar Akustika, Wonosobo Regency, combines traditional Bundengan musical instruments with instruments such as cak, guitar, keyboard, violin, bass, and drums. The performed music genres include modern pop, campursari, dangdut, nostalgic songs, and regional songs in Indonesia. The basic tones used are C major and G major, with mixed arrangement styles. During the performance, each musical instrument utilizes a limited repetitive playing pattern until the completion of the song. All the instruments in the Bundengan music complement each other and form dynamic and harmonious musical patterns.
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SAPARDANI, FIRMAN. "PENGGUNAAN SOFTWARE ENCORE DALAM MENULIS ARANSEMEN LAGU BAGI GURU SENI BUDAYA SMP DI KABUPATEN SERANG." EDUTECH : Jurnal Inovasi Pendidikan Berbantuan Teknologi 1, no. 3 (December 6, 2021): 268–77. http://dx.doi.org/10.51878/edutech.v1i3.713.

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One of the obstacles faced by art and culture teachers who do not have a background in music art is in teaching arrangement material, especially in terms of writing block notation, as well as in sounding the results of the arrangement. The purpose of this study is to introduce the existence of various music software which is expected to help art and culture teachers in writing and reading notation as well as being able to listen to the results of their arrangements. The research method in this study uses Class Action Research or classroom action research with a qualitative approach, so that teachers get an overview of implementing it in their respective classes step by step. Utilization of this Encore software can solve the problems faced by middle school arts and culture teachers, especially in Serang Regency in teaching the art of music, especially in arrangement material. ABSTRAKSalah satu kendala yang dihadapi oleh guru seni budaya yang bukan berlatarbelakang seni musik adalah dalam mengajarkan materi aransemen terutama dalam hal penulisan notasi balok, sekaligus dalam hal membunyikan hasil aransemennya. Tujuan dari penelitian ini adalah memperkenalkan keberadaan berbagai software musik yang diharapkan dapat membantu para guru seni budaya dalam menulis dan membaca notasi sekaligus dapat mendengarkan hasil aransemennya. Metode penelitian pada penelitian ini menggunakan Class Action Research atau penelitian tindakan kelas dengan pendekatan kualitatif, agar para guru memperoleh gambaran dalam menerapkan di kelas masing-masing secara tahap demi tahap. Pemanfaatan software Encore ini dapat memecahkan masalah yang dihadapi para guru seni budaya SMP khususnya di Kabupaten Serang dalam mengajar seni musik terutama dalam materi aransemen..
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Kaestri, Veronica Yoni, and Tri Wahyu Widodo. "Konstruksi Aransemen Bagimu Negeri Melalui Penerapan Ilmu Harmoni dan Kontrapung Dasar." PROMUSIKA 9, no. 1 (September 7, 2021): 27–38. http://dx.doi.org/10.24821/promusika.v1i1.5776.

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Artikel ini mengungkapkan proses aktivitas belajar mahasiswa dalam memahami ilmu harmoni dan kontrapung dasar dalam membentuk sebuah aransemen musik. Ilmu harmoni dan kontrapung merupakan ilmu dasar dalam memperlajari penyusunan nada. Dalam proses penyusunan nada terdapat pengetahuan akur, yang terbagi dalam empat suara yaitu sopran, alto, tenor dan bass tersusun secara horisontal. Unsur empat suara memiliki aturan-aturan yang berlaku dalam ilmu harmoni, sedangkan kontrapung dalam proses pembelajaran mempelajari kontrapung instrumental dengan tanganada diatonik dan termasuk dalam musik gaya polifonik. Artikel ini merupakan hasil penelitian proses aplikasi ilmu harmoni dan kontrapung dengan cara mempraktikan membuat aransemen lagu Bagimu Negeri. Tujuan dari penelitian adalah mengajak mahasiswa dan memahami dalam mengaplikasikan ilmu harmoni dan kontrapung. Melalui cara eksperimen merupakan kegiatan dari proses membuat aransemen lagu Bagimu Negeri dengan pendekatan musikologi. Konstruksi aransemen musik melalui penerapan ilmu harmoni dan kontrapung dengan pendekatan musikologi bermanfaat untuk memberikan pengetahuan pada mahasiswa bagaimana mengaransemen lagu. Hasil akhir penelitian yaitu bagaimana mahasiswa praktik mengaransemen lagu menggunakan ilmu harmoni dan kontrapung yang mengkolaborasi antara ilmu harmoni dan kontrapung. Keterbatasan dalam penelitian ini belum mengungkap kontur dan tekstur harmoni dalam aplikasi aransemen musik. Oleh karena itu memerlukan studi yang lebih jauh kembali dalam memahami aplikasi harmoni dan kontrapung dalam proses aransemen.AbstractThe construction of the music arrangement Bagimu Negeri for the application of harmony and basic counterpunch. This article reveals the learning activity process of students of the S-1 Music Study Program of the Faculty of Performing Arts, Yogyakarta Indonesian Institute of Arts, in understanding the science of harmony and contra punt in forming a musical arrangement. The science of harmony and contra punt is a basic science in learning the preparation of tone. There is knowledge of getting along in composing the tone, divided into four sounds: soprano, alto, tenor, and bass arranged horizontally. Element four sounds have rules that apply in the science of harmony. At the same time, contra punt in the learning process learns instrumental contra punt with diatonic hands and in polyphonic style music. This article results from research in the application process of harmonic and counter punt science by making arrangements for songs for the country. The study aims to invite students and understand in applying the science of harmony and contra punt. The way of experimentation is to make arrangements of songs for the country with a musical approach. Construction of music arrangements through the application of harmonic science and contra punt with a musicology approach is helpful for students to arrange songs. The final result of the study is how students practice arranging songs using the science of harmony and contra punt that collaborate between the science of harmony and contra punt. Limitations in this study have not revealed the contours and textures of harmony in musical arrangement applications. It, therefore, requires a further analysis back in understanding the application of harmony and contra punt in the arrangement process.Keywords: the science of harmony and contra punt; musical arrangements; Bagimu Negeri; Harmonic texture
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JONES, DAVID WYN. "HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET." Eighteenth Century Music 8, no. 2 (July 25, 2011): 287–305. http://dx.doi.org/10.1017/s147857061100008x.

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ABSTRACTIn 1787 Artaria, Haydn's publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86, in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the bibliographical, historical and text-critical, suggests that Haydn may have been the author of these three quartets.
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Emalisa, Agnes. "Aransemen Nyanyian Kebalai dalam Format Paduan Suara Campuran dengan Iringan Musik Etnis Rote Ndao." Tambur : Journal of Music Creation, Study and Performance 1, no. 1 (June 25, 2021): 60–70. http://dx.doi.org/10.52960/jt.v1i1.34.

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This study aims to describe the arrangement of a kebalai song in the form of a mixed choir along with ethnic Rote Ndao music accompaniment. This research use desciptive qualitative approach. The research data were obtained by means of; 1) Observation, 2) Interview (Interview), 3) Documentation. The tools used are in the form of interview guidelines, field notes, and sibelius as a presentation application. Music analysis is carried out in several stages; 1) selecting the work to be arranged, 2) processing the work (vocal arrangement and instrument arrangement), 3) orchestration and 4) presentation of the arrangement. The validity test uses triangulation sources and data collection. The results showed that the arrangements made were different from the original singing, but were still in a simple form and easy to hear with pop music styles, there was a development in vocal music both in harmony and musical style and for accompaniment there was development in rhythm, melody and alteration patterns. on a chord. The tempo used is moderate from the beginning then after the bridge there is a change in tempo. The form of presenting the kebalai song arrangement is to use sibelius. Vocals use soprano, alto, tenor and bass while the instruments used consist of one melodic instrument and three rhythmic instruments, namely Sasando, gong, drum and cymbal.
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Dissertations / Theses on the topic "Arrangement (Music)"

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Pun, James Chi-Him. "Gesture recognition with application in music arrangement." Diss., University of Pretoria, 2006. http://upetd.up.ac.za/thesis/available/etd-11052007-171910/.

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Yang, Eun Ho. "The study of seating arrangement effect on choral blend : positioning singers in three seating arrangements according to individual volume /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11276.

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Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.
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Lockhart, William. "Listening to the domestic music machine." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16646.

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Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können.
Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research.
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Bø, Kristine Heide. "Original versus akustisk : Hvordan kan et arrangement påvirke lytterens tolkning av en låt?" Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3475.

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Abstrakt Hvordan kan en låt oppfattes ulikt ut ifra hvordan den er arrangert og fremført? Hvilke følelser bringer ulike instrumenter med seg? Hvilken rolle spiller produksjonen for hvordan en låt blir tolket? Jeg har i forbindelse med dette prosjektet laget en akustisk live-versjon av en av mine egne, utgitte låter og har undersøkt hvordan disse to versjonene oppleves forskjellig av lytterne. Låten heter ”Du” og er i utgangspunktet en veldig produsert poplåt med fullt band og jeg ville se hvordan låten blir oppfattet med et helt annet arrangement. For å få svar på dette har jeg sendt de to versjonene og et spørreskjema til 9 personer. Prosjektet har gitt meg en ny oppfattelse av hvordan ulike mennesker tolker ulik fremførelse av musikk. Formålet med dette prosjektet har vært å undersøke hva det er som gjør at man opplever samme låt på forskjellig måte ut ifra hvordan den blir fremført og presentert.
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Hamilton, Kenneth. "The opera fantasias and transcriptions of Franz Liszt : a critical study." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.

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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original and operatic themes are found in his sketchbooks, although sketches of larger sections of the fantasias are rare. Many operatic pieces originated hi concert-improvisations before being committed to paper. Thereafter they were subjected to a process of revision that frequently continued after publication. The operatic fantasias of the 1830's and 40's illustrate Liszt's episodic treatment of musical form, with an indulgence in short-range harmonic effects and little concern for overall tonal planning. Some techniques of thematic metamorphosis and transition anticipate features of Liszt's Weimar compositions, and the roots of his fondness for concluding apotheoses can be clearly seen, particularly in the Fantasia on Der Freischütz. The fantasias and transcriptions vividly illustrate the course of Liszt's compositional and pianistic development, from early precocity through mature mastery to late austerity. The influence of Thalberg can be detected as the motivation for Liszt's return to the operatic fantasia after a hiatus of several years, although he did not adopt aspects of Thalberg's piano style until 1839. His finest fantasias from the years 1839-43 are characterised by bold virtuosity, compositional ingenuity and a striking attempt to encapsulate the dramatic course of an opera within the confines of a fantasia. As operatic pieces formed a large part of Liszt's concert repertoire until 1848 they were almost invariably based on operas of proven popularity. A more innovative and altruistic choice of material is evident only from the beginning of the Weimar period.
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Lin, Chia-Yin. "The Liszt transcriptions for piano of songs by Beethoven, Chopin, and Mendelssohn : inspiration, process and intention /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11403.

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Tiggemann, Marcel. "How Different Are Pop & Punk?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103824.

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A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.
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Oxford, William Todd Franck César. "A transcription of César Franck's Sonata in A major for the baritone saxophone." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008249.

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Morgan, LeeAnn Jolley. "The William Primrose transcriptions : Primrose's rise to eminence and the expansion of the viola repertoire through his transcriptions /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11231.

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Books on the topic "Arrangement (Music)"

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Herborn, Peter. Jazz Arrangement. [Rottenburg]: Advance music, 1995.

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Christiansen, Hans Henning. Arrangement, improvisation, komposition. Egtved: Edition Egtved, 1989.

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Ferland, Richard. Arrangement. Outremont, Québec: Éditions Logiques, 2001.

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Brynjolf, Niels. Jazz arrangement. Århus: Systime, 1995.

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Francis, Hobbs, ed. Scoring for voice: A guide to writing vocal arrangements. Los Angeles: Alfred Pub. Co., Inc., 1990.

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Sebesky, Don. The contemporary arranger. Van Nuys, Calif: Alfred, 1994.

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Kaufman, Shelemay Kay, ed. Musical transcription. New York: Garland, 1990.

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Lukani͡uk, B. Aktualʹni pytanni︠a︡ metodyky fiksat︠s︡iï ta transkrypt︠s︡iï tvoriv narodnoi muzyki: Zbirnyk naukovykh prat︠s︡ʹ. Kyïv: Kyïvsʹka derz︠h︡avna konservatorii︠a︡ im. P.I. Chaĭkovsʹkoho, 1989.

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Böhle, Reinhard C. Das Arrangement: Einst und heute. Essen: Blaue Eule, 1996.

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Callahan, Anna. Anna's amazing a cappella arranging advice: The collegiate a cappella arranging manual. [Ann Arbor, Mich.?: s.n.], 1995.

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Book chapters on the topic "Arrangement (Music)"

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Meyer, Jürgen. "Seating Arrangement in the Concert Hall." In Acoustics and the Performance of Music, 263–346. New York, NY: Springer New York, 2009. http://dx.doi.org/10.1007/978-0-387-09517-2_7.

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Steven, Suskin. "The Arrangement." In The Sound of Broadway Music, 178–202. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195309478.003.010.

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"PLACE NAMES IN GEOGRAPHICAL ARRANGEMENT." In Suspended Music, 406–14. University of California Press, 1994. http://dx.doi.org/10.1525/9780520911079-020.

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"Influence, Arrangement, and Authorship." In Dedicating Music, 1785–1850, 138–73. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444478.005.

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"Influence, Arrangement, and Authorship." In Dedicating Music, 1785-1850, 138–73. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvb4bvm7.9.

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Schab, Alon. "Historically Informed Arrangement." In A Performer's Guide to Transcribing, Editing, and Arranging Early Music, 137–227. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197600658.003.0006.

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Abstract The chapter considers the creative task of arrangement, and alerts readers to those levels of the composition that the performer must re-examine for the potential implications to the arrangement process. It shows how generic and instrumental idioms affect the musical source text, presents analyses of seventeenth- and eighteenth-century arrangements, and examines the apparent priorities of and the techniques used by arrangers from that period—omission and addition of parts, change of scoring and elaboration of polyphonic texture. The insight from these original arrangements is then implemented and demonstrated in a process of arranging extensive excerpts from works by Sweelinck, Van Eyck, Bach, and Huwet.
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Kager, Maria. "A Strict Arrangement." In Essays on Music and Language in Modernist Literature, 94–109. Routledge, 2018. http://dx.doi.org/10.4324/9781315231716-7.

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"Chapter Four. Influence, Arrangement, and Authorship." In Dedicating Music, 1785-1850, 138–73. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444478-007.

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Lau, Angela. "When the Past Meets the Present (Intermediate)." In The Music Technology Cookbook, 95–100. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0015.

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The activities described in this chapter encourage learners to develop skills in listening, analysis, and arranging through the use of aQWERTYon, a web-based musical keyboard. This unit uses an inquiry-based learning approach based on the idea that music continuously changes as a response to societal, cultural, and technological impacts. Designed for students in the fourth grade, learners are introduced to what a musical arrangement is, and are given arrangements to analyze and determine what parts of them are taken from the past, present, or both. Following, learners are tasked with creating their own arrangements relevant to their own respective cultures and present them to the class.
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Chung, David. "Ritournelle from Thésée." In Web Library of Seventeenth-Century Music. Society for Seventeenth-Century Music, 2014. http://dx.doi.org/10.53610/xbwq9206.

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Conference papers on the topic "Arrangement (Music)"

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Kogo, Kenji, Kyoji Kawagoe, and Teruhisa Hochin. "Music similarity retrieval method considering music arrangement." In 2016 IEEE/ACIS 15th International Conference on Computer and Information Science (ICIS). IEEE, 2016. http://dx.doi.org/10.1109/icis.2016.7550853.

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Ka-Hing, Jeffrey Mak, Clifford Choy Sze-Tsan, Clifford So Kwok-Fung, and Henry Ma Chi-Fai. "Emotion-driven automatic music arrangement." In ACM SIGGRAPH 2006 Research posters. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179747.

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Mizuno, Yoshifumi, Akira Tanaka, and Masaaki Miyakoshi. "Music interpolation by Wiener filter and its application to music arrangement." In 2011 IEEE International Conference on Granular Computing (GrC-2011). IEEE, 2011. http://dx.doi.org/10.1109/grc.2011.6122642.

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Szymanska-Stulka, Katarzyna. "MASS, PLAN, ARRANGEMENT - MUSIC AND ARCHITECTURE IN SPACIOUS CONNECTIONS." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.024.

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Lin, Bor-Shen, and Ting-Chun Yeh. "Automatic Chord Arrangement with Key Detection for Monophonic Music." In 2017 International Conference on Soft Computing, Intelligent System and Information Technology (ICSIIT). IEEE, 2017. http://dx.doi.org/10.1109/icsiit.2017.29.

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Maroza, Yeni, and Yudi Sukmayadi. "Arrangement of Gamad Music as Creativity and Culture Preservation for Traditional Music in Padang." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.75.

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Possik, Jalal, Charles Yaacoub, Simon Gorecki, Gregory Zacharewicz, and Andrea D'Ambrogio. "A Model Based Systems Engineering Approach to Automated Music Arrangement." In 2021 Annual Modeling and Simulation Conference (ANNSIM). IEEE, 2021. http://dx.doi.org/10.23919/annsim52504.2021.9552105.

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Wang, Ziyu, Dejing Xu, Gus Xia, and Ying Shan. "Audio-To-Symbolic Arrangement Via Cross-Modal Music Representation Learning." In ICASSP 2022 - 2022 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2022. http://dx.doi.org/10.1109/icassp43922.2022.9747884.

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Zhao, Jingwei, Gus Xia, and Ye Wang. "Q&A: Query-Based Representation Learning for Multi-Track Symbolic Music re-Arrangement." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/652.

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Music rearrangement is a common music practice of reconstructing and reconceptualizing a piece using new composition or instrumentation styles, which is also an important task of automatic music generation. Existing studies typically model the mapping from a source piece to a target piece via supervised learning. In this paper, we tackle rearrangement problems via self-supervised learning, in which the mapping styles can be regarded as conditions and controlled in a flexible way. Specifically, we are inspired by the representation disentanglement idea and propose Q&A, a query-based algorithm for multi-track music rearrangement under an encoder-decoder framework. Q&A learns both a content representation from the mixture and function (style) representations from each individual track, while the latter queries the former in order to rearrange a new piece. Our current model focuses on popular music and provides a controllable pathway to four scenarios: 1) re-instrumentation, 2) piano cover generation, 3) orchestration, and 4) voice separation. Experiments show that our query system achieves high-quality rearrangement results with delicate multi-track structures, significantly outperforming the baselines.
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Wang, Junyang, Wanzhen Sun, Rubi Wu, Yixuan Fang, Ruibin Liu, Shaofei Li, Zheng Li, and Xin Steven. "A Novel Machine Learning Algorithm: Music Arrangement and Timbre Transfer System." In 2022 5th International Conference on Information Communication and Signal Processing (ICICSP). IEEE, 2022. http://dx.doi.org/10.1109/icicsp55539.2022.10050687.

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Reports on the topic "Arrangement (Music)"

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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.
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