Relevant bibliographies by topics / Music arrangement

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music arrangement'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Music arrangement"

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Novandhi, Nanda Kurnia. "IMPLEMENTASI TEORI BELAJAR DALAM MATA KULIAH “ARRANGEMENT” DI S1 SENDRATASIK UNIVERSITAS NEGERI SURABAYA." Imaji 17, no. 2 (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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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 (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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JONES, DAVID WYN. "HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET." Eighteenth Century Music 8, no. 2 (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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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.

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The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilities of the instrument, is of special importance today. Therefore, the purpose of article is more extended consideration of the issue of uncomfortable acoustical sounding of accordion in a considerable number of episodes of pieces of music that are not created for this instrument. The concert program of contemporary accordionists, which has the arrangements and transcriptions for accordion of original pieces of music, is complete and perfect. Expanding of the stylistic frontiers of repertoire and increase capabilities of performance of classical, pop and jazz music of different genres and styles will solve many problems associated with the increasing popularity of accordion. Today the need for the use of accordion as original instrument in musicians’ performance practice is urgent. Transcriptions and arrangements are aimed at preparation and adaptation of the original music to perform for another ensemble or other instrument for which the composition was not originally created. The main task is to facilitate the articulation of sound palette of the accordion. It gives the opportunity to create transcription and arrangement in such way that the listener perceives the piece of music as music written for musical instrument that he hears at that time. To perceive and understandand original music, it is advisable to listen to it from the best professional music groups and musicians. Such performance as usual makes a great impression and expands the imagination but in their original genre. When a musician plays their arrangement he recalls what he heard and experienced when he was at the music hall. Naturally the creative personality wishes to recreate from what he was amazed, but he must play the music written for other musical instruments and groups using a different approach to understanding and implementing the image of high performance art.
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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.

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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.
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Burleigh, Ian G. "Computer-Assisted Tone Arrangement Using Calculated Consonance." Contemporary Music Review 32, no. 5 (2013): 447–58. http://dx.doi.org/10.1080/07494467.2013.849873.

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Panjaitan, Hulman. "UNDANG UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA DAN PERLINDUNGAN HUKUM BAGI PENCIPTA KARYA CIPTA MUSIK DAN LAGU." to-ra 5, no. 1 (2019): 19. http://dx.doi.org/10.33541/tora.v5i1.1193.

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 The meaning of song and music is different, but copyright literature does not seem to distinguish them. In the library of international law, the term commonly used to refer to a song or music is musical work. The Bern Convention states that one of the protected works is music compositions with or without words. There is no explicit description in the Bern Convention about what musical work really is. However, from the existing provisions it can be concluded that there are two types of music creation that are protected by copyright, namely music with words and music without words. Music with meaningful words is a song whose elements consist of melody, arrangement lyrics, and notation, while music without words is music that only consists of elements of melody, arrangement and notation.
 
 Keywords: copyright literature; the Bern Convention; protected works.
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Thormäählen, Wiebke. "Playing with Art: Musical Arrangements as Educational Tools in van Swieten's Vienna." Journal of Musicology 27, no. 3 (2010): 342–76. http://dx.doi.org/10.1525/jm.2010.27.3.342.

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Art played a significant part in the educational ideal promoted by German intellectuals in the late eighteenth century. Gottfried van Swieten, President of the Court Commission for Education in Vienna and librettist for The Creation, was instrumental in developing and promoting the role of art in the moral education of the individual. His encouragement of active engagement with art sheds new light on the common practice of arranging musical "classics"——in particular large-scale vocal works——for smaller instrumental forces around 1800. Van Swieten's writings suggest that such arrangements may be understood not merely as entertaining trifles but as the product of the sociopolitical mores of the Enlightenment. Inviting the direct, interactive experience of art, the arrangement of Joseph Haydn's Creation for string quintet was particularly suited to the moral and social education of the individual. Grounded at least in part in archaic compositional practices, it demonstrated an artwork's adaptability to different circumstances of performance and to the different levels of education of its performers. Moreover, the act of playing the arrangement, one to a part, allowed for the honing of an individual's inner sociable sentiment through collaboration with fellow performers.
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Huang, Jiun-Long, Shih-Chuan Chiu, and Man-Kwan Shan. "Towards an automatic music arrangement framework using score reduction." ACM Transactions on Multimedia Computing, Communications, and Applications 8, no. 1 (2012): 1–23. http://dx.doi.org/10.1145/2071396.2071404.

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Urniežius, Rytis. "Arrangement competences of music teachers : readiness to meet unexpected." Musicologica Brunensia, no. 2 (2020): 139–47. http://dx.doi.org/10.5817/mb2020-2-8.

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Dissertations / Theses on the topic "Music arrangement"

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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.<br>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.<br>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 "Music arrangement"

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Herborn, Peter. Jazz Arrangement. Advance music, 1995.

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

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Ferland, Richard. Arrangement. Éditions Logiques, 2001.

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Brynjolf, Niels. Jazz arrangement. Systime, 1995.

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Studien zu den Klaviertranskriptionen Schumannscher Lieder von Franz Liszt, Clara Schumann und Carl Reinecke. Studio, 1997.

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

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Callahan, Anna. Anna's amazing a cappella arranging advice: The collegiate a cappella arranging manual. Contemporary A Cappella Publishing, 2001.

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Eriksson, Mats. Metodik ett resultat av professionalism: Bas-Ackord-Melodi-Metoden för gruppundervisning. MEREC, 1996.

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

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Dana, Wilson, ed. Contemporary choral arranging. Prentice-Hall, 1986.

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Book chapters on the topic "Music arrangement"

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

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Chao, Guo. "Electronic Music Arrangement Based on the Computer Platform." In Lecture Notes in Electrical Engineering. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3250-4_187.

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Acharyya, Arnav, Arpan Losalka, Pravir Singh Gupta, and Ganapati Panda. "Development of an Automated Examination Seating Arrangement Generation System Using Music Inspired Harmony Search Algorithm." In Advances in Intelligent and Soft Computing. Springer India, 2012. http://dx.doi.org/10.1007/978-81-322-0487-9_29.

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

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Kager, Maria. "A Strict Arrangement." In Essays on Music and Language in Modernist Literature. Routledge, 2018. http://dx.doi.org/10.4324/9781315231716-7.

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Lau, Angela. "When the Past Meets the Present (Intermediate)." In The Music Technology Cookbook. 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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Armstrong, Alison. "Ableton Overture (Intermediate)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0019.

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In this music technology-meets-classical composition activity, students will learn how to combine tried and tested compositional techniques (sequence, inversion, augmentation, diminution, and imitation) with many possibilities in Ableton Live’s session view. This composition task was designed for students ages 12 to 16 who are new to composing. The aims of the activity include: 1) inputting melodic and rhythmic information into a DAW and exploring composition devices; 2) reviewing melodic and rhythmic compositional devices, exploring simple accompaniment patterns, and combining a theme with an accompaniment pattern; 3) exploring sounds, octave ranges, and tempi in Ableton Live; 4) exploring combinations of themes with other students through sharing MIDI loops, making an arrangement, and justifying choices; and 5) presenting an arrangement to a fictional client.
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Cooper, Patrick K. "Anthem Creation for a New Nation (Intermediate)." In The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0018.

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Politics can be a tricky subject to navigate in the classroom. In the project described in this chapter, students create a fictional country and national anthem that encapsulates the political views of a fictional new nation. Students have the opportunity to be creative and critical thinkers without the fear of backlash for sharing ideas. Essentially, students are shown the concept of programmatic music and how certain musical elements can conjure extramusical ideas. This project is designed for students in a high school computer-based music production class. It is intended to be completed in pairs, but the teacher may adjust this arrangement depending on the culture of the classroom. This project could also serve as a great music camp activity.
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Smith, Steven C. "Exodus." In Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0012.

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The year 1936 would bring the most significant changes in Steiner’s life since his arrival in Hollywood. He was eager to accept an offer to be musical director at David O. Selznick’s new studio—but RKO refused to let him go. After months of intransigence on both sides, Max got his way. Steiner was thrilled to reteam with a producer who emphasized quality over quantity, with each title under Selznick’s personal supervision. For his part, Selznick knew that while his own movies were being shot, Steiner could be loaned—at considerable mark-up—to other studios. This mutually beneficial arrangement led to the happiest year of Max’s life: an Oscar-nominated score for Selznick’s The Garden of Allah; and, most fatefully from a professional perspective, a loan-out to Warner Bros., for its biggest release of 1936.
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Conference papers on the topic "Music arrangement"

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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. 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). Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.75.

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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.

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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
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Tao Qin, Yukun Liu, Chenxu Wang, Tao Yang, and Chao He. "From online to offline: Charactering user's online music listening behavior for efficacious offline radio program arrangement." In 2017 IEEE Symposium on Computers and Communications (ISCC). IEEE, 2017. http://dx.doi.org/10.1109/iscc.2017.8024691.

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Hoffmann, Piotr. "Music signal equalization in a changing environment." In 2019 Signal Processing: Algorithms, Architectures, Arrangements, and Applications (SPA). IEEE, 2019. http://dx.doi.org/10.23919/spa.2019.8936749.

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