Relevant bibliographies by topics / Orchestral music Scores

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  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Orchestral music Scores'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Orchestral music Scores"

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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197
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Urniežius, Rytis. "Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg." Musicological Annual 56, no. 1 (June 30, 2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.

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Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.
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Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.

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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instru
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Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.

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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientif
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Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.

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FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.
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Fischer, Manda, Kit Soden, Etienne Thoret, Marcel Montrey, and Stephen McAdams. "Instrument Timbre Enhances Perceptual Segregation in Orchestral Music." Music Perception 38, no. 5 (June 1, 2021): 473–98. http://dx.doi.org/10.1525/mp.2021.38.5.473.

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Timbre perception and auditory grouping principles can provide a theoretical basis for aspects of orchestration. In Experiment 1, 36 excerpts contained two streams and 12 contained one stream as determined by music analysts. Streams—the perceptual connecting of successive events—comprised either single instruments or blended combinations of instruments from the same or different families. Musicians and nonmusicians rated the degree of segregation perceived in the excerpts. Heterogeneous instrument combinations between streams yielded greater segregation than did homogeneous ones. Experiment 2
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Miron, Marius, Julio J. Carabias-Orti, Juan J. Bosch, Emilia Gómez, and Jordi Janer. "Score-Informed Source Separation for Multichannel Orchestral Recordings." Journal of Electrical and Computer Engineering 2016 (2016): 1–19. http://dx.doi.org/10.1155/2016/8363507.

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This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distan
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with differe
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Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.

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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relation
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Anderson, Martin. "London, St John's Smith Square: David Matthews's ‘A Vision and a Journey’." Tempo 58, no. 228 (April 2004): 59–61. http://dx.doi.org/10.1017/s0040298204220150.

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A Vision and a Journey is David Matthews's op. 60 – a neat coincidence, then, that the first performance of its revised version should be part of the celebrations of his sixtieth birthday. The work is part of a series of imposing orchestral scores Matthews has been composing over the past two decades, beginning with In the Dark Time in 1983 and continuing with Chaconne in 1985 and The Music of Dawn two years later; this one followed in 1993, when it was premièred by Yan Pascal Tortelier and the BBC Philharmonic, but it underwent a thoroughgoing revision between March 1996 and March 1997. I ask
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Dissertations / Theses on the topic "Orchestral music Scores"

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Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.

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Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.

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Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant
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Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.

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Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda
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陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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Godin, Scott 1970. "Weight for orchestra." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84210.

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This dissertation consists of two parts. Part One is a written text which defines compositional processes and provides an analysis of the musical material incorporated in weight, my composition for orchestra. Part Two of the dissertation comprises the musical score for weight.<br>weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical element
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Jestadt, Jason T. "Desert places : for orchestra." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32833.

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Desert Places is a composition for large orchestra with a duration of approximately 12 minutes. Inspired by the Robert Frost poem "Desert Places", the work is primarily concerned with "covering up" one type of musical material with another. Specifically, the work contains a large-scale "cross-fading" of two types of motivic material, and two types of harmonic material. While the processes at work remain clearly defined, the musical materials move smoothly and gradually through the piece, exchanging foreground and background positions, and blurring the divisions of sections.
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Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.

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A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.
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Gaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.

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Dehler, Elizabeth. "Now and forever." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79278.

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Now and Forever is a thesis in two parts: a twelve-minute piece for orchestra and a text providing an analysis of the piece. The orchestra consists of two flutes (flute 2 doubling piccolo), two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in C, two tenor trombones, one bass trombone, two percussion and strings. The work features the use of an original text as the underlying program, the use of golden section proportions as a principal organisational device, a rising semitone motive as the foundation for melodic, harmonic and registral development, and the
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Desjardins, Jacques A. 1962. "Les Chemins de Milarepa /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59549.

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This project consists of two parts. The first part is a composition for orchestra of approximately thirteen minutes in duration. The second part, an analysis of the work, describes the music in terms of its form, harmony, rhythm and orchestration.<br>The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form.<br>In terms of harmony, the work deals with two basic categories of
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Books on the topic "Orchestral music Scores"

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Prévost, André. Fantasmes: [orchestre = orchestra, 1963]. Saint-Nicolas (Québec), Canada: Doberman-Yppan, 2002.

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Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.

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Torke, Michael. Bright blue music: For orchestra. [New York]: Adjustable Music, 1996.

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Schwantner, Joseph. Toward light: An orchestral set. Valley Forge, Pa: European American Music, 1987.

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Heinrich, Anthony Philip. The wildwood spirit's chant, or, Scintillations of Yankeedoodle: (1842) : a grand national heroic fantasia for a powerful orchestra in 44 parts. Philadelphia: Kallisti Music Press, 1996.

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Library, Somerset County. Catalogue of instrumental music, chamber music sets, orchestral parts sets and orchestral/study scores. [Bridgwater]: Somerset County Library, 1986.

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Wuorinen, Charles. Crossfire: Orchestra. New York: C.F. Peters Corp., 1985.

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Torke, Michael. Ash: For orchestra. [New York]: Hendon Music, 1991.

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John, Adams. Lollapalooza: For orchestra. [United States]: Hendon Music, 1999.

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Tower, Joan. Sequoia: For orchestra. New York, NY: Associated Music Publishers, 1990.

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Book chapters on the topic "Orchestral music Scores"

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Leman, Marc. "Orchestra Score in CSOUND." In Music and Schema Theory, 197–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-85213-8_14.

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Smith, Steven C. "The South Is Dead." In Music by Max Steiner, 232–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0016.

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No Steiner project would be more difficult or emotionally draining than Gone with the Wind. This chapter explores how the composer wrote and/or supervised more than three hours of orchestral music in less than two and a half months (while concurrently writing three other film scores), amid constant and often contradictory direction from Selznick. The producer was more combatant than collaborator: “the whole thing had a nightmare quality,” recalled one participant. Due to a near-impossible deadline, Steiner was forced to have members of his team compose several GWTW music cues. These collaborators always worked under Max’s direction, using Steiner-composed leitmotivs. The chapter uses multiple examples of these cues to draw the distinction between the kind of “ghost writing” by uncredited composers that was common in Hollywood, and GWTW, a case in which Steiner remained the primary creative force behind this, his best-loved score.
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Burlingame, Jon. "“This is the way”Music for Cable and Streaming Services." In Music for Prime Time, 399—C12.P127. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0013.

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Abstract Music for cable and streaming services, unencumbered by commercial network restrictions, was an attractive outlet for composers in the late twentieth and early twenty-first centuries. And changing times also meant more opportunities for women and people of color as composers for TV. Early examples: the Latin jazz theme for Sex and the City, the Django Reinhardt–style Monk, and the Caribbean-influenced Dexter music. The Sopranos and The Wire broke precedent by going without conventional scores, only songs in the narrative. Thomas Newman won an Emmy for his Six Feet Under theme; the music of House of Cards won two more, Game of Thrones two more for music in the wildly popular fantasy series (also inspiring millions of YouTube takeoffs on the theme). Up-and-comer Bear McCreary scored multiple cable series, including the revived Battlestar Galactica and the new Outlander. Spinoffs from older shows include Star Trek: Discovery and Lost in Space, both with compelling orchestral scores. Period pieces including Deadwood, Rome, The Tudors, and The Borgias offered memorable, appropriate music. Michael Kamen did his best work for the HBO miniseries From the Earth to the Moon and the World War II Band of Brothers, and Thomas Newman wrote one of the greatest scores in TV history for Angels in America—none even nominated for the Emmy, pointing up flaws in the voting procedures. Laura Karpman did lauded work for the sci-fi Taken. Music supervision gained traction as a key component in many series, notably Grey’s Anatomy and Glee on network, Breaking Bad on cable.
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Winters, Ben. "New Opportunities in Film: Korngold and Warner Bros." In Korngold and His World, 111–30. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0005.

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This chapter sketches an overview of Erich Korngold's film output that draws attention to the variety of scenarios for which he provided music. It also discusses the kinds of musical gestures and techniques he used to help him meet their dramatic demands. In many ways these techniques represent a significant expansion from the range demonstrated by his operatic output; in that sense Korngold's Hollywood career was not a regression from the culturally engaged world of opera but represented an opportunity to develop his gifts as a musical dramatist. After a brief summary of Korngold's working practices, the chapter explores the sound of his scores—including his use of particular orchestral colors—and his ability to score a variety of narrative scenarios. It then outlines some aspects of his approach to scoring, including his thematic technique.
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"FM Radio and the New Hollywood Soundtrack." In Voicing the Cinema, edited by Julie Hubbert, 54–72. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0004.

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In studio production between the mid-1960s and early 1980s, the period often referred to as “New Hollywood,” the music soundtrack was the site of significant upheaval. As box office revues continued to plummet, the studios allowed filmmakers greater freedom to experiment with narrative structures and with soundtrack conventions. Specifically, they allowed directors to exert new control over film music, which they did often by jettisoning new composed orchestral scores in favor of compilations of preexisting, recorded music. Film music scholars have long acknowledged this shift, but few have recognized the degree to which the new soundtrack practices that emerged in the New Hollywood period were also the result of radical shifts in popular music and contemporary listening practices. By looking at two films from the early 1970s, Zabriskie Point (1971) and The Strawberry Statement (1970, this article considers the degree to which progressive rock, FM radio, and countercultural listening practices changed not only the content of film soundtracks but also the placement of music in film, unseating long-standing sound hierarchies and privileging music in new ways.
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Deutsch, Diana. "The Perceptual Organization of Streams of Sound." In Musical Illusions and Phantom Words, 46–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0004.

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Chapter 3 first explores the principles by which we organize elements of an array into groupings. The Gestalt psychologists proposed a set of grouping principles that have profoundly influenced the study of hearing and vision ever since—these include “proximity,” “similarity,” “good continuation,” “common fate,” and “closure.” Passages of conventional tonal music illustrating these principles are described, along with several illusions and other surprising characteristics of music and speech, all presented as sound examples. They involve the segregation of pitch sequences into separate streams based on proximity in pitch or in time, and also on timbre or sound quality. Figure–ground relationships, analogous to those in vision, are also discussed. Much information arrives at our sense organs in fragmented form, and the perceptual system needs to infer continuities between the fragments, and fill in the gaps appropriately. It is shown that this occurs in both music and speech. We have evolved mechanisms to perform these tasks, but these mechanisms often fool us into “hearing” sounds that are not really there. Another approach to perceptual organization in music exploits the use of orchestral sound textures to create ambiguous images. This approach has been used to excellent effect in 20th-century music such as film scores; for example, it contributes to the mysterious ambience in Stanley Kubrick’s 2001: A Space Odyssey.
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Smith, Steven C. "Startling, Unusual Sensation." In Music by Max Steiner, 99–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0008.

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Before leaving RKO in late 1932, David O. Selznick greenlit the studio’s most costly and ambitious production: King Kong. The result was a landmark in Hollywood special effects and storytelling; its influence continues today, in the fantasy/action films that dominate the industry. Just as significantly, Kong inspired a Steiner score that is still cited by many directors, screenwriters, and composers as the work that first made them aware of the power of film music. This chapter aims to provide a definitive account of the score’s creation, from Steiner’s use of lyrical melodies and startling dissonance to humanize and add credibility to the title character; through the challenges of recording music whose orchestral richness tested the limits of 1933 sound technology. King Kong’s box office success, at the height of the Depression, temporarily saved RKO. It also launched Steiner into a new era of creative experimentation.
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Marlow, Eugene. "Liu Sola: China’s Musically Eclectic Composer." In Jazz in China, 126–35. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0012.

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This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. Her range of musical styles includes classical music, jazz, early music, rock, traditional, and contemporary music. She is the founder of Liu Sola Music Studio, located in the Songzhuang art colony, a Beijing artist district. Liu Sola designed and built a music space for her ensemble to rehearse and record.
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Burlingame, Jon. "“Flintstones! Meet the Flintstones!”Cartoons in Prime Time." In Music for Prime Time, 311—C9.P67. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0010.

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Abstract Hoyt Curtin, architect of the Hanna-Barbera sound, created indelible theme songs for The Flintstones, Jetsons, Top Cat, and Jonny Quest. TV’s Bugs Bunny Show showcased the greatest curtain-raiser of all with “This Is It!” Jay Ward’s Rocky and Bullwinkle featured fun music. Vince Guaraldi’s piano-based jazz for the Peanuts specials, starting with “A Charlie Brown Christmas,” became iconic. The Simpsons became one of the longest-running prime-time series ever, with a 1960s-inspired theme by Danny Elfman and hundreds of smart scores by Alf Clausen (until he was fired). The animated Batman, Superman, Justice League, and other DC heroes won Emmys for their music. Seth MacFarlane’s Family Guy featured large orchestras and Broadway-style numbers. The Rankin-Bass holiday specials (starting with “Rudolph the Red-Nosed Reindeer”) were distinguished by warm and appropriate scores by Maury Laws.
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"Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers’ School." In Collaborative Creative Thought and Practice in Music, 73–87. Routledge, 2016. http://dx.doi.org/10.4324/9781315572635-12.

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Reports on the topic "Orchestral music Scores"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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