Thèses : « Arrangement (Music) »

1

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/.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

2

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.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

3

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

Texte intégral

Résumé :

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.

Styles APA, Harvard, Vancouver, ISO, etc.

4

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.

Texte intégral

Résumé :

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.

Styles APA, Harvard, Vancouver, ISO, etc.

5

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.

Texte intégral

Résumé :

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.

Styles APA, Harvard, Vancouver, ISO, etc.

6

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.

Texte intégral

Résumé :

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.

Styles APA, Harvard, Vancouver, ISO, etc.

7

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.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

8

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.

Texte intégral

Résumé :

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.

Styles APA, Harvard, Vancouver, ISO, etc.

9

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.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

10

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.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

11

Houser, Russell John. « An examination of wind band transcriptions ». To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

12

Song, Yoon. « Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement ». University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307457251.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

13

King, Sarah. « What You Hear is What You Hear : Preparing an Arrangement of Steve Reich’s "Nagoya Marimbas" for Flute Choir ». Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/441.

Texte intégral

Résumé :

Visual artist Frank Stella (b. 1936) said about his work, “What you see is what you see.” A member of the visual art movement known as minimalism, he is famed for his repeating black -stripe paintings. There are noticeable parallels between the concept of these visual works and Steve Reich’s (b. 1936) minimalist music, particularly Nagoya Marimbas (1994). This Honors thesis will explore the roots of minimalism in the visual arts and music, Reich’s compositional voice, the repetitive rhythmic components of minimalist music, and the challenges of arranging a percussion piece for a flute ensemble leading up to the final arrangement, Nagoya Flutes.

Styles APA, Harvard, Vancouver, ISO, etc.

14

Taisey, Kip. « REVITALIZING "THE ROCKY HORROR SHOW" THROUGH GOSPEL MUSIC ». Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4339.

Texte intégral

Résumé :

In Spring 2007, the University of Central Florida (UCF) Department of Theatre mounted a production of "The Rocky Horror Show." This thesis focuses on the author's process of using the gospel music style to revitalize "The Rocky Horror Show," a cult musical. The author uses defining characteristics of the cult film genre to establish a set of guidelines. "The Rocky Horror Picture Show" is the movie version of the stage musical and is responsible for the show's inevitable cult status. He discusses the history and journey of "The Rocky Horror Show" and how audience participation was integral in establishing this landmark musical. The reader observes the process used in rearranging "The Rocky Horror Show" score from start to finish and recordings used as influence throughout. Although this is a discussion of a musical process, this portion of the document is written in terms for all to understand, and a glossary of terms is provided for those that are unsure of certain vocabulary. With a show that is well established, one must be careful when making stylistic changes. The author took this into consideration when arranging the score and rationalizes through a discussion of gospel music history, key gospel elements apparent throughout the score, and how the essence of Richard O'Brien's music remains intact.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA

Styles APA, Harvard, Vancouver, ISO, etc.

15

Seminario, Salas Anibal Marcelo. « Enrique "Papo" Lucca and Ray Barretto's Latin jazz harmonies and instrumentation as applied in an original salsa music arrangement ». Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591640.

Texte intégral

Résumé :

Prior to the initial collaboration between Dizzy Gillespie and Chano Pozo resulting in Afro-Cuban jazz during 1947, latin dance music and jazz were initially very separate styles of music with not very much in common. By the 1960s New York City gave birth to the first true Salsa music in America with jazz and Latin musicians collaborating with one another. Some of the most notable performers responsible for the creation of the "New York" sound are Ray Barretto, Eddie Palmieri, Charlie Palmieri, Johnny Pacheco and Willie Colon.The fusion between Puerto Rico and New York's salsa music with jazz was stated through the music of Papo Lucca and Ray Barretto, who not only fused both styles but created an innovative and appealing sound of Latin music.

This project report is an examination of the techniques, instrumentation, and musicians that Lucca and Barretto used with their bands during the 1960s and 70s. Personal transcriptions of tunes recorded by Lucca and Barretto will be analyzed and compared to earlier versions of these same songs, with the purpose of highlighting the fusion of salsa traditions with jazz harmonies. These transcriptions will then be used to rearrange a traditional Latin tune with contemporary jazz techniques and harmonies.

Styles APA, Harvard, Vancouver, ISO, etc.

16

Ringe, Gerald. « The Historical Importance and Resulting Arrangement of Artie Shaw's Third Stream Composition Interlude in B-flat ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862739/.

Texte intégral

Résumé :

Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.

Styles APA, Harvard, Vancouver, ISO, etc.

17

Parys, Marcin. « Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23 : A Newly Arranged Edition of the Orchestral Reduction ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

Texte intégral

Résumé :

As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

Styles APA, Harvard, Vancouver, ISO, etc.

18

Van, Dine Kara Lynn. « Musical Arrangements and Questions of Genre : A Study of Liszt's Interpretive Approaches ». Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28488/.

Texte intégral

Résumé :

Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

Styles APA, Harvard, Vancouver, ISO, etc.

19

Lynch, Evan Thomas. « Three Danzas by Puerto Rican Clarinetist/Composer Juan Rios Ovalle Arranged for Clarinet and Piano ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259610054858.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

20

Svanoe, Erika Kirsten. « El Salón México by Aaron Copland a study and comparison of the orchestral score and two transcriptions for band / ». Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243886091.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

21

Messoloras, Irene Rose. « East meets West arranging traditional Greek folk songs for modern chorus / ». Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Texte intégral

Résumé :

Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

Styles APA, Harvard, Vancouver, ISO, etc.

22

Luttrell, Briony M. « A cultural semantics of string arrangement for recorded Popular music : A model for analysis and practice ». Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108032/2/Briony_Luttrell_Thesis.pdf.

Texte intégral

Résumé :

This thesis contributes new knowledge about writing and analyzing string arrangements for recorded Popular music. I show how string arrangements can be categorized under one of seven distinct styles that are made coherent and meaningful through their identification with specific social and cultural institutions. The string styles are derived from and situated in a cultural and historical corpus of 500 albums released between 1952 and 2011. The thesis offers a new way for arrangers to analyze examples of practice, inform new creative work, and communicate with other musical professionals about string arranging.

Styles APA, Harvard, Vancouver, ISO, etc.

23

Matthaei, Peter E. « Automatic music transcription : an exploratory study ». Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53727.

Texte intégral

Résumé :

Thesis (MScEng) -- University of Stellenbosch, 2004.
ENGLISH ABSTRACT: In a pioneering project for the University of Stellenbosch, and indeed South Africa, an automatic music transcription system was designed to explore the underlying theory, concepts and problematies of polyphonic music transcription. Automatic music transcription involves knowledge from the fields of acoustics, music theory, digital signal processing and information theory. The key concepts from these contributing fields as they relate to transcription systems are described in overview. A transcription system is then developed which includes components for FFT-based multipitch estimation, basic post-processing, estimation of the degree of polyphony, key determination, note duration quantisation and score output. The operation of the system is explained and tested at the hand of a synthetic polyphonic signal. The system produced usable transcriptions of real monophonic input signals to scores with standard notational symbols. The success of the system (as are the successes of all published polyphonic transcription systems) was limited for real polyphonic music signals. Nonetheless, the initial results are encouraging and indicate that the current implementation can serve as a platform for a more sophisticated and accurate system.
AFRIKAANSE OPSOMMING: In 'n baanbrekersprojek vir die Universiteit van Stellenbosch (en die breër Suid-Afrika) is 'n outomatiese musiek transkripsie stelselontwerp om die onderliggende teorie, konsepte en problematiek van polifoniese musiek transkripsie te ondersoek. Outomatiese musiek transkripsie kombineer kennis uit die navorsingsvelde van akoestiek, musiekteorie, syferseinverwerking en informasieteorie. Die sluitelkonsepte van elkeen van hierdie velde word kortliks weergegee soos dit van toepassing is op transkripsie stelsels. 'n Transkripsie stelsel met modules vir FFT-gebaseerde afskatting van polifoniese toonhoogtes, basiese naverwerking, afskatting van die graad van polifonie, bepaling van die sleutel, nootlengte kwantisering en bladmusiek notasie word aansluitend ontwikkel. Die werkswyse van die stelsel word aan hand van 'n sintetiese polifoniese sein verduidelik en getoets. Die stelsel lewer bruikbare transkripsies van enkelstemmige intreeseine na bladmusiek met standaard musieksimbole. Die sukses van die stelsel is beperk vir polifoniese musiek, soos ook die algemene geval is vir ander gepubliseerde meerstemmige transkripsie stelsels. Tog is die aanvanklike resultate belowend, met aanduidings dat die huidige implementering kan dien as 'n beginpunt vir die ontwikkeling van 'n meer gesofistikeerde en akkurate stelsel.

Styles APA, Harvard, Vancouver, ISO, etc.

24

Kono, Yutaka. « Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano in G minor, op. 19 / ». Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075616.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

25

Fontenele, Ana Lúcia Ferreira. « Pixinguinha entre o velho e o novo : os arranjos para orquestra popular (1947-1957) ». Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-19092018-140819/.

Texte intégral

Résumé :

A presente tese pretende demonstrar de que forma se deu a junção do velho com o novo nos arranjos de Pixinguinha para orquestra popular do período entre 1947 a 1957. Por um lado, observa-se a influência da musicalidade do princípio do gênero choro, como o tipo de orquestração derivada das bandas militares e a presença de subgêneros ligados a danças de salão europeias como a polca, o schottisch, entre outros . Por outro, s encontram-se elementos musicais considerados modernos, os quais Pixinguinha já vinha incorporando-os na linguagem do choro. Dentre eles destacam-se a criação de vozes em contraponto à melodia principal, como também o uso de variações rítmicas ligadas ao samba dos seus primórdios e ao maxixe. Por meio do mapeamento dos elementos constituintes do tipo de musicalidade ligado ao princípio do choro e o seu diálogo com esses novos recursos, foi realizada a análise musical de quatro arranjos para orquestra popular criados por Pixinguinha nessa fase da sua carreira.
This thesis intends to demonstrate how old and new were combined in Pixinguinha´s arrangements for the Popular Orchestra in the period between 1947 and 1957. On the one hand, the influence of musicality is noted at the beginning of choro musical genre as the kind of orchestration coming from military bands and the presence of subgenres coming from European ballroom dances such as polka and schottisch among others. On the other hand, in such arrangements, we may find some musical elements considered modern and which Pixinguinha had already been incorporating into choro. Stand out among them the use of voice in contrast with the main melody as well as the rhythmic variations connected to the basics of samba and maxixe. Due to the mapping of constituent elements of musicality coming from choro basic rules and its connection with these new resources, a musical analysis of the four arrangements created for the Popular Orchestra by Pixinguinha during this phase of his career, was performed.

Styles APA, Harvard, Vancouver, ISO, etc.

26

Claassen, Hanrich. « 'n Orkestrasie van Arnold van Wyk se Nagmusiek ». Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/19588.

Texte intégral

Résumé :

Thesis (M.Mus.)--University of Stellenbosch, 2007.
ENGLISH ABSTRACT: Arnold van Wyk's monumental Night Music is regarded as one of the most important and original South African piano compositions. Night Music offers a legion of untapped timbre possibilities and certainly lends itself to the embodiment of the more expressive and versatile medium of the symphony orchestra. The orchestration of Night Music is an attempt to establish a version which, through utilizing a different medium of presentation, will elucidate Van Wyk's masterpiece and make it more accessible; not as a replacement of the original, but as an enhancement.
AFRIKAANSE OPSOMMING: Arnold van Wyk se monumentale Nagmusiek word as een van die belangrikste en oorspronklikste Suid-Afrikaanse klavierkomposisies beskou. Nagmusiek bied 'n legio onontginde timbremoontlikhede en leen hom dus beslis tot die vergestalting daarvan in die meer uitdrukkingsvolle en veelsydige medium van die simfonie-orkes. Die orkestrasie van Nagmusiek is 'n poging om 'n weergawe daar te stel wat by wyse van 'n ander uitbeeldingsmedium Van Wyk se meesterstuk toelig en meer toeganklik maak, nie as plaasvervanger van die oorspronklike nie, maar as verlengstuk daarvan.

Styles APA, Harvard, Vancouver, ISO, etc.

27

Soares, Lineu Formighieri. « A escrita coral para a Música Popular Brasileira na visão de Marcos Leite ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284541.

Texte intégral

Résumé :

Orientador: Antonio Rafael Carvalho dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-22T08:13:08Z (GMT). No. of bitstreams: 1 Soares_LineuFormighieri_M.pdf: 27154840 bytes, checksum: 5961aedae6e3a07d479915cf12b951bf (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve como objetivo entender a linguagem e os procedimentos técnicos e artísticos adotados pelo compositor e arranjador Marcos Leite. Para tanto foi traçado um panorama histórico do movimento coral brasileiro, a partir da década de 1960, como base para as práticas que solidificaram esse fazer musical ao longo dos anos. Para a análise da escrita vocal de Marcos Leite foram escolhidas as canções Jura, Rosa dos Ventos e The Fool on The Hill, arranjos produzidos especificamente para o Coral da Cultura Inglesa (Cobra Coral) e para o grupo vocal Garganta Profunda. Os trechos musicais foram analisados sob os aspectos técnicos de forma, estrutura e textura, bem como os procedimentos de encadeamento harmônico. Concluiu-se que, mesmo em canções com diferentes níveis de dificuldade, os elementos coloquiais característicos da linguagem popular foram mantidos. Os arranjos apresentam equilíbrio nas disposições vocais, aliando a simplicidade característica do autor com elementos criativos nos contracantos, como geradores de interesse. O estudo aponta a significância da obra de Marcos Leite e seus contemporâneos, no sentido de renovar a prática coral, e estabelecer parâmetros inovadores que influenciem os regentes e arranjadores atuais
Abstract: The goal of this research was to understand the language and technical and artistic procedures adopted by composer and arranger Marcos Leite. As such, a historical overview of the Brazilian choral movement was traced starting in the 1960s as a foundation for the practices that solidified this musical activity through the years. In order to analyze the vocal writing of Marcos Leite, the songs Jura, Rosa dos Ventos and The Fool on the Hill were chosen, with arrangements produced specifically for the Cultura Inglesa Chorus (Cobra Coral) and for the vocal group Garganta Profunda. The musical excerpts were analyzed under the technical aspects of form, structure and texture, as well as procedures of harmonic structure. It was concluded that, even in songs with varying levels of difficulty, the colloquial elements that are characteristic to popular language were maintained. The arrangements show balance in all vocal parts, allying the characteristic simplicity of the composer with creative elements in the countermelodies as interest generators. This study points the significance of the work of Marcos Leite and his contemporaries in the sense of renewing the practice of choral music and establishing innovative parameters that influence conductors and arrangers of today
Mestrado
Praticas Interpretativas
Mestre em Música

Styles APA, Harvard, Vancouver, ISO, etc.

28

Vannatta, Paul Edward Brahms Johannes. « A comparative study of Schoenberg's orchestration of Brahms' Piano Quartet, Op. 25 / ». Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187283483.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

29

Borusch, Denise Silvia. « Da leitura de partituras musicais à transcrição/arranjo para conjuntos de câmara ». reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9119.

Texte intégral

Résumé :

242 f.il
Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T13:07:26Z No. of bitstreams: 1 Dissertacao Denise Silvia Borusch.pdf: 7189110 bytes, checksum: a5d9f4f5d076863dfef8ab62bcd0ea62 (MD5)
Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:19:19Z (GMT) No. of bitstreams: 1 Dissertacao Denise Silvia Borusch.pdf: 7189110 bytes, checksum: a5d9f4f5d076863dfef8ab62bcd0ea62 (MD5)
Made available in DSpace on 2013-03-22T14:19:19Z (GMT). No. of bitstreams: 1 Dissertacao Denise Silvia Borusch.pdf: 7189110 bytes, checksum: a5d9f4f5d076863dfef8ab62bcd0ea62 (MD5) Previous issue date: 2008
A prática de transcrever/arranjar peças para Música de Câmara, para jovens estudantes tocarem em conjunto, não era realizada em classe nos Cursos de Formação Musical I, Formação Musical II e Avançado em Música na Escola de Música e Belas Artes do Paraná (EMBAP). O ideal de proporcionar a vivência musical em conjuntos de câmara a jovens estudantes de nível intermediário de instrumento bem como a dificuldade de encontrar partituras adequadas aos conjuntos formados, ensejou a criação e a realização deste projeto. Nesta pesquisa, desenvolvida durante o ano letivo de 2007, jovens estudantes comprovaram ser essa uma aprendizagem que os estimulou a fazerem música com orgulho, por recriarem um produto musical, e com prazer, por tocarem em uma nova leitura, em conjunto com seus colegas. A partir dessa vivência e do produto final dessa experiência, buscou-se entender como se deu o processo de transcrição/arranjo elaborado por esses estudantes. O processo construtivo e investigativo desta pesquisa realizou-se a partir do tripé: a pesquisa-ação; os princípios filosóficos do Programa de Extensão da EMBAP, embasado na teoria do desenvolvimento musical de Swanwick; e os pressupostos do sócio-interacionista Vygotsky. Este trabalho contou com a participação de nove alunos, a colaboração de duas estagiárias, alunas do Curso de Composição e Regência da EMBAP e da professora. Foi uma pesquisa realizada com o auxílio principalmente do método dialógico, propiciando que a tomada de decisões ocorresse de maneira crítica e dialética. A construção do conhecimento deu-se a partir da interação e da discussão entre os envolvidos, a experimentação, a escrita e a performance das peças transcritas/arranjadas. Este processo culminou com o material apostilado Transcrições/arranjos para Conjuntos de Câmara, o qual contém nove peças transcritas/arranjadas pelos participantes da pesquisa, e com um recital gravado de sete dessas peças.
Salvador

Styles APA, Harvard, Vancouver, ISO, etc.

30

Masson, Érica. « Elementos da escrita de Nailor Azevedo Proveta para instrumentos de sopro em seus arranjos para Big Band ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284973.

Texte intégral

Résumé :

Orientador: Antônio Rafael Carvalho dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T17:14:07Z (GMT). No. of bitstreams: 1 Masson_Erica_M.pdf: 13266084 bytes, checksum: 1751619f4c79bf29380576ea6f2b1d88 (MD5) Previous issue date: 2008
Resumo: A presente dissertação, "Elementos da Escrita de Nailor Azevedo Proveta para Instrumentos de Sopro em seus Arranjos para Big Band", diz respeito à análise das características idiomáticas utilizadas por Nailor Azevedo Proveta identificando as técnicas e descrevendo os processos empregados no mesmo. A pesquisa parte de uma contextualização biográfica e histórica de Nailor Azevedo e da sua trajetória com a Banda Mantiqueira, seguindo, posteriormente, para a análise aplicada das técnicas e recursos utilizados por ele no arranjo da música Feminina, composta pela cantora e compositora Joyce e gravada no terceiro CD da Banda Mantiqueira
Abstract: This dissertation, "Elements of Nailor Azevedo Proveta's composition for Wind Instruments in his Arrangements for Big Band", addresses the analysis of the idiomatic characteristics utilized by Nailor Azevedo Proveta identifying his techniques and describing the processes applied. This research is comprised by a biographical and historical contextualization of Nailor Azevedo and his trajectory with the Banda Mantiqueira, followed by an applied analysis of his techniques and resources utilized on his arrange in the music Feminina, composed by the singer and composer Joyce and recorded in the third CD of the Banda Mantiqueira
Mestrado
Mestre em Música

Styles APA, Harvard, Vancouver, ISO, etc.

31

Santos, Diogo Maia. « A reelaboração e a relação com a obra musical : uma reflexão sobre fidelidade, criatividade e crítica na prática de reelaboração musical ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13012016-102541/.

Texte intégral

Résumé :

A presente dissertação expõe uma investigação histórica, conceitual e filosófica a respeito da prática de reelaboração musical. O objetivo desse estudo é revelar diferentes perspectivas através das quais podemos tratar a obra musical nessa atividade. Procuramos discutir o equilíbrio entre a criatividade e a relação de fidelidade/autenticidade estabelecida com o original, considerando a personalidade do intérprete/reelaborador. Para tal, construímos um panorama histórico das práticas de reelaboração: transcrição, orquestração, redução, arranjo, adaptação e paráfrase, e as definimos segundo seus propósitos e o grau de transformação de seus materiais musicais. Por fim, analisamos os conceitos de score compliance, werktreue, obra musical e interpretação, além de estabelecermos um paralelo com a tradução literária, a fim de estimular a crítica e compreender melhor a forma como essa atividade foi exercida ao longo da história e como podemos compreendê-la na atualidade.
This thesis presents a historical, conceptual and philosophical research about the practice of musical reworking. The aim of this study is to reveal different perspectives through which we can treat the musical work in this activity. We seek a balance between creativity and the relationship of fidelity/authenticity established with the original, considering the performer\'s personality. To this purpose, we will build a historical overview of reworking practices: transcription, orchestration, reduction, arrangement, adaptation and paraphrase, and we will define them according to their purpose and the degree of transformation of its musical material. Finally, we will analyze the concepts of score compliance, werktreue, musical work and interpretation. In addition, we will offer a parallel to the literary translation in order to stimulate a critical understand of how this activity was exercised throughout history and how we can understand it today.

Styles APA, Harvard, Vancouver, ISO, etc.

32

Svanoe, Erika Kirsten. « El Salón México by Aaron Copland : A Study and Comparison of the Orchestral Score and Two Transcriptions for Band ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243886091.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

33

Wang, Tracy (Chun-Chia). « Expanding the Violin's Possibilities in Chinese Music : A Case Study of Transcription and Performance Issues Related to Pipa Music Played on the Violin ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248509/.

Texte intégral

Résumé :

In recent years, a large part of the erhu's repertoire has been arranged for performance on the violin and vice versa. Given the difficulties involved in transcribing the music of plucked or woodwind instruments for the violin, the erhu has been the most popular choice for transcribing Chinese music for the violin. However, the erhu and violin are radically dissimilar instruments based on different principles. Pipa music is an essential part of traditional Chinese music from as early as 202 BCE, and the instrument's repertoire represents a large portion of East Asian music aesthetics, and this context should be considered to successfully transcribe pipa music for violin. This dissertation talks briefly about Chinese music history and its categories and also focuses on the history and development of the pipa as well as its repertoire categories to provide context for the following musical examples. I use existing transcription examples from different categories of pipa music as an avenue to discuss how to transcribe pipa music for the violin. Even though the violin has some limitations for use as a plucked instrument, the instrument can still make use of several different kinds of techniques in order to play the music in a way that can represent certain features of the pipa while retaining the violin's characteristics.

Styles APA, Harvard, Vancouver, ISO, etc.

34

Swanson, Christina Marie. « Adding to the viola repertoire by arranging : A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167 ». Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280389.

Texte intégral

Résumé :

The purpose of this document is to present research on methods of arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects of research include arrangements made by the composer as well as those made by other arrangers. Principal works studied include the Brahms Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A. Examples are also included from other relevant works fitting the criteria. Following the analysis on arranging techniques, I have used knowledge gained from my research to prepare an arrangement for viola of the Saint-Saens Clarinet Sonata in E-flat, Op. 167. Saint-Saens, who wrote no solo music for the viola, wrote many pieces for both the violin and the cello, some of which are standard in the solo repertoire for these instruments. Since there is a dearth of viola music by romantic composers, a Saint-Saens arrangement will help fill a gap in the solo repertoire for the viola. This sonata has qualities that make it an ideal candidate for a successful arrangement for viola. Following this project, I will attempt to publish the arrangement, so that it may be available to violists around the country.

Styles APA, Harvard, Vancouver, ISO, etc.

35

Yang, Shang Ju. « Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97) ». Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.

Texte intégral

Résumé :

The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (1996/1997), making use of the composer's sketches, interviews and other scholarship, to illustrate how the composer blends Western instrumentation and formal structure with elements of traditional Chinese music and philosophy. The analysis reveals how Pan uses modern European compositional techniques such as symmetrical pitch structure, arch forms, and avant-garde performance practices in the Concerto. The author also discusses performance techniques required of the solo violist and other orchestral instruments in order perform the style of Chinese heterophonic music evoked in the Concerto and to realize the ornaments and special performance effects that Pan borrows from traditional Chinese instruments, such as the lute-like pipa.

Styles APA, Harvard, Vancouver, ISO, etc.

36

Sampaio, Emiliano Cardoso. « As composições de Nailor Azevedo "Proveta" para a Banda Mantiqueira ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284388.

Texte intégral

Résumé :

Orientador: Antônio Rafael Carvalho dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T17:55:40Z (GMT). No. of bitstreams: 1 Sampaio_EmilianoCardoso_M.pdf: 110299103 bytes, checksum: 4511b3168d95f675dbb40e63d04575ad (MD5) Previous issue date: 2011
Resumo: O objetivo desta pesquisa é compreender as composições do músico Nailor Azevedo "Proveta", "Bixiga" e "À Procura", ambas para a Banda Mantiqueira, grupo com uma formação instrumental derivada das big bands tradicionais americanas. Para o entendimento das composições realizaremos a digitalização das partituras manuscritas do arquivo pessoal de Nailor, para a partir da grade realizar análises musicais
Abstract: The objective of this research is to understand the compositions of the musician Nailor Azevedo "Proveta", "Bixiga" and "À Procura", both for Banda Mantiqueira, a group derived from the traditional American big bands. To understand the compositions was necessary to get the original hanwriting partitures and make the scores of these two songs, and then perform the analysis
Mestrado
Fundamentos Teoricos
Mestre em Música

Styles APA, Harvard, Vancouver, ISO, etc.

37

Ljunggren, Oliver. « Bleckblås eller träblås : En studie i emotionellt uttryck ». Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53021.

Texte intégral

Résumé :

This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

Styles APA, Harvard, Vancouver, ISO, etc.

38

Nascimento, Hermilson Garcia do 1969. « Recriaturas de Cyro Pereira = arranjo e interpoética na música popular ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284431.

Texte intégral

Résumé :

Orientador: Antônio Rafael Carvalho dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T12:29:36Z (GMT). No. of bitstreams: 1 Nascimento_HermilsonGarciado_D.pdf: 26151706 bytes, checksum: a6bcdb9f07dc802893d19838a5e045cc (MD5) Previous issue date: 2011
Resumo: A Etnomusicologia e os Estudos de Música Popular procuram evidenciar os sentidos e nexos sociais das variadas práticas musicais populares. A presente pesquisa pretende contribuir para o aprofundamento da discussão acerca do trabalho do arranjador e de sua posição autoral na dinâmica criativa da música popular fonográfica. Tomando as realizações do maestro Cyro Pereira (1929-2011), especialmente seus escritos para a Orquestra Jazz Sinfônica de São Paulo, este estudo propõe também uma reflexão acerca da dicotomia erudito/popular, tão relevante na produção musical brasileira do Século XX. A análise semiótica da música popular, com metodologia adaptada a partir dos modelos de Philip Tagg (1982) e José Luiz Martinez (1997), foi o caminho trilhado para traduzir em termos compartilháveis com o leitor todo o universo poético da amostragem aqui tratada. De toda a obra de Cyro Pereira, arranjador e regente nacionalmente estabelecido, também autor de obra erudita considerável e premiada, esta pesquisa lida principalmente com os arranjos populares escritos a partir de 1990. Sua produção de música popular revela alto grau de elaboração nos planos harmônico, formal e sobretudo expressivo, e pode apontá-lo também como um notável orquestrador que este país produziu. Poder-se-ia acrescentar que Cyro Pereira talvez seja o maior representante contemporâneo do arranjo orquestral, escrevendo música instrumental e versões orquestrais de canções, igualmente. A série intitulada "Fantasia Sinfônica", escrita pelo maestro ao longo de quase vinte anos, traz elementos contundentes na defesa de tais criações como composições autônomas, embora se baseiem em obras de outros autores (ou seus fragmentos). Nesses trabalhos o autor projeta sua visão do que seja um panorama essencial da música brasileira popular, instando por uma legitimação musical de tais feitos
Abstract: Ethnomusicology and the Popular Music Studies attempts to show the meanings and social senses of several popular music practices. The current research intends to contribute for a serious discussion about the arranger's work as well as his authorial position in the creative dynamic of the popular music phonography. Taking the accomplishments of the composer and conductor Cyro Pereira (1929-2011), especially his works for the Orquestra Jazz Sinfonica de Sao Paulo, this study also suggests a discussion about the classical/popular dichotomy so relevant in the Brazilian musical production of the 20th century. The semiotic analysis of popular music, with adapted methodology from José Luiz Martinez (1997) and Philip Tagg's (1982) models was the way chosen to explain in shareable terms to the reader all the poetical universe of the sampling here mentioned. Of all Cyro Pereira's works, arranger and nationally established regent and also author of considerable and awarded classical music, this research has dealt especially with the written popular arrangements since 1990. His popular music production reveals a high degree of elaboration in the harmonic, formal and above all expressive plans and he can be also alluded as a remarkable Orchestrator that this country has ever produced. It can also be added that Cyro Pereira may be the biggest Brazilian contemporary arranger for orchestra, writing instrumental music and orchestral versions of songs, as well. The series called "Fantasia Sinfonica", written by the maestro for almost twenty years brings remarkable elements in the defense of some creations such as compositions by his own, eventhough they are based on songs by other authors (or its fragments). In those works the author designs his vision on what is an essential panorama of Brazilian popular music, urging for a musical better rating of these achievements
Doutorado
Fundamentos Teoricos
Doutor em Música

Styles APA, Harvard, Vancouver, ISO, etc.

39

Zagury, Sheila 1964. « Os Grupos de Choro nos Anos 90 no Rio de Janeiro : suas Re-Leituras dos Grandes Clássicos e Inter-Relações entre Gêneros Musicais ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285274.

Texte intégral

Résumé :

Orientador: Antonio Rafael Carvalho dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T14:14:01Z (GMT). No. of bitstreams: 1 Zagury_Sheila_D.pdf: 30979505 bytes, checksum: ce7c600191ad8121332839c65369fdce (MD5) Previous issue date: 2014
Resumo: O presente trabalho apresenta um estudo a respeito dos grupos dedicados à música instrumental popular que surgiram no Rio de Janeiro a partir da década de 1990 e as suas contribuições musicais para o choro. Tais conjuntos buscaram inovar o fazer musical do choro, ao trazer mudanças nos arranjos de grandese clássicos do gênero assim como suas possíveis inter-relações deste com outros gêneros musicais. Tendo em vista a busca pela sua abordagem na criação e práticas musicais, selecionamos quatro representantes desta geração de conjuntos cariocas. Para contextualizar tal objeto de pesquisa, foram elaboradas compilações de significados para os termos choro, gênero e estilo musicais. A partir da observação das suas trajetórias e do seu material musical, foi possível constatar as propostas de mudança dos grupos estudados no repertório usual do choro e outras modificações, como a inserção de outros repertórios estranhos ao âmbito deste gênero, tanto nos seus arranjos como na escolha de obras que, a princípio não pertenceriam a este universo. As análises musicais, os levantamentos dos termos citados e a execução de alguns dos arranjos destes grupos, (assim como outros elaborados pela autora deste trabalho, a partir da década de 1990) fizeram com que algumas questões tomassem corpo. Assim, trouxemos discussões já travadas por vários pesquisadores a cerca de algumas representações que envolvem o choro, como o significado de "grupo de choro" e como a identidade nacional se relaciona com este universo da música instrumental brasileira. Tais reflexões colaboraram na busca de uma visão mais crítica do nosso assunto. A percepção dos processos de hibridação com outros mundos musicais e como estes foram elaborados são os resultados desse estudo. Esperamos que este venha contribuir para os estudos de análise e prática da música popular brasileira
Abcstract: This research presents a study of the groups devoted to Brazilian instrumental music that emerged in Rio de Janeiro in the 1990s and their musical contribuition to choro. Those groups had seeked to innovate musical making that evolves choro, in the form of changes within the repertoire¿s arrangements of this musical genre and also possible interactions with other genres. In search of an approach to musical creation and performance, we have made a selection of four among these ensembles. To put this subject in context, we have made an inventory for the meanings of the expression choro, and also a discussion about musical genre and style. By observing their history and musical material, it was possible to perceive their proposed changes to the standard choro repertoire and other modifications, such as the inclusion of works that are distant from the choro realm. These procedures were detected in the arrangements as well as in the groups¿ choices of repertoire, which could come from outside the choro universe. The musical analysis, the investigation of the meaning given to "choro", the musical genre and style¿s debates and the performance of some of the group¿s arrangements (as well as other arrangements written by this author the 1990s) have given rise to some issues. Discussions already underway by other researchers were brought in to our study, such as the representations that have evolved regarding choro: the meaning of "choro group" and how national identity relates to this Brazilian musical world. These considerations have aided in the search to a more critical point-of-view to this survey. Perceived hybrid procedures with other musical worlds and how they were developed are the results of this research. We hope that it will contribute to further analysis and performance studies of Brazilian popular music.
Doutorado
Praticas Interpretativas
Doutora em Música

Styles APA, Harvard, Vancouver, ISO, etc.

40

Kim, Ah Young. « A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs ». Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.

Texte intégral

Résumé :

Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.

Styles APA, Harvard, Vancouver, ISO, etc.

41

Gomes, Marcelo Silva. « Samba-Jazz aquém e além da Bossa Nova = três arranjos para Céu e Mar de Johnny Alf ». [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283977.

Texte intégral

Résumé :

Orientadores: Antonio Rafael Carvalho dos Santos, José Roberto Zan
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T14:39:55Z (GMT). No. of bitstreams: 1 Gomes_MarceloSilva_D.pdf: 1350722 bytes, checksum: 678e0adf2459a455414fafe7f3aeb0ea (MD5) Previous issue date: 2010
Resumo: Este trabalho consiste da criação, realização, análise e reflexão de três arranjos para a peça "Céu e Mar", de Johnny Alf (1929-2010). Inicialmente, faz-se uma revisão do Samba-Jazz e de suas relações com a Bossa Nova, por meio de critérios harmônicos, melódicos, rítmicos e outras características particulares desses conteúdos sonoros. Em seguida, verifica-se de que maneira certo grupo de músicos brasileiros, no período de 1952 a 1967, reinventa o samba instrumental, na medida em que se encontra exposto à presença marcante do jazz e da produção cultural norte-americana da época. A partir daí, o autor inicia um diálogo criativo com os resultados obtidos até então, e assim são concebidos três arranjos para "Céu e Mar", distintos nas técnicas empregadas e em seu grau de intervenção nos modos de execução. Finalmente, as gravações são analisadas, considerando suas inserções num plano cartesiano especificamente criado para tal, e cuja proposta é matizar, em cada um dos arranjos e nas relações que estabelecem entre si, articulações entre concepção e performance
Abstract: This work consists of the creation, implementation, analysis and discussion about three arrangements of the song "Céu e Mar", Johnny Alf (1929-2010). Initially, it is a review of Samba-Jazz and its relations with bossa nova, using harmonic, melodic, rhythmic as criteria, besides other particular characteristics of these sound contents. Just following that, this work shows how certain group of Brazilian musicians, from 1952 to 1967, reinvents instrumental samba, as it is exposed to the strong presence of jazz and American cultural production of the time. From there, the author starts a creative dialogue with the results obtained so far, and then he conceives three arrangements for "Céu e Mar", using different techniques and intervention in the ways of musical playing. Finally, the recordings are analyzed, considering their insertions in a Cartesian plane specifically created for that, and whose purpose is to measure how intense are the articulations between concepts and performances in each of the arrangements, and in the relations established among theirselvs
Doutorado
Musica
Doutor em Música

Styles APA, Harvard, Vancouver, ISO, etc.

42

Pereira, Junior Geremias Tiófilo. « Tua imagem permanece imaculada : Radamés Gnattali e seu arranjo para a valsa-canção " Lábios que beijei" ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284387.

Texte intégral

Résumé :

Orientador: Roberto Cesar Pires
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T22:15:12Z (GMT). No. of bitstreams: 1 PereiraJunior_GeremiasTiofilo_M.pdf: 30726793 bytes, checksum: 87defb498a2db6c065b3c42194e6a355 (MD5) Previous issue date: 2012
Resumo: O presente trabalho investiga a valsa-canção "Lábios que beijei", composição da dupla J. Cascata (pseudônimo de Álvaro Nunes Filho, 1912-1961) e Leonel Azevedo (1908-1980), gravada em 1937 pela empresa RCA Victor na cidade do Rio de Janeiro. Essa foi uma gravação de grande sucesso e contribuiu para consolidar as carreiras de seu intérprete, o cantor Orlando Silva (1915-1978), e de seu arranjador, Radamés Gnattali (1906-1988). Diante do sucesso dessa valsa-canção, críticos e historiadores enfatizam alguns aspectos musicais fazendo referências ao arranjo de Radamés Gnattali para esta composição. É mediante esse contexto que nossa pesquisa se orienta e busca realizar uma transcrição musical e uma análise deste arranjo. Em complemento serão apresentadas informações sobre a trajetória de Radamés Gnattali como arranjador, bem como de outros arranjadores contemporâneos e antecessores à sua época, contribuindo com as pesquisas sobre o arranjo musical no Brasil, particularmente no início do século XX
Abstract: The present work investigates the song-waltz "Lábios que beijei" ("Lips that I kissed"), composed by J. Cascata (psedonym of Álvaro Nunes Filho, 1912-1961) and Leonel Azevedo (1908-1980) and recorded in 1937 by the company RCA Victor in the city of Rio de Janeiro. This recording was a great success and helped build the careers of his interpreter, the singer Orlando Silva (1915-1978), and his arranger, Radamés Gnattali (1906-1988). Given the success of this waltz-song, critics and historians emphasize some musical aspects by reference to the musical arrangement of Radamés Gnattali for this composition. It is through this context that our research is oriented and seeks to make a musical transcription and analysis of this arrangement. In addition, information will be displayed on the trajectory of Radamés Gnattali as an arranger, as well as other previous arrangers and contemporaries of his time, contributing to research on musical arrangement in Brazil, particularly in the early twentieth century
Mestrado
Fundamentos Teoricos
Mestre em Música

Styles APA, Harvard, Vancouver, ISO, etc.

43

Lockhart, William [Verfasser], Hermann Akademischer Betreuer] Danuser, Nikolaus [Akademischer Betreuer] Bacht, Thomas [Akademischer Betreuer] Christensen, Melanie [Akademischer Betreuer] [Wald-Fuhrmann et Tobias [Akademischer Betreuer] Plebuch. « Listening to the domestic music machine : keyboard arrangement in the nineteenth century / William Lockhart. Gutachter : Hermann Danuser ; Nikolaus Bacht ; Thomas Christensen ; Melanie Wald-Fuhrmann ; Tobias Plebuch ». Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2012. http://d-nb.info/1029763852/34.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

44

Lockhart, William [Verfasser], Hermann [Akademischer Betreuer] Danuser, Nikolaus [Akademischer Betreuer] Bacht, Thomas Street [Akademischer Betreuer] Christensen, Melanie [Akademischer Betreuer] Wald-Fuhrmann et Tobias [Akademischer Betreuer] Plebuch. « Listening to the domestic music machine : keyboard arrangement in the nineteenth century / William Lockhart. Gutachter : Hermann Danuser ; Nikolaus Bacht ; Thomas Christensen ; Melanie Wald-Fuhrmann ; Tobias Plebuch ». Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2012. http://nbn-resolving.de/urn:nbn:de:kobv:11-100206710.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

45

Lockhart, William [Verfasser], Hermann Akademischer Betreuer] Danuser, Nikolaus [Akademischer Betreuer] Bacht, Thomas Street [Akademischer Betreuer] [Christensen, Melanie [Akademischer Betreuer] Wald-Fuhrmann et Tobias [Akademischer Betreuer] Plebuch. « Listening to the domestic music machine : keyboard arrangement in the nineteenth century / William Lockhart. Gutachter : Hermann Danuser ; Nikolaus Bacht ; Thomas Christensen ; Melanie Wald-Fuhrmann ; Tobias Plebuch ». Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2012. http://d-nb.info/1029763852/34.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

46

Smarçaro, Julio Cesar Caliman. « O Cantador : a musica e violão de Dori Caymmi ». [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284776.

Texte intégral

Résumé :

Orientador: Marcos Siqueira Cavalcante
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T06:48:05Z (GMT). No. of bitstreams: 1 Smarcaro_JulioCesarCaliman_M.pdf: 2507265 bytes, checksum: 649b6c889c598938b6da525b4243b2de (MD5) Previous issue date: 2006
Resumo: A presente dissertação tem como propósito estudar a vida e a obra do músico Dori Caymmi. Neste trabalho sua discografia é divida em três fases distintas, representando cada uma delas um momento específico de sua carreira. Serão analisados neste estudo as composições de sua autoria, e seus respectivos arranjos, presentes quase em sua totalidade nas duas primeiras fases, que cobrem o período de 1972 a 1994. As análises vão buscar as características principais de sua música, com um enfoque mais aprofundado em seu violão
Abstract: This study encompasses the life and work of composer, arranger and guitar player Dori Caymmi. His discography is presented in three main periods, each representing a specific moment of his career. Most of his compositions and arrangements are analyzed in the two first periods, spanning from 1972 to 1994. This analysis aims at finding major characteristics of his music, focusing c1osely on his approach to the guitar
Mestrado
Mestre em Música

Styles APA, Harvard, Vancouver, ISO, etc.

47

Bessa, Virginia de Almeida. « Um bocadinho de cada coisa : trajetória e obra de Pixinguinha. História e música popular no Brasil dos anos 20 e 30 ». Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21032007-151952/.

Texte intégral

Résumé :

O trabalho aborda diversos aspectos do universo do entretenimento no Rio de Janeiro das décadas de 1920 e 1930 em sua articulação com a música e com os músicos populares. Seu fio condutor é a trajetória do compositor, instrumentista, arranjador e maestro Alfredo Vianna da Rocha Filho, o Pixinguinha, que atuou e colaborou nos diversos meios do entretenimento do Rio de Janeiro . O percurso é longo: dos cafés-concertos ao rádio, com uma longa pausa na indústria fonográfica. Parte-se do pressuposto que a música popular desempenhou papel mais que relevante naquele contexto. Das rodas de choro ao Palácio do Catete, do morro aos estúdios de gravação, ela esteve presente nos diversos espaços da cidade, revelando vários dos dilemas existentes no país naquele momento: moderna ou típica? negra ou branca? folclórica ou popular? Privilegiamos, como objeto de análise, a escuta do compositor, revelada em suas composições, interpretações e, sobretudo, em seus arranjos, os quais nos permitem escutar sua escuta, e desvendar os modos de inserção e barreiras encontrados pelo músico nesse universo em constante transformação.
This work approaches many aspects of the entertainment universe in Rio de Janeiro during the decades of the 1920s and 1930s, considering its articulation not only with the music but also with the popular musicians. The thread of this study is the personal trajectory of the composer, instrumentalist, arranger and conductor Alfredo Vianna da Rocha Filho ? Pixinguinha ?, who has taken part in many activities of the entertainment universe in Rio de Janeiro. The path is long: from the ?cafés-concerto? to the radio, with a long pause in the phonographic industry. As a point of departure, our study presupposes that the popular music has taken more than a relevant part in this context. From the ?rodas de choro? to the Catete?s Palace, from the ?morro? to the recording studios, popular music was noticed in many places of the town, revealing some of the dilemmas faced by the country in that period: modern or typical? black or white? folk or popular? The listening of the composer is here highlighted as our object of analysis, which can be revealed through Pixinguinha?s compositions, interpretations and above all through his arrangements, which allow us to listen to his listening, and to figure out the ways of insertion as well as the obstacles that the musician had to face up to in this universe subjected to constant transformations.

Styles APA, Harvard, Vancouver, ISO, etc.

48

Remy, Jeannine Irene. « A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short" ». Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185401.

Texte intégral

Résumé :

This document is directed toward those who have little knowledge about Trinidad, its people, the Carnival activities, and the Panorama competition. This research work should help summarize the evolution of steel drums while providing a transcription of a Panorama score for further scholarly study. The first part of this lecture document includes a brief history and evolution of Trinidad, its people, and musical developments through Carnival. The second portion reports and discusses field research with the Trintoc Invaders in preparation for the 1989 and 1990 Panorama competitions. The third part is a detailed analysis of Ray Holman's Panorama arrangement of "Life's Too Short" for the Trintoc Invaders using theme and variation as the formal structure. Information for this lecture recital document was gathered from written sources in Trinidadian libraries and field work in the Trintoc Invader's pan yard. The source materials: newspaper articles, magazine articles, and books were gathered from the University of the West Indies in St. Augustine and from the West Indian Collection of the Central Library in Belmont. In addition to these materials, interviews were conducted with some older panmen who participated in the very first steel bands. Documents, such as lists of steel bands in Trinidad and Tobago, Panorama results, and judging procedures were obtained from the Pan Trinbago headquarters in Port-of-Spain. Musical information was gathered by rehearsing and playing tenor pan with the Invaders Steel Band Orchestra located in Woodbrook and working closely with their arranger and composer, Ray Holman. Permission was granted to notate his arrangement for analysis and all rights are reserved.

Styles APA, Harvard, Vancouver, ISO, etc.

49

Cloutier, David 1948. « A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder ». Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.

Texte intégral

Résumé :

This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.

Styles APA, Harvard, Vancouver, ISO, etc.

50

Junior, Carlos Roberto Ferreira de Menezes. « Os elementos composicionais do Clube da Esquina como alimentadores de processos criativos de arranjos vocais de canções populares brasileiras ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05052017-114221/.

Texte intégral

Résumé :

Este trabalho propõe-se a criar um conjunto de procedimentos de estruturação de arranjos vocais próprio a partir da análise dos elementos composicionais presentes nas músicas produzidas pelo agrupamento de músicos conhecidos pelo termo Clube da Esquina. Visa explorar a ideia de que a análise estilística também pode inserir-se como recurso relevante dentro da dinâmica de apreensão e experimentação dos parâmetros de estruturação musical inerentes ao processo de criação de arranjos para grupos vocais. Busca extrair, a partir de uma experiência de imersão em um determinado repertório, no caso, do Clube da Esquina, recursos que, após analisados, teorizados e interiorizados, retornam ressignificados e recontextualizados, expandindo o âmbito do processo de expressão artística e de constituição da própria identidade poética do arranjador. Em suma, a pergunta central é: Como os elementos composicionais presentes nas obras do conjunto de músicos conhecidos como Clube da Esquina podem contribuir, enquanto recursos de estruturação musical, na elaboração de arranjos vocais de música popular urbana? Balizado pelo referencial Silva Ramos (2003), foram elencados 22 elementos composicionais a partir do processo de escuta analítica de 22 discos lançados pelo Clube da Esquina entre os anos de 1967 a 1979. Esses elementos foram esmiuçados teoricamente e trabalhados no processo de criação de arranjos vocais de oito canções populares brasileiras, duas internas ao repertório do Clube da Esquina e seis de compositores e períodos diversos. Os detalhamentos de como os elementos composicionais do Clube da Esquina concatenam-se com as experimentações quanto ao tratamento harmônico, das interações rítmicas, textural, timbrístico e formal nos arranjos estão explicitados na última parte do trabalho. Questões teóricas e conceituais que envolvem a prática do arranjo vocal na música popular, tais como o próprio conceito de arranjo, conceito de obra e técnicas comumente utilizadas no processo de escrita de arranjos vocais na atualidade são tratadas inicialmente, assim como a contextualização histórica do Clube da Esquina e uma breve revisão dos referenciais teórico-metodológicos. Como conclusão, apresentamos, em forma de diagrama, como os elementos composicionais do Clube da Esquina, em conjunto com as principais técnicas de escrita de arranjos vocais, conectam-se com as experimentações inerentes ao próprio processo de criação de tais arranjos.
The purpose of this thesis is to create a set of structuring procedures for vocal arrangements based on the analysis of compositional elements found in music produced by the group of musicians known as \"the Corner Club\". It aims to explore the idea that stylistic analysis can also be considered a relevant resource in the dynamics of apprehension and experimentation of musical structuring parameters intrinsic to the process of creating arrangements for vocal groups. It also seeks to extract, from an immersive experience in a given repertoire (in this case by \"The Corner Club\"), resources that, after being analyzed, theorized and internalized, are reinterpreted and re-contextualized, expanding the scope of the artistic expression process and the constitution of the arranger\'s own poetic identity. In short, the central question is: How the compositional elements found in the works by the group of musicians known as \"the Corner Club\" can contribute, as musical structuring resources, in the elaboration of vocal arrangements of urban popular music? Based on Silva Ramos\'s reference (2003), 22 compositional elements were listed adopting the process of analytically listening to 22 records released by the Corner Club between 1967 and 1979. These elements were theoretically detailed and used in the creation of vocal arrangements of eight Brazilian popular songs, two from the Corner Club\'s repertoire and six from different periods and by different composers. The final part of this thesis presents a detailed explanation on how the compositional elements from the Corner Club are concatenated with experimentations related to the harmonic treatment, rhythmic interactions, textural, timbral and formal aspects in the arrangements. Theoretical and conceptual issues related to the practice of vocal arrangement in popular music, such as the concept of arrangement itself, the concept of musical work and techniques commonly used in the process of writing vocal arrangements at present are treated in the beginning, as well as a historical contextualization about the Corner Club and a brief review of theoretical and methodological references. As a conclusion, we present, in the form of a diagram, how the compositional elements from the Corner Club, in conjunction with the main techniques for writing vocal arrangements, are connected to the experimentations that are inherent to the process of creating such arrangements.

Styles APA, Harvard, Vancouver, ISO, etc.

Thèses sur le sujet « Arrangement (Music) »

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres