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Artykuły w czasopismach na temat „Texture orchestrale”

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Data publikacji: 10 maja 2025

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1

Bosseur, Jean-Yves. "Texture et matériau dans la pensée musicale contemporaine." Muzikologija, no. 3 (2003): 129–39. http://dx.doi.org/10.2298/muz0303129b.

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(francuski) Le mot texture d?signe, selon la d?finition du dictionnaire Robert, la disposition des fils d'une chose tiss?e, s'appliquant tout naturellement aux principles du tissage et, par extension, peut concerner l'arrangement d' ?l?ments sonores. Dans le vocabulaire musical, le terme "texture" est peu fr?quent et le plus souvent ignor? par les dictionnaires sp?cialis?s; cette notion occupe pourtant une place d?terminante dans la r?flexion d'un grand nombre de compositeurs depuis les ann?es cinquante. Permettant d'envisager notamment sous un angle nouveau les questions du timbre et la conce
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Rakochi, Vadym. "Innovations of Presentation in Antonio Vivaldi’s Concertos and Their Impact on the Development of the Orchestra." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251790.

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Transformation of the presentation in Vivaldi’s instrumental concertos is considered in this paper. It is noted that the Corellian model of the concerto (concerto grosso, changeable number of movements, variety of tempos, thematic unity of tutti and solo episodes, trio-sonata-like instrumentation of the concertino) becomes the basis for Vivaldi’s modifications. His model is based on a solo concerto prevalation, a fast — slow — fast three-movements structure, ritornello musical form in the outer movements and the motivic mosaic of the first tutti. The significance of these transformations gives
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Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (2019): 181–200. http://dx.doi.org/10.7202/1059894ar.

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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungaria
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Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.
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Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.

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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.
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Slakan, Tilen. "Analiza kompozicijskega stavka Alojza Srebotnjaka v orkestralni skladbi Slovenica / Analysis of Compositional Tehniques of Alojz Srebotnjak in the Orchestral Work Slovenica." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (2021): 59–90. http://dx.doi.org/10.26493/2712-3987.16(33)59-90.

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The following article presents a detailed analysis of compositional techniques in the orchestral work Slovenica for Brass, Percussion and Strings (1976) by Alojz Srebotnjak. It discusses the composer‘s intertwinment of folklore elements with the sonority of compositional processes in the 20th century. Throughout all three sentences Srebotnjak uses multiple linking compositional elements that he complexly intertwines on different levels of musical texture. The structure is also tightly connected to the concept of constructing different musical textures, melodical patterns, orchestral and dinami
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7

Гордон, А. О. "Musical and Architectural Gesamtkunstwerk: on the Acoustic Determinism of the Orchestral Style of R. Wagner's Drama “Parsifal”." Журнал Общества теории музыки, no. 3(27) (October 8, 2019): 53–78. http://dx.doi.org/10.26176/otmroo.2019.27.3.004.

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В статье рассматривается оркестровый стиль драмы Р. Вагнера «Парсифаль» в целостной связи с акустикой Байройтского фестивального театра, даются характеристики архитектурно-звукового пространства вагнеровского Дома торжественных представлений, а также производится анализ оркестровой фактуры и тембровой драматургии «Парсифаля», на основе чего делается вывод об особом статусе феномена оркестра в композиторском мышлении Р. Вагнера. The article is focused on the orchestral style of R. Wagner's drama “Parsifal” in a holistic connection with the acoustics of the Bayreuth festival theatre, describes t
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8

Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reorde
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9

Malyi, Dmytro. "“Four words about kolomyika”: author’s experience of orchestration." Aspects of Historical Musicology 34, no. 34 (2024): 157–81. http://dx.doi.org/10.34064/khnum2-34.07.

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Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Saëns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the
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10

Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of t
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11

Savchenko, Hanna. "Orchestration of D. L. Klebanov and V. M. Zolotukhin: a comparative analysis." Aspects of Historical Musicology 23, no. 23 (2021): 65–77. http://dx.doi.org/10.34064/khnum2-23.04.

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Background. In the last two decades there was a constantly increasing scholar interest to Kharkiv school of composition as a phenomenon of Ukrainian musical culture. Despite this, a lot of unstudied questions remain, which need to be researched. This includes problems of orchestral thinking, orchestral style and orchestral writing of Kharkiv composers, particularly, D. Klebanov and V. Zolotukhin. The novelty lies in the systematization of the principles of orchestration in the symphonies of D. Klebanov (based on the symphonies 1, 3, 6, 7) and the First Symphony of V. Zolotukhin. Analysis of li
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12

McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.

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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and artic
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13

Hansen, Niels Chr, and David Huron. "The Lone Instrument." Music Perception 35, no. 5 (2018): 540–60. http://dx.doi.org/10.1525/mp.2018.35.5.540.

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Given the extensive instrumental resources afforded by an orchestra, why would a composer elect to feature a single solo instrument? In this study we explore one possible use of solos—that of conveying or enhancing a sad affect. Orchestral passages were identified from an existing collection and categorized as solos or non-solos. Independently, the passages were characterized on seven other features previously linked to sad affect, including mode, tempo, dynamics, articulation, rhythmic smoothness, relative pitch height, and pitch range. Using the first four factors, passages were classified i
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14

Savchenko, Hanna. "Orchestral writing into the I. Stravinsky’s opera «Mavra» in the aspect of general and singular." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 104–14. http://dx.doi.org/10.33287/222021.

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The purpose of this article is to study I. Stravinsky’s opera «Mavra» in the aspect of embodiment of «universals» (by S. Savenko) of the composer’s orchestral logic and usage of specific devices of orchestration, spawned by original artistic idea and genre traits of the opera. The article applies such methods of this scientific research as genre, historical and system-functional. The scientific novelty of the investigative article is caused by the fact, that it is foremost research in domestic musicology of specifics of «Mavra’s» orchestral writing on intersection of general and singular. Conc
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15

Abdokov, Yuri B. "Weinberg revival. Suite for the symphony orchestra op. 26: Timbral poetics." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 114–32. http://dx.doi.org/10.35852/2588-0144-2023-1-114-132.

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On June 12, 2021, under the auspices of the International Creative Workshop “Terra Musica” at the Small Hall of the Moscow Conservatory one could hear a special concert. It began with the presentation of book written by Y. Abdokov “Nikolay Peyko. Having fulfilled his mystery…”. It was published by the Publishing House “Russian Conservatory” and the Moscow Patriarchate Publishers. The musical program of the evening was composed of the orchestral opuses by N. I. Peyko, N. Y. Myaskovsky, D.D. Shostakovich, B.A. Tchaikovsky and G.G. Galynin. Moreover, the climax of the program was the world premie
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16

Любимов, Д. В. "ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS”." Music Journal of Northern Europe, no. 4(36) (January 15, 2024): 61–83. http://dx.doi.org/10.61908/2413-0486.2023.36.4.61-83.

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Статья посвящена оркестровой и хореографической версиям пьесы «Papillons» из фортепианного цикла Р. Шумана «Карнавал». Рассматриваются особенности оркестровки Н. Черепнина. При сохранении основных элементов структуры, тонально-гармонического плана, фактуры пьесы оркестровка Черепнина демонстрирует свободное обращение с регистрами и различную технику оркестрового письма. Красочная оркестровка вносит свежесть и новизну в музыку Шумана, помогая воплотить пластический образ Бабочки в одноактном балете Фокина «Карнавал». Сюжетным продолжением сцены «Бабочка и Пьеро» стал последующий одноактный бале
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17

Savchenko, G. S. "Constants and Innovations in the Orchestral Writing of I. Stravinsky’s Ballet “Agon”." Culture of Ukraine, no. 71 (April 2, 2021): 118–24. http://dx.doi.org/10.31516/2410-5325.071.15.

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The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957).
 Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant.
 Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretati
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Klepova, Anna V., and Leyun Xian. "Orchestral Texture in Wang Xilin’s Symphonic Works." Contemporary Musicology 8, no. 2 (2024): 104–28. http://dx.doi.org/10.56620/2587-9731-2024-2-104-128.

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Wang Xilin (born 1936) is a Chinese composer currently living in Germany. In his home country, he is known as a musician of the Western trend. His works are occasionally performed in China and are widely known abroad. He has written about one hundred works in various genres, among which orchestral music plays a key role. In his symphonies and symphonic suites, Wang Xilin reinterprets in a new manner the diverse traditions of the Russian and Western European classics. On the other hand, these works vividly express the national Chinese color, manifested in the figurative and emotional sphere, me
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Gilmore, Bob. "PHILL NIBLOCK: THE ORCHESTRA PIECES." Tempo 66, no. 261 (2012): 2–11. http://dx.doi.org/10.1017/s0040298212000228.

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AbstractThis article focuses on the six pieces for orchestra, the earliest from 1998 and the most recent from 2011, by the American composer and filmmaker Phill Niblock (b.1933). These works stand apart from Niblock's more usual practice: that of making compositions on tape (later on computer) by superimposing layers of recordings of held tones played by individual instruments, the tones pitch-shifted to make dense, microtonal drone textures. Yet there are many similarities, in intent if not in sounding result. The article examines the manner of construction of the orchestral works, with empha
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Bueno, José Lino Oliveira, Érico Artioli Firmino, and Arno Engelman. "Influence of Generalized Complexity of a Musical Event on Subjective Time Estimation." Perceptual and Motor Skills 94, no. 2 (2002): 541–47. http://dx.doi.org/10.2466/pms.2002.94.2.541.

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This study examined the variations in the apparent duration of music events produced by differences in their generalized compositional complexity. Stimuli were the first 90 sec. of Gustav Mahler's 3rd Movement of Symphony No. 2 (low complexity) and the first 90 sec. of Luciano Bério's 3rd Movement of Symphony for Eight Voices and Orchestra (high complexity). Bério's symphony is another “reading” of Mahler's. On the compositional base of Mahler's symphony, Bério explored complexity in several musical elements—temporal (i.e., rhythm), nontemporal (i.e., pitch, orchestral and vocal timbre, textur
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Rajabova, Mashhura. "Harmonic and Fret Features of "Tanovar" Processing by A. F. Kozlovsky and A. Nabiev." Eurasian music science journal, no. 1 (June 18, 2021): 95–105. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/55.

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In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano process
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Bohatyriov, Volodymyr. "Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)." Aspects of Historical Musicology 33, no. 33 (2023): 142–55. http://dx.doi.org/10.34064/khnum2-33.08.

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Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Gross
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23

Bohatyriov, Volodymyr. "The strategy of historically oriented orchestration of M. Verbytskyi’s play “Pidhiriany”." Aspects of Historical Musicology 35, no. 35 (2024): 9–29. http://dx.doi.org/10.34064/khnum2-35.01.

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Statement of the problem. The historical circumstances that influenced Ukrainian culture throughout the XIX–XX centuries have given rise to the contemporary challenge of accessing musical scores, particularly original scores or orchestral voices of music theatrical works and orchestral compositions. Even the presence of copies of piano arrangements, individual instrumental parts, or segments of complete scores in private or state archives does not afford a comprehensive evaluation of the creative output of Ukrainian composers from the past nor enable its broad presentation to the public. This
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24

Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.

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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six mov
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Hanna, Savchenko. "І. Stravinsky’s orchestral writing of Neo-Classical and serial (late) periods: comparative analysis". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, № 60 (2021): 36–56. http://dx.doi.org/10.34064/khnum1-60.02.

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Statement of the problem. Neo-Classical and serial (late) periods of I. Stravinsky’s creativity are marked by the shifts in his musical language, which found their reflection in his orchestral writing. “Universals” of style and genre (term of Savenko (2001: 105–163) retain their relevancy. Constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) are used in different combinations. Analysis of recent research and publications. While there are numerous studies devoted to I. Stravinsky’s Neo-Classical and serial (late) periods, no works have composer’s orc
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Lebedeva, M. A. "TIMBRE AND COLORISTIC FEATURES OF THE CONCERTO-SYMPHONY BY M. D. SMIRNOV." Arts education and science 3, no. 32 (2022): 165–71. http://dx.doi.org/10.36871/hon.202203020.

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The article deals with the one-part Concerto-Symphony for domra and orchestra of Russian folk instruments by the Ural composer M. D. Smirnov. The composition, as one of the first original opuses written in the genre of the concert, marked a new stage in the formation of Russian academic folk instrumental music for domra. The purpose of the work is to determine the specific timbre-coloristic means ("timbre-textured equivalent" — the term of A. M. Veprik) used by the composer in the work. The author defines the role of the solo instrument in the orchestral musical fabric and reveals the successi
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Savchenko, Hanna. "Combinatorics as a constant principle of I. Stravinsky’s orchestral writing." Aspects of Historical Musicology 21, no. 21 (2020): 180–93. http://dx.doi.org/10.34064/khnum2-21.12.

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Background. I.Stravinsky’s orchestration is quite an original phenomenon; its essential characteristics are influenced not only by objective intra-musical factors (reconfiguration of musical language on the verge of XIX–XX centuries) or by subjective individual and stylistic determinants, but also by the changes, which occurred in the cultural context of the first half of XX century under influence of scientific and technical progress (Arkadev, 1992; Gerasimova-Persidskaya, 2012). The first two decades of XX century became the time, when the new generation of composers emerged, who reflected c
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Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (2015): 89–90. http://dx.doi.org/10.1017/s0040298215000716.

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John Luther Adams holds a unique position in American contemporary music. His works are as tinged with minimalist virtues as they are rigorously experimental, offering sound worlds that seem at once unearthly and welcoming, unconventional yet accessible. At the core of the Pulitzer Prize-winning composer's work lies a major concern with translating the tenuous and illusory concept of acoustic and natural sonic space into densely textured instrumental works. Exploring the composer's oeuvre, one senses a deep fascination with acoustic phenomena; in works such as the orchestral soundscape Becomin
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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.

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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of c
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Kruglik, V. L. "Folk-instrumental bases musical style of Vadim D. Bibergan." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 126–29. http://dx.doi.org/10.30725/2619-0303-2017-2-126-129.

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In the article, the example of «Concerto for gusli with the orchestra» discusses Bibergan’s principles of work with musical material, shows color of gusli, discusses their potential as a solo instrument, and in collaboration with the orchestra. Also attention is paid to timbre and texture characteristics of an orchestra of Russian folk instruments
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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.

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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those chan
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Zhang, Zhen. "Comparative Analysis of The First Movements in Beethoven's and Mozart's C Minor Piano Concertos." International Journal of Arts, Humanities & Social Science 05, no. 04 (2024): 129–41. http://dx.doi.org/10.56734/ijahss.v5n4a10.

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This paper compares the first movements of Beethoven's and Mozart's piano concertos in C minor, exploring the similarities and differences between these two seminal works. By examining various aspects, including the key, composition background, form, motifs, harmony, orchestral arrangements, dialogue between instruments, and piano writing, the study reveals Mozart's profound influence on Beethoven while highlighting the latter's unique innovations. The analysis delves into the significance of the C minor key for both composers, their use of the double exposition form, and the structural design
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Goodchild, Meghan, Jonathan Wild, and Stephen McAdams. "Exploring emotional responses to orchestral gestures." Musicae Scientiae 23, no. 1 (2017): 25–49. http://dx.doi.org/10.1177/1029864917704033.

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Research on emotional responses to music indicates that prominent changes in instrumentation and timbre elicit strong responses in listeners. However, there are few theories related to orchestration that would assist in interpreting these empirical findings. This article investigates listeners’ emotional responses to four types of orchestral gestures – large-scale timbral and textural changes that occur in a coordinated, goal-directed manner – through an exploratory experiment that collected continuous responses of emotional intensity for musician and nonmusician listeners. A time series regre
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34

Bertagnolli, Paul A. "Amanuensis or Author? The Liszt-Raff Collaboration Revisited." 19th-Century Music 26, no. 1 (2002): 23–51. http://dx.doi.org/10.1525/ncm.2002.26.1.23.

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Liszt's reliance on copyists throughout his career and in every stage of the compositional process aroused controversly only after his death, when published letters impugned his authorship by suggesting others had orchestrated his symphonic works. Thereafter, compelling testimony from three members of the Weimar Hofkapelle during the 1850's——concertmaster Joseph Joachim, prinicipal cellist Bernard Cossmann, and the scribe Joachim Raff——has informed the secondary literature's highly partisan criticism. Suspected scribal influence is constructed as weakness in Liszt's character and music, dismis
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Paiva Santana, Charles de, and Didier Guigue. "The Role of Orchestration in Shaping Musical Form." Musicological Annual 58, no. 2 (2022): 121–53. http://dx.doi.org/10.4312/mz.58.2.121-153.

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We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural situations’ and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.
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Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.

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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the stu
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37

Di Martino, Julie S., Chandrani Mondal, and Jose Javier Bravo-Cordero. "Textures of the tumour microenvironment." Essays in Biochemistry 63, no. 5 (2019): 619–29. http://dx.doi.org/10.1042/ebc20190019.

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Abstract In this review, we present recent findings on the dynamic nature of the tumour microenvironment (TME) and how intravital microscopy studies have defined TME components in a spatiotemporal manner. Intravital microscopy has shed light into the nature of the TME, revealing structural details of both tumour cells and other TME co-habitants in vivo, how these cells communicate with each other, and how they are organized in three-dimensional space to orchestrate tumour growth, invasion, dissemination and metastasis. We will review different imaging tools, imaging reporters and fate-mapping
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38

Volodymyr, Bohatyrov. "PRINCIPLES OF ORCHESTRAL STYLE IN SYMPHONIC FRESCOES “TARAS BULBA” BY SERHIY TURNIEIEV." Aspects of Historical Musicology 24, no. 24 (2021): 184–98. http://dx.doi.org/10.34064/khnum2-24.10.

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Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of t
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Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:
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40

PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, № 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed
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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (1992): 185–92. http://dx.doi.org/10.2307/3345680.

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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated
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Bohatyrov, Volodymyr. "The conceptional system of orchestration in the works of European and American authors of the 19th and 20th centuries." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 171–87. https://doi.org/10.31318/2522-4190.2024.140.318664.

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Relevance of the study. A review of sources on the theory of orchestration is necessary because the knowledge of this art is extensive. This issue is complicated by the fact that each of the musical traditions (including English, American, French, German, Polish and Ukrainian) has its own terminological system, which may not always be consistent. Analysing the concepts of orchestration from the linguistic and historical perspectives allows us to form a unified system that can be used in educational and musicological discourse. Main objective of the study is to analyze and systematize the basic
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43

Jackson, Stephen Ryan. "Tooth Necklace." Ricercare, no. 16 (February 16, 2023): 3–35. http://dx.doi.org/10.17230/ricercare.2023.16.2p.

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Tooth Necklace takes inspiration in the act of consumption (both metaphorical and literal). Therhythms and timbres are taken from transcribing source recordings of chewing and swallowing andthe resultant texture is orchestrated "hocket-like" throughout the ensemble. The unrelenting nature ofthis music creates this image in my mind where the ensemble functions as some imaginary creature orbeing that is consuming the audience.
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Presnyakova, Inga A. "Sergei Rachmaninoff. The Prelude in C-sharp minor Opus 3 No. 2: Jazz Band Versions in the Swing Era." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 79–89. http://dx.doi.org/10.56620/2782-3598.2023.2.079-089.

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Arrangements of classical music in popular genres comprises a discernible stratum of the artistic heritage of the swing era. The practice of jazzing the classics or swinging the classics affected the music of dozens of composers, including Sergei Rachmaninoff. The most highly sought primary text for instrumental transcriptions turned out to be his Prelude inC-sharp Minor. Its jazz band version (from the perspective of the correspondence to jazzing as a stylistic phenomenon and in regards to the techniques of transcription technique) have never formed the subject matter of special attention up
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45

Piochi, Maria, Emma Chiavaro, Angelo Cichelli, Luisa Torri, and Lorenzo Cerretani. "Sensory properties of iodine-biofortified potatoes." Italian Journal of Food Science 33, no. 1 (2021): 52–60. http://dx.doi.org/10.15586/ijfs.v33i1.1951.

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The present study assessed the sensory impact of potatoes biofortification with iodine and the stability of iodine during six months of storage. Four biofortified cultivars (Cupido, Marabel, Orchestra and Universa) and their controls (non-biofortified) were evaluated. The present study assessed the sensory impact of potatoes biofortification with iodine and the stability of iodine during six months of storage. Four biofortified cultivars (Cupido, Marabel, Orchestra and Universa) and their controls (non-biofortified) were evaluated. Descriptive analysis was applied with a panel to describe the
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46

Stoeckl, Hartmut, and Monika Messner. "Tam pam pam pam and mi – fa – sol: constituting musical instructions through multimodal interaction in orchestra rehearsals." Multimodal Communication 10, no. 3 (2021): 193–209. http://dx.doi.org/10.1515/mc-2021-0003.

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Abstract Using multimodal (inter)action/conversation analysis, the present contribution inventories the repertoire of higher-level actions that constitute musical instruction in orchestra rehearsals. The study describes the modal complexity of the instructional actions as built from a varied combination of speech, gesture, gaze, vocalizing and body posture/movement. A high modal intensity of speech and vocalizing is explained with recourse to their contextually useful modal reaches. While some modes, like vocalizing and body posture appear to be action-specific, others turn out to be pervasive
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47

Savchenko, H. "Manifestations of the “non-classical” in the orchestral manner of C. Debussy." Culture of Ukraine, no. 72 (June 23, 2021): 136–43. http://dx.doi.org/10.31516/2410-5325.072.19.

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The relevance. Multidirectionality of artistic searches in the musical art of the first half of the XX century fully complies with the worldview and values of European culture of that time. The change of perception of the world, matter, time and space is objectified in the sound matter of musical works. Among the composers who have a defining role in paving the ways for new music, we should mention C. Debussy.
 The purpose of the article is to identify and systematize of “non-classical” features in the orchestral manner of C. Debussy.
 The novelty of the article is the study of the o
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48

Notley, Margaret. "Berg's Propaganda Pieces: The ““Platonic Idea”” of Lulu." Journal of Musicology 25, no. 2 (2008): 95–142. http://dx.doi.org/10.1525/jm.2008.25.2.95.

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Abstract After finishing the short score of Lulu and starting to orchestrate it in the spring of 1934, Berg began to realize that his opera might not be staged in Berlin, long planned as the site for the premiere. In late May he decided to make a concert arrangement that he referred to as ““a Propaganda selection,”” which became the Symphonische Stüücke aus ““Lulu.”” In contemporary usage the German word ““Propaganda”” typically denoted advertising or publicity. Acting on advice from his editor, Hans Heinsheimer, and supported by the efforts of his student Willi Reich, Berg sought to create a
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Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.

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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in
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50

Ming, Xia. "«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto." CONTEMPORARY ART, no. 18 (November 29, 2022): 243–54. http://dx.doi.org/10.31500/2309-8813.18.2022.269739.

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The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the
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