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Bibliografias temáticas / Texture orchestrale

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Artigos de revistas

Literatura científica selecionada sobre o tema "Texture orchestrale"

Autor: Grafiati

Publicado: 10 de maio de 2025

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Artigos de revistas sobre o assunto "Texture orchestrale"

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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2

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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3

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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4

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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5

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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6

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-Sa&#235;ns, 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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