Die theoretische Auseinandersetzung mit Musik vergangener Epochen löst in Schule und Musikhochschule selten Begeisterung aus. Zu weit scheint sie wegzuführen von den typischen Hörgewohnheiten und der Musizierpraxis junger Menschen. Doch gerade populäre Gegenwartsmusik bietet eine Vielfalt an Möglichkeiten, Schüler*innen und Studierende an Inhalte von Musikwissenschaft und historisch informierter Musiktheorie heranzuführen, denn Rock, Pop und Filmmusik beziehen sich durch Zitate, tradierte Wendungen und Topoi auf Jahrhunderte europäischer Musikgeschichte. Vor dem Hintergrund der nahezu unbegrenzten medialen Verfügbarkeit von Werken verschiedenster Epochen und Stilrichtungen ergeben sich in diesen Genres zahllose Möglichkeiten der Kombination solcher Elemente. Historische Bezüge in aktueller Musik beinhalten die Chance, junge Menschen für musikalische Strukturen und ihre historischen Dimensionen zu sensibilisieren. Darüber hinaus bietet die Verschmelzung kontrastierender stilistischer Merkmale innovatives Potenzial für das Live-Arrangement mit leistungsheterogenen Gruppen. Anhand kurzer Beispiele werden Einsatzmöglichkeiten populärer Titel in der Unterrichtspraxis vorgestellt. / Theoretical study of the music of past epochs rarely triggers great enthusiasm at schools or conservatories. It seems to lead away from the typical listening habits and musical practices of young people. But contemporary popular music provides many opportunities to introduce students into essential fields of musicology and historically informed music theory. Rock, pop and film music relate to centuries of European music history by using citations, inherited idioms, and topoi. Against the background of unlimited availability of compositions of different epochs and styles in the media, countless opportunities to combine such elements can be observed in these genres. Historical references in current musics provide the chance to sensitize young people for musical structures and their historical dimensions. Furthermore, the fusion of contrasting stylistic characteristics bears innovative potential that teachers can use for live arrangement in school classes and groups with heterogeneous capabilities. This article introduces opportunities of integrating popular titles into teaching practice on the basis of short examples.

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.

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.

Acompanha 2 CD-ROM / Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:17:29Z (GMT). No. of bitstreams: 1 Carpinetti_MiriamEmerickdeSouza_M.pdf: 54528489 bytes, checksum: 814585747f2b52c1fbc81bfd65fec518 (MD5) Previous issue date: 2008 / Resumo: Com interesse em difundir o órgão, instrumento distante do público brasileiro, esta dissertação de mestrado articulará informações práticas de consulta sobre suas características físicas e qualidades expressivas. Não estando o órgão, inserido na atual cultura brasileira, uma vez que há pouca divulgação do instrumento, em face de escassa produção de obras nacionais e pouca literatura em português, esta pesquisa torna-se, assim, um importante referencial para seu estudo. Ela visa prover um material prático de consulta para a compreensão do idiomático do órgão tubular bem como de sua escrita, seu funcionamento e suas características fônicas, utilizando como ilustração, diferentes transcrições da obra "Quadros de uma Exposição" (1874) de Modeste Petrovich Moussorgsky (1839-1881). O trabalho é composto de dois capítulos. No primeiro, são apresentadas informações como a descrição do instrumento, sua notação e técnica interpretativa, ilustradas por exemplos extraídos das transcrições para órgão, no segundo. Neste, comparam-se os diversos procedimentos utilizados nas transcrições publicadas e gravadas, especialmente apontando dentro desse universo, os procedimentos menos fiéis ao texto original. Este trabalho mostrará os elementos de notação, textura, tessitura, dinâmica, registração, resultados tímbricos e acústicos, os quais são muito diversificados, devido ao fato dos autores das transcrições serem oriundos de países europeus que cultivaram, durante séculos, tradições organísticas diferenciadas. É intenção, pois, que esta pesquisa sirva de apoio para a compreensão da arte de registrar, das adaptações que os organistas precisam fazer ao interpretarem obras em diferentes órgãos, assim como para a realização de composições e transcrições idiomáticas. / Abstract: Aiming at exposing the organ, an instrument distant from the Brazilian audiences, this dissertation will deal with practical information for consulting the organ's physical characteristics and its expressive qualities. Due to little exposure, and scarce production of national works for this instrument, together with scarce literature on this subject in Portuguese and the organ's not being included in current Brazilian culture, this research presents itself as an important reference for the study of the organ. It envisages to be a practical research material for the understanding of the pipe organ's idiomatic writing, its functioning and its sound characteristics, these being illustrated by different transcriptions of Modeste Petrovich Mussorgsky's (1839-1881) Pictures at an Exhibition (1874). This project has two chapters. In the first one, data like the description of the instrument, its notation and interpretive techniques are presented; and in the second they are illustrated with examples taken from transcriptions for the organ. In the latter, various procedures utilized in published and commercial transcriptions and recordings are compared, especially pinpointing the procedures which are less faithful to the original text in that universe. This work will show the elements of notation, texture, tessitura, registration, timbre and acoustic results, which are highly varied due to the fact that the authors of such transcriptions having come from different European countries which cultivated differentiated organ traditions along the centuries. The intent of this dissertation is thus to support one in the art of registration, in the adaptations that organists need to make when interpreting pieces on different organs, as well as in the rendering of compositions and idiomatic writings. / Mestrado / Mestre em Música

In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.

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.

This study was prompted by the writer's interest and experience in the field of two-piano performance. At the beginning of this writer's two-piano work the available material was scarce, and much of it was inadequate in quality from the standpoint of both composition and arrangement. It seems strange that this particular form of chamber music, so delightful to play and so enjoyable to listen to, did not completely take popular fancy until the twentieth century. During the past ten years however, teachers are realizing the benefits derived from training students in two-piano playing. There is no doubt in the writer's opinion that two-piano concerts will henceforth always be in demand.

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.

My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.