Thesis (M.A.)--York University, 2000. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 108-111). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59201.

Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.

Classical guitarists Roland Dyens (b.1955) and Sérgio Assad (b.1952) are widely recognized for their productivity as arrangers, improvisers, composers and performers, and for their experience in jazz and Latin American popular styles. Dyens and Assad, professors at the Paris Conservatory and at the San Francisco Conservatory, respectively, are also important pedagogues of the instrument. A significant part of their creative output consists of arrangements of popular music, jazz and jazz-influenced works for the solo guitar. This study examines Dyens' arrangements of "Misty" and "All The Things You Are," and Assad's arrangements of "Verano" and "Invierno" from Las Estaciones Porteñas by Ástor Piazzolla, and compares them with arrangements by other guitarists (Agustín Carlevaro, Baltazar Benítez and Joe Pass), pointing out innovations in texture and polyphonic writing for the solo guitar. The author employs theories of hybridism and bi-musicality to frame his analysis and situates the works in terms of historical practice, including examples from arrangements by Luís de Narváez, Mauro Giuliani, Miguel Llobet and Léo Brouwer.

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Oct. 25, 2004, Feb. 14, 2005, Apr. 25, 2005, and Nov. 30, 2006. Includes bibliographical references (p. 56-57).

D.M.A. final project--Department of Music, Stanford University, May 2003. / For solo trombone, solo guitar, flute, clarinet, percussion, viola, cello, double bass, and CD. Duration: 21:00. Includes performance instructions.

abstract: This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score. / Dissertation/Thesis / D.M.A. Music 2012

Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-07-19Bitstream added on 2014-11-10T11:57:41Z : No. of bitstreams: 1 000795959.pdf: 3701442 bytes, checksum: e1cb5f51771d7d9cbaae39e61994febd (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho propõe um diálogo entre as áreas de Música Antiga e de Práticas Interpretativas em instrumentos modernos. Para tal empreitada, discute as bases ideológicas do Movimento de PerformanceHistórica que tendem a um distanciamento entre as áreas, especialmente a associação paradigmática entre Música Antiga e instrumentos de época. Com a finalidade de elaboração de um método transcritivo para o violão do repertório de guitarra barroca, alaúde barroco e teorba,partiu-se da revisão bibliográfica de edições e textos acadêmicos que tratam da transcrição do repertório barroco ao violão, com ênfase nestes instrumentos. Essas publicações foram classificadas de acordo com seu método de transcrição, categorizando-as a partir da alteração da afinação do violão. Para o repertório dos instrumentos de cordas dedilhadas do Barroco, proponho como método a transcrição direta, que consiste na mudança da afinação do violão de acordo com o instrumento referencial do repertório, permitindo uma leitura direta da tablatura, com ferramentas delimitadas para adaptação do texto musical, sem a necessidade de confecção de uma edição musical.Essa proposta permite um contato perene com as fontes primárias e seus modos de escrita, além de propiciar uma facilidade de execução e um volume elevado de transcrições. / This study proposes a dialogue across fields of Early Music and the Interpretative Practices in modern instruments. For this, it discusses the ideological basis of the Historically Informed PerformanceMovement which tends to create a distance between such areas, especially the paradigmatic association between early music and period instruments. Aiming to develop a method of arrangement of the repertoire of baroque guitar, theorbo and baroque lute for the modern guitar, this study has departed from the literature review of editions and academic literature about guitar arrangement of the baroque repertoire, with emphasis on the aforementioned instruments. These publications have been classified according to their method of transcription, thus categorizing them from the alteration of the tuning of the guitar. I propose the direct arrangement method to the repertoire of plucked string instruments of the Baroque, which consists of changing the guitar tuning according to the reference instrument's repertoire, allowing a direct reading of the tablature, with delimited tools for adaptation of the musical text, without the need of editing the music. Thisproposal allows for a perennial contact with the primary sources and its notation forms, in addition to providing an ease of execution and a large amount of arrangement.

abstract: This is a solo guitar transcription of the first five movements, known as the "Joyous Mysteries," of the Mystery Sonatas by Heinrich Ignaz Franz von Biber, accompanied by a history of the sonata collection, an analysis of the process of translating a Baroque solo sonata to the guitar, and a guide for performance. The work was chosen because of its significance and popularity within violin repertoire, and the suitability of the solo sonata genre for performance on a guitar. The first section of this project addresses the history and appeal of Biber and the Mystery Sonatas. It is supplemented by a brief survey of guitar transcriptions of Biber's compositions, and the value of the present edition in modern guitar literature. The second section explores the process and challenges of arranging the Mystery Sonatas for solo guitar, followed by a summation of the general allowances and limitations the genre offers to arrangers. The third section focuses on performance practice issues encountered in adapting this series and other Baroque solo sonatas to the guitar. The project concludes with the arrangement, complemented with the original violin and continuo parts for comparison. Although instrumentations may force an arranger to impose speculative harmonies and countermelodies on a thin texture or sacrifice inner voices in a denser texture, the solo sonata's instrumentation of melody and continuo provides an effective balance. This style allows an arranger three important details: a clear and paramount melody, a flexible bass line, and harmonies with unspecified voicings. Similarly, the compositional freedom that Baroque composers allowed to performers also facilitates the arranging process and enables a variety of creative solutions. / Dissertation/Thesis / Doctoral Dissertation Music 2014

abstract: The current project is a study of five violin sonatas by the German Baroque composer Johann Georg Pisendel (1687-1755), arranged for guitar. The first part of the document is comprised of an overview of Pisendel's life and career as a virtuoso violinist, primarily focusing on his time of employment with the Dresden Hofkapelle during the Saxon-Polish Union. This section also examines the history and issues surrounding the Royal Court of Dresden's Schrank II (Cabinet II) music collection, which holds all of Pisendel's manuscripts. Although many of his works were previously lost or attributed wrongly to other composers, new research from the 2008 Deutsche Forschungsgemeinschaft (German Research Foundation) funded project: The Instrumental Music of the Dresden Hofkapelle at the Time of the Saxon-Polish Union aids in providing a comprehensive list and description of each of Pisendel's violin sonatas, either ascertained or conjectural. The second part contains arrangements of five selected violin sonatas for solo guitar. Together with the rationale pertaining to interpretive choices that were made in adapting each sonata for solo guitar, each work includes explanatory notes regarding its history and provenance. The analysis and arrangement of each sonata was conducted from facsimiles of the Schrank II manuscripts, which are currently available to the public through the Saxon State and University Library Dresden (SLUB) online database. / Dissertation/Thesis / Doctoral Dissertation Music 2017

Orientador: Gisela Gomes Pupo Nogueira / Banca: Dorotéa Machado Kerr / Banca: Celina Bordallo Charlier / Resumo: Este trabalho propõe um diálogo entre as áreas de Música Antiga e de Práticas Interpretativas em instrumentos modernos. Para tal empreitada, discute as bases ideológicas do Movimento de PerformanceHistórica que tendem a um distanciamento entre as áreas, especialmente a associação paradigmática entre Música Antiga e instrumentos de época. Com a finalidade de elaboração de um método transcritivo para o violão do repertório de guitarra barroca, alaúde barroco e teorba,partiu-se da revisão bibliográfica de edições e textos acadêmicos que tratam da transcrição do repertório barroco ao violão, com ênfase nestes instrumentos. Essas publicações foram classificadas de acordo com seu método de transcrição, categorizando-as a partir da alteração da afinação do violão. Para o repertório dos instrumentos de cordas dedilhadas do Barroco, proponho como método a transcrição direta, que consiste na mudança da afinação do violão de acordo com o instrumento referencial do repertório, permitindo uma leitura direta da tablatura, com ferramentas delimitadas para adaptação do texto musical, sem a necessidade de confecção de uma edição musical.Essa proposta permite um contato perene com as fontes primárias e seus modos de escrita, além de propiciar uma facilidade de execução e um volume elevado de transcrições. / Abstract: This study proposes a dialogue across fields of Early Music and the Interpretative Practices in modern instruments. For this, it discusses the ideological basis of the Historically Informed PerformanceMovement which tends to create a distance between such areas, especially the paradigmatic association between early music and period instruments. Aiming to develop a method of arrangement of the repertoire of baroque guitar, theorbo and baroque lute for the modern guitar, this study has departed from the literature review of editions and academic literature about guitar arrangement of the baroque repertoire, with emphasis on the aforementioned instruments. These publications have been classified according to their method of transcription, thus categorizing them from the alteration of the tuning of the guitar. I propose the direct arrangement method to the repertoire of plucked string instruments of the Baroque, which consists of changing the guitar tuning according to the reference instrument's repertoire, allowing a direct reading of the tablature, with delimited tools for adaptation of the musical text, without the need of editing the music. Thisproposal allows for a perennial contact with the primary sources and its notation forms, in addition to providing an ease of execution and a large amount of arrangement. / Mestre