Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-05Bitstream added on 2014-06-13T19:35:37Z : No. of bitstreams: 1 motta_dar_me_ia.pdf: 1605635 bytes, checksum: 0851c0715a487a5f1282bf986a48b432 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução / This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T20:57:07Z (GMT). No. of bitstreams: 1 Maia_IgorLeao_M.pdf: 10512597 bytes, checksum: 0ed3339e1e7b7ccc0d76bdb59d3cfeaa (MD5) Previous issue date: 2013 / Resumo: A presente dissertação de Mestrado teve como objetivo estudar o modelo de organização de timbres, Klangfarbenmelodie, proposto pelo compositor alemão Arnold Schoenberg em 1911, quando da publicação de seu livro Harmonielehre e aplicar, de maneira livre, alguns resultados desse estudo na organização timbrística em composição musical. Iniciamos o presente trabalho pelo estudo dos princípios norteadores dessa ideia e, de maneira breve, expomos o modelo científico conhecido na época para o estudo do timbre, proposto por Hermann von Helmholtz em 1863. Também examinamos a ideia de Klangfarbenmelodie através dos próprios escritos de Arnold Schoenberg e de outros autores, contextualizando nosso estudo dos pontos de vista histórico e científico. Em seguida, analisamos a obra Farben op. 16 n. 3, também de Arnold Schoenberg, com respeito a sua orquestração e organização formal, utilizando uma abordagem analítica baseada na Teoria Elementar dos Conjuntos. No último capítulo analisamos as composições de autoria própria à luz dos pressupostos trazidos pelo aspecto analítico desenvolvido durante a pesquisa / Abstract: This dissertation aimed to study the model of organization of timbres, Klangfarbenmelodie, proposed by the German composer Arnold Schoenberg in 1911 upon the publication of his book Harmonielehre and apply freely some results of this study of timbre organization in music composition. We begin by studying the guiding principles of this idea and briefly expose the scientific model known at the time for the study of timbre, presented by Hermann von Helmholtz in 1863. We also examine the idea of Klangfarbenmelodie through Schoeberg's own writings and other authors, contextualizing the research from a scientific and historical point of view. Then we analyze the work Farben op. 16 no. 3, also by Arnold Schoenberg, with respect to its orchestration and formal organization, using an analytical approach based on set theory. In the last chapter we analyze the compositions of authorship in the light of the assumptions brought by the analytical aspect of the research / Mestrado / Processos Criativos / Mestre em Música

While many composers of wind ensemble literature have utilized percussion extensively in their compositions, Jared Spears and David Gillingham are renowned wind ensemble composers who have also written specifically for the percussion ensemble. Within their writing, both have exploited percussion through innovative scorings and their interest in rhythm, timbre, and density. The purpose of this study is to explore the scoring practices (functions of the instruments and combinations) and orchestration techniques (rhythmic and density relationships) of both composers, focusing on the manner and extent to which percussion is employed in their wind and percussion ensemble literature. The criteria for examining each piece and genre were developed to compare and contrast each composer's scoring and orchestration characteristics. To this end, each piece and genre was examined through several scoring categories designed to analyze overall ensemble relationships as well as individual functions of the percussion instruments. These categories were also applied to sections of music, focusing specifically on combinations of instruments and the relationship of ensemble choirs in separate and combined roles. Finally, percussion orchestration was examined with respect to motives, rhythmic underpinnings, metric usage, density relationships, and the significance of these elements to structural unity and form. These comparisons showed that, while sharing certain characteristics, each composer treats percussion scoring and orchestration in different manners, displaying "signature" aspects that make his writing unique. The application of these shared and individual traits, and the extent to which they are employed, define each composer's distinctive style.

Dans ce mémoire, nous nous penchons sur les processus créatifs et techniques d’enregistrement sonore de type DIY (Do It Yourself) pratiqués dans mes expériences avec différents groupes rock, punk, hardcore et alternatif de Québec. Les styles musicaux varient grandement d’un projet à l’autre, mais trois aspects sont communs à chaque groupe : 1) Ils sont issus d’une scène «underground» de la Ville de Québec. 2) Ils ont une instrumentation rock (pour nous, une instrumentation rock est composée des instruments suivants : batterie, guitare électrique, guitare basse et voix). 3) Ils enregistrent de manière DIY jusqu’à un certain niveau. Avec les avancées technologiques, l’enregistrement DIY est une pratique de plus en plus courante chez les groupes de musique. À notre expérience, les artistes œuvrant dans des scènes se rapprochant de la culture punk et underground sont souvent restreints par des ressources et des budgets limités ou ont simplement un désir de liberté créative lorsqu’il est temps d’enregistrer leurs chansons. Dans la recherche de l’indépendance, ils vont souvent opter pour l’approche DIY lorsqu’il est temps d’enregistrer une chanson ou un album, ce qui donne souvent une esthétique punk aux pistes audio. Dans ce partage d’expériences, l’objectif est d’analyser les méthodes de travail qui contribuent à obtenir des résultats de qualité en enregistrement DIY et d’en tirer une méthode efficace qui pourrait servir au DIYer en enregistrement. Nous croyons qu’en prenant connaissance de nos résultats et de nos analyses de chaque projet, un(e) artiste désirant enregistrer un projet musical de façon DIY sera en mesure de faire des choix plus sensés et éclairés par rapport à sa propre situation et son propre projet d’enregistrement. Enfin, j’offre mes observations et conclusions au réalisateur DIY pour qu’il analyse bien sa réalité unique à lui-même et à son ou ses projets d’enregistrement afin qu’il bénéficie d’une courbe d’apprentissage rapide et conviviale. / In this master’s thesis, we address the issue of creative processes and recording techniques in different DIY (Do It Yourself) settings as implemented through my experience with different rock, punk, hardcore and alternative bands in Quebec City. Musical styles greatly vary from one project to another, but all of the music groups share three common aspects : 1) They come from the underground scene around Quebec City. 2) They have a rock-type instrumentation (for us, a rock-type instrumentation is made up of minimum two of the following instruments: drums, electric guitar, electric bass and vocal.) 3) They record in a DIY setting, up to a certain point. With the rise of new technologies, DIY recording is more and more common in music bands. In our experience, artists from scenes close to the punk and underground cultures are often limited by their budget and resources or simply have a desire for creative liberty when recording their music. Seeking independence, they will often go for the DIY approach when the time has come for them to record a song or an album, which often lends a punk aesthetic to their audio tracks. This masters thesis seeks to analyse working methods that contribute to obtaining good quality results in DIY recording and to find an efficient methodology that could help the self-taught DIYer in recording music. We believe that by reading about these projects, with the analysis and feedback, an artist who wants to work in a DIY setting will be able to make better decisions in regard to their own recording project and situation. I also offer advice for the DIY recording artist to analyse his own unique recording reality and the one of his different recording projects in order for him to benefit from a faster and favorable learning curve.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The work presented herewith is an orchestration of one of the most idiomatic piano pieces composed by Alexander Scriabin: the Sonata no.3 in F‐sharp minor, Op. 23. This particular orchestration involved a process of profound examination and comprehension of the form of the sonata, as well as understanding the role of each instrument of the symphony orchestra, and how they could contribute to an orchestral reconstruction of Scriabin’s work. The re‐creation of the piano part, and the whole experience that supported this challenge, resulted in the individual production in which my particular interpretation of Scriabin’s music reflects the maturity of an absorbed investigation of his style of composition.

The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

Acompanha 1 anexo: L'Orfeo favola in musica, de Claudio Monteverdi / Orientador: Eduardo Augusto Ostergen / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:57:48Z (GMT). No. of bitstreams: 1 Rocha_AbelLuisBernardoda_D.pdf: 9114279 bytes, checksum: 2529bd2853d709dbe5436634ed75c5ab (MD5) Previous issue date: 2008 / Resumo: Este trabalho tem por objetivo apresentar a realização de uma PARTITURA CONTEMPORÂNEA DE EXECUÇÃO da ópera L'Orfeo - Favola in Musica, de Claudio Monteverdi, composta em 1607, apresentada aqui como uma transcrição historicamente informada, sugerindo a utilização de uma mescla de recursos e instrumentos contemporâneos combinados àqueles específicos da prática musical do repertório setecentista. Tal realização embasou-se na teoria e prática musical do século XVII. Num primeiro momento, foi realizada a análise da linguagem harmônica de Claudio Monteverdi, especialmente empregada nesta ópera, tomada dentro da prática musical sua contemporânea, a partir de tratados teóricos da época, de escritos de Monteverdi e críticas à sua obra. Numa segunda parte, estudaram-se as necessidades técnicas e estéticas para realizar a transcrição da partitura original e a recuperação do significado simbólico dessa linguagem harmônica. E, finalmente, apresenta os passos de construção de uma dentre várias possíveis orquestrações contemporâneas, com sugestões de soluções orquestrais modernas que visam a recuperação dos significados dramáticos sugeridos pela escrita de Monteverdi, sugerindo um conjunto de recursos expressivos, que possam incutir no público de nosso século os afetos de "terror" e "piedade", como definidos na teoria clássica do teatro. / Abstract: The purpose of this study is to present a modern realization of the orchestral score of Claudio Monteverdi's L'Orfeo - Favola in Musica, originally written in 1607. It is presented here as a historically informed transcription, suggesting the use of a mix of contemporary instrumental resources and tools combined with those specific to practices of the seventeenth century. As an initial step, an analysis of the specific harmonic language employed by Claudio Monteverdi in L'Orfeo was done, approached from within his own contemporary musical practice and writings and based on theoretical treatises of the time as well as criticisms of his work. In a second part, technical and aesthetic needs to perform the transcription of the original orchestral score and the recovery of the symbolic significance of this harmonic language are studied as well. At last, it presents steps for the contemporary elaboration of one of the many possible orchestrations of this work proposing modern orchestral solutions that seek the recovery of specific meanings suggested by the dramatic writing of Monteverdi, a suggestive set of expressive resources that can instill in our contemporary public the affects of "terror" and "mercy" as defined in the classical theory of theater. / Doutorado / Doutor em Música

Orientador: José Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:21:28Z (GMT). No. of bitstreams: 3 BertidaSilva_DouglasRegis_M.pdf: 16408229 bytes, checksum: 036ad2e6aada58e00ac047303daf0fa4 (MD5) BertiDaSilva_DouglasRegis_Anexo1.zip: 147919886 bytes, checksum: a9c5dad785b66408ac9f89714b3c4cb0 (MD5) BertiDaSilva_DouglasRegis_Anexo2.zip: 386337236 bytes, checksum: f594563c559a3a5f032c7e6b2152b1a1 (MD5) Previous issue date: 2014 / Resumo: Este trabalho teve por objetivo demonstrar hábitos definidos de efeitos de orquestração em trilhas sonoras, no âmbito do cinema industrial hollywoodiano, por meio de recursos de instrumentação e organização do timbre orquestral consagrados por Jerry Goldsmith. Sob um panorama cronológico, delineamos através de partituras o desenvolvimento de técnicas e procedimentos formais de orquestração, paralelamente à evolução de grupos instrumentais na história da música ocidental. A expansão dos limites da música sinfônica e as inovações orquestrais desenvolvidas pelos grandes compositores, tornaram-se a referência para dirigirmos as atenções aos primeiros compositores de música original para o cinema clássico, e assim nos deparamos com os primeiros filmes que retratam o sobrenatural e os mistérios desconhecidos da humanidade, especialmente por Bernard Herrmann. As artimanhas necessárias para criar uma nova sonoridade orquestral que representasse monstros e alienígenas na música de cinema ¿ além das aflições humanas, é claro ¿ se tornam, em última instância, a nossa derradeira missão: o legado de Jerry Goldsmith e os efeitos da sonoridade orquestral no cinema / Abstract: This study aimed to show defined custom orchestration effects found in Hollywood film industry soundtracks, via resources of instrumentation and orchestral tone established by Jerry Goldsmith. Under a chronological prospect, we outlined the development of techniques and formal method of orchestration through scores, at the same time with the evolution of instrumental sets in European music history. The spreading of symphonic music¿s boundaries and the technical innovation developed by the great composers became reference to us to focus to the first original music composers in the classical Hollywoodian cinema, and here we run into the first movies that depict the supernatural and the unknown mysteries of mankind, specially by Bernard Herrmann. The required tricks to creat a new orchestral sound which intended to play monsters and aliens in the music track ¿ human suffering as well ¿ turn up, as a last resort, our last mission: Jerry Goldsmith¿s legacy and the effects of the orchestral sounds on film / Mestrado / Fundamentos Teoricos / Mestre em Música

Paul Robert Fauchet's Symphonie pour Musique d'Harmonie, known in the United States as Symphony in B-flat, is a four-movement composition spanning nearly thirty minutes in length and written in the style of the late romantic composers. Despite its place as one of the first symphonies for wind band, a performance of the piece that represents the composer's 1926 orchestration is difficult due to the inclusion of instruments that are no longer in common practice, including bugles, alto horns, and saxhorns. Later American editions of the work by James Robert Gillette (1933) and Frank Campbell-Watson (1948/1949) replaced these instruments, but also took several other liberties with orchestration and voicing. The primary purpose of this study was the creation of a performance edition of the Symphony for modern wind band that is accessible to a larger audience of performers and listeners. The method involved in creating the modern edition eliminates errors of extant editions and clarifies a number of the discrepancies surrounding the symphony's multiple publications. This edition attempts to retain the composer's voicing and orchestration choices. To accomplish this, the present project considered where modern instrumentation differed from the original sources and attempted to balance timbral similarities between those instruments, while also considering ease of comprehension for a modern ensemble to perform the work. Sources used to create this edition included all published editions of scores and parts, as well as a newly created full score of the 1926 printed parts. The study concludes with the inclusion of the full score of the new performance edition.

Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms's "Ein deutsches Requiem." In 1869, J.M. Reiter-Biedermann published Brahms's four-hand piano arrangement of "Ein deutsches Requiem." Brahms's arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann's recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. The final stage of the analysis was to compare the choices made by Linckelmann to those made by Brahms. The results show that Linckelmann's choices for reduction, reorganization, and elimination closely align with those of Brahms. The only differences between the arrangements can be attributed to Linckelmann's focus on retaining the original orchestral timbre and Brahms's focus on providing the original vocal parts.