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The problem of this study was to make a transcription of the third movement of Dvorak's Symphony Number Five in E Minor from the "New World" for a class A symphonic band. A critical discussion of the musical and technical problems involved was included as a supplement or complement, as was a brief history of the composers life and works. In the arrangement of the data, the discussions were presented before the transcription might be readily understood.

The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

abstract: American Primitive is a composition written for wind ensemble with an instrumentation of flute, oboe, clarinet, bass clarinet, alto, tenor, and baritone saxophones, trumpet, horn, trombone, euphonium, tuba, piano, and percussion. The piece is approximately twelve minutes in duration and was written September - December 2013. American Primitive is absolute music (i.e. it does not follow a specific narrative) comprising blocks of distinct, contrasting gestures which bookend a central region of delicate textural layering and minimal gestural contrast. Though three gestures (a descending interval followed by a smaller ascending interval, a dynamic swell, and a chordal "chop") were consciously employed throughout, it is the first gesture of the three that creates a sense of unification and overall coherence to the work. Additionally, the work challenges listeners' expectations of traditional wind ensemble music by featuring the trumpet as a quasi-soloist whose material is predominately inspired by transcriptions of jazz solos. This jazz-inspired material is at times mimicked and further developed by the ensemble, also often in a soloistic manner while the trumpet maintains its role throughout. This interplay of dialogue between the "soloists" and the "ensemble" further skews listeners' conceptions of traditional wind ensemble music by featuring almost every instrument in the ensemble. Though the term "American Primitive" is usually associated with the "naïve art" movement, it bears no association to the music presented in this work. Instead, the term refers to the author's own compositional attitudes, education, and aesthetic interests. / Dissertation/Thesis / M.M. Composition 2014

Lake Pleasant, a work for wind ensemble, receives its title from the composer’s memories of visiting a cottage on a small lake that straddles the border of Indiana and Michigan. The primary influence of the piece derives from the howling sound produced by the echoes of traffic noise one hears while standing on the opposite side of the lake in the quiet of night. The recollection of this soundscape takes the musical form of nine clarinets spread throughout the audience accompanied by pairs of flutes, oboes, saxophones, trumpets, and a single piccolo. While the placement of performers in the audience allows for the music to emulate the atmosphere evoked by the work’s influence through the use of physical space and timbral similarities, the spacial relationships explored through the music also serve as primary structural elements.

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A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

Orientador: Jose Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T05:03:40Z (GMT). No. of bitstreams: 1 Bota_JoaoVictor._M.pdf: 3423979 bytes, checksum: 0e979c051e12b2f7481b8906b5082ad6 (MD5) Previous issue date: 2008 / Resumo: Nesta dissertação pretende-se discutir os processos criativos composicionais envolvidos nas atividades de transcrição musical, sobretudo aquelas referentes à produção de repertório para bandas sinfônicas. Acreditando que as transcrições pertencem ao universo da recriação artística, o argumento que permeia esta análise é sustentado por uma reflexão histórica acerca dessas práticas composicionais e da reconstituição do processo de consolidação das bandas sinfônicas como efetivos instrumentais relevantes no cenário ocidental. Por fim, o autor desta dissertação analisa algumas transcrições musicais realizadas por ele, com o intuito de trazer contribuições concretas, embora pontuais, para o exercício da transcrição musical como um processo criativo / Abstract: This dissertation aims at discussing the compositional creative processes involved in the activities of musical transcription, above all on those related to the production of repertoire to symphonic bands. Believing that the transcriptions belong to the universe of artistic re-creation, the argument that runs through this analysis is sustained by a historical reflection about these compositional practices and by the reconstitution of the process of consolidation of the symphonic bands as effective means relevant in the western scenario. At last, some musical transcription analyses are made by the author of this dissertation with the aim of bringing concrete contributions, even if particular, to the exercise of musical transcription understood as a creative process / Mestrado / Mestre em Música

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