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Ralph Vaughan Williams was a strong advocate for adapting his compositions to suit the needs of various ensembles. He often arranged his choral compositions for several different voicings, allowing them to be performed by mixed, men’s, and women’s choruses. He also frequently offered reduced instrumentation accompaniment options to fit the personnel and budget restraints of these choirs. The purpose of this study is to analyze the male chorus transcription techniques used by Ralph Vaughan Williams in transcribing his composition for chorus and orchestra, Five Mystical Songs, from SATB to TTBB voicing. The culmination of this research is a modern day transcription of Vaughan Williams’s Dona Nobis Pacem for men’s chorus, brass septet, organ and percussion. This transcription adds to the men’s choral repertoire and increases the work’s accessibility for school and community choruses by creating a reduced accompaniment that maintains the flavor of the original orchestral instrumentation. / School of Music

Orientador: Antônio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T17:14:07Z (GMT). No. of bitstreams: 1 Masson_Erica_M.pdf: 13266084 bytes, checksum: 1751619f4c79bf29380576ea6f2b1d88 (MD5) Previous issue date: 2008 / Resumo: A presente dissertação, "Elementos da Escrita de Nailor Azevedo Proveta para Instrumentos de Sopro em seus Arranjos para Big Band", diz respeito à análise das características idiomáticas utilizadas por Nailor Azevedo Proveta identificando as técnicas e descrevendo os processos empregados no mesmo. A pesquisa parte de uma contextualização biográfica e histórica de Nailor Azevedo e da sua trajetória com a Banda Mantiqueira, seguindo, posteriormente, para a análise aplicada das técnicas e recursos utilizados por ele no arranjo da música Feminina, composta pela cantora e compositora Joyce e gravada no terceiro CD da Banda Mantiqueira / Abstract: This dissertation, "Elements of Nailor Azevedo Proveta's composition for Wind Instruments in his Arrangements for Big Band", addresses the analysis of the idiomatic characteristics utilized by Nailor Azevedo Proveta identifying his techniques and describing the processes applied. This research is comprised by a biographical and historical contextualization of Nailor Azevedo and his trajectory with the Banda Mantiqueira, followed by an applied analysis of his techniques and resources utilized on his arrange in the music Feminina, composed by the singer and composer Joyce and recorded in the third CD of the Banda Mantiqueira / Mestrado / Mestre em Música

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T05:48:03Z (GMT). No. of bitstreams: 1 Vieira_FernandaVanessa_M.pdf: 1850340 bytes, checksum: 45916d23e482276ef0ac554ed52f2ae3 (MD5) Previous issue date: 2012 / Resumo: A presente dissertação tem como principais objetivos: 1. descrever e discorrer sobre a transcrição de tangos brasileiros para marimba; e 2. realizar um estudo interpretativo sobre os mesmos. Para isto foram utilizadas as músicas Rayon d'Or (1892) e Garoto (1916), oriundas de diferentes épocas dentro da cronologia composicional de Ernesto Nazareth. O processo de transcrição e adaptação dessas duas obras é contextualizado com um breve histórico do desenvolvimento e da popularização da marimba, bem como se discute a importância do uso de transcrições nos primórdios da formação de seu repertório. Aliado à transcrição dos tangos se inclui um estudo interpretativo que aborda tanto a resolução de dificuldades técnicas como decisões interpretativas acerca de aspectos como o controle timbrístico, fraseado, escolha de baquetas, entre outros / Abstract: This work has as main goals: 1. describe and discuss transcriptions of traditional Brazilian Tangos for marimba; 2. to make an interpretative study on these pieces. It utilized two pieces, composed in different compositional periods of Ernesto Nazareth: Rayon D'or (1892) and Garoto (1916). The process of transcription and adaptation is contextualized with a brief history of the development and popularization of the marimba, and overview of the importance of the use of transcriptions in the early formation of its own repertoire. In addition to the transcriptions of these tangos is included an interpretive study which deals with both the resolution of technical difficulties and the interpretative decisions about aspects such as control of the timbre, phrasing, choice of sticking, among others / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T08:13:08Z (GMT). No. of bitstreams: 1 Soares_LineuFormighieri_M.pdf: 27154840 bytes, checksum: 5961aedae6e3a07d479915cf12b951bf (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa teve como objetivo entender a linguagem e os procedimentos técnicos e artísticos adotados pelo compositor e arranjador Marcos Leite. Para tanto foi traçado um panorama histórico do movimento coral brasileiro, a partir da década de 1960, como base para as práticas que solidificaram esse fazer musical ao longo dos anos. Para a análise da escrita vocal de Marcos Leite foram escolhidas as canções Jura, Rosa dos Ventos e The Fool on The Hill, arranjos produzidos especificamente para o Coral da Cultura Inglesa (Cobra Coral) e para o grupo vocal Garganta Profunda. Os trechos musicais foram analisados sob os aspectos técnicos de forma, estrutura e textura, bem como os procedimentos de encadeamento harmônico. Concluiu-se que, mesmo em canções com diferentes níveis de dificuldade, os elementos coloquiais característicos da linguagem popular foram mantidos. Os arranjos apresentam equilíbrio nas disposições vocais, aliando a simplicidade característica do autor com elementos criativos nos contracantos, como geradores de interesse. O estudo aponta a significância da obra de Marcos Leite e seus contemporâneos, no sentido de renovar a prática coral, e estabelecer parâmetros inovadores que influenciem os regentes e arranjadores atuais / Abstract: The goal of this research was to understand the language and technical and artistic procedures adopted by composer and arranger Marcos Leite. As such, a historical overview of the Brazilian choral movement was traced starting in the 1960s as a foundation for the practices that solidified this musical activity through the years. In order to analyze the vocal writing of Marcos Leite, the songs Jura, Rosa dos Ventos and The Fool on the Hill were chosen, with arrangements produced specifically for the Cultura Inglesa Chorus (Cobra Coral) and for the vocal group Garganta Profunda. The musical excerpts were analyzed under the technical aspects of form, structure and texture, as well as procedures of harmonic structure. It was concluded that, even in songs with varying levels of difficulty, the colloquial elements that are characteristic to popular language were maintained. The arrangements show balance in all vocal parts, allying the characteristic simplicity of the composer with creative elements in the countermelodies as interest generators. This study points the significance of the work of Marcos Leite and his contemporaries in the sense of renewing the practice of choral music and establishing innovative parameters that influence conductors and arrangers of today / Mestrado / Praticas Interpretativas / Mestre em Música

After considering Petrouchka's historical and compositional background and the orchestral revision of 1947, this thesis analyzes the composition, dealing specifically with formal, harmonic, and melodic aspects. The study's most important discovery is of a common formal design for all the scenes and the piece as a whole, where the outer thirds of ternary structures are equal in length. The thesis also examines Stravinsky's transcriptional procedures, cataloging and contrasting them with those of the nineteenth century. The solo transcription of Petrouchka is fully discussed in the light of Stravinsky's singular treatment of and writing for the piano. In addition to the recorded performance of Trois Mouvements de Petrouchka, this dissertation includes three tape recordings of selected piano works of J. P. Rameau, L. V. Beethoven, F. Chopin, F. Liszt, C. Franck, A. Scriabin, and G. Crumb.

The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.

This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba transcription, and performance considerations of the specific works presented are discussed.

An understanding of the piano transcription is basic to any proper comprehension of nineteenth-century piano music and performance practice. In this study, the transcription for solo piano is examined in relation to several musical milestones in the mid-nineteenth century, including far-reaching technical developments in the piano, the beginning and growth of the public concert, the birth of the solo piano recital, and the influence of virtuosity as a Romantic ideal. In addition, as Liszt was undoubtedly the greatest transcriber of the nineteenth century, several representative transcriptions of Liszt are analyzed and compared to their original models, including Schubert's Gretchen am Spinnrade and Auf dem Wasser zu singen, Chopin's Moja pieszczotka ("My Joys"), Wagner's Liebestod from Tristan und Isolde, and the quartet from the final act of Verdi's Rigoletto.

Beethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of the orchestra. Included is a detailed analysis of his nine symphonies, an overview of his personal life, and an exploration of the historical, social, and political time in which he lived. This thesis collects and examines relevant documents in order to inquire about and better understand the changes and innovations that transformed the standard orchestra of the eighteenth century, opening the doors to the symphonic music of the Romantic Era. / by Daniel Padua. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 200?. Mode of access: World Wide Web.