Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.

The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

Busoni's contribution to the art of the piano transcription is formidable. His chorale prelude transcriptions make him responsible for giving over to the piano repertoire a small portion of sacred literature. His special admiration of J. S. Bach, evidenced throughout his life, make Busoni's transcriptional practices all the more significant. Bach himself was a prolific transcriber of his own works and the works of others. This paper presents a brief history of keyboard transcriptional practices, emphasizing Busoni's methods by comparing the original works for organ with the transcriptions for piano. Four chorale preludes form the basis for this study: Ich ruf' zu dir, Herr Jesu Christ (BWV 639), Komm, Gott, Schopfer, Heiliger Geist (BWV 667), Nun komm' der Heiden Heiland (BWV 659), and In dir ist Freude (BWV 615).

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T06:48:05Z (GMT). No. of bitstreams: 1 Smarcaro_JulioCesarCaliman_M.pdf: 2507265 bytes, checksum: 649b6c889c598938b6da525b4243b2de (MD5) Previous issue date: 2006 / Resumo: A presente dissertação tem como propósito estudar a vida e a obra do músico Dori Caymmi. Neste trabalho sua discografia é divida em três fases distintas, representando cada uma delas um momento específico de sua carreira. Serão analisados neste estudo as composições de sua autoria, e seus respectivos arranjos, presentes quase em sua totalidade nas duas primeiras fases, que cobrem o período de 1972 a 1994. As análises vão buscar as características principais de sua música, com um enfoque mais aprofundado em seu violão / Abstract: This study encompasses the life and work of composer, arranger and guitar player Dori Caymmi. His discography is presented in three main periods, each representing a specific moment of his career. Most of his compositions and arrangements are analyzed in the two first periods, spanning from 1972 to 1994. This analysis aims at finding major characteristics of his music, focusing c1osely on his approach to the guitar / Mestrado / Mestre em Música

Orientador: Antônio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T14:15:13Z (GMT). No. of bitstreams: 1 Mangueira_BrunoRosas_D.pdf: 20842948 bytes, checksum: 1055d07d1e5e01fc18d52e989c8eaa1c (MD5) Previous issue date: 2012 / Resumo: Estudo sobre quatro arranjos elaborados por Nailor Azevedo, o "Proveta", para a Orquestra Jazz Sinfônica do Estado de São Paulo sobre obras de Pixinguinha, apresentados em 2006 no concerto dedicado ao compositor. Objetivou-se verificar as soluções técnicas e escolhas musicais empregadas por Nailor Proveta na reelaboração destas peças representativas do repertório de choro, deslocando a usual sonoridade do conjunto regional para aquele grupo constituído pela combinação de big band e orquestra sinfônica. No primeiro capítulo é realizada uma revisão conceitual a respeito da etapa "arranjo" na produção da música popular e sobre o papel do arranjador enquanto possível mediador de elementos relacionados a diferentes culturas envolvidas neste processo. O segundo capítulo discute, sob uma perspectiva musicológica, alguns aspectos relacionados à presença do repertório popular num contexto de ambiente e instrumentação mais comumente associado ao campo da música de concerto, levando em conta o fato de Nailor, arranjador e também solista no evento em questão, ser um músico formado no universo popular. No terceiro capítulo é feita uma contextualização histórica acerca do uso da orquestra na música popular brasileira, procurando compreender o desenvolvimento do cenário em que surge a Orquestra Jazz Sinfônica. O quarto capítulo traz as análises musicais a partir de partituras e gravações dos mencionados arranjos, abordando aspectos de instrumentação, forma, duração, ritmo, melodia, harmonia e técnicas de escrita. Verificou-se que Nailor adapta as composições de Pixinguinha a um padrão formal jazzístico característico das big bands, incorporando elementos e procedimentos de escrita ligados ao jazz, às tradicionais bandas de música e à música erudita, tendo utilizado, em parte de duas introduções, fusões entre as melodias de Pixinguinha e obras de Maurice Ravel. Observa-se que, mesmo trabalhando com um alto grau de modificações e transformações, o arranjador procura manter, na medida do possível, o caráter original das composições. Os resultados apontam um conjunto de soluções artistico-musicais disponíveis para a produção de arranjos para o choro e repertórios afins, onde os recursos de improvisação desenvolvidos por Proveta encontram condições ideais de realização, revelando ainda uma interessante estratégia profissional para o músico que atua ao mesmo tempo como arranjador e instrumentista / Abstract: This thesis is a study of four arrangements of Pixinguinha choro compositions, created by Nailor "Proveta" Azevedo, as commissioned by the São Paulo State's Orquestra Jazz Sinfônica. They were presented in 2006 in a concert dedicated to the composer. The thesis intends to analyze the technical solutions and musical choices employed by Nailor Proveta in reworking representative pieces from the choro repertoire, in which he replaces the usual instrumentation of the "conjunto regional" group with a combination of big band and symphony orchestra. The first chapter presents a conceptual overview of the function of arrangement in the production of Brazilian music styles and the role of the arranger as a possible mediator of elements related to different cultures involved in this process. The second chapter discusses, from a musicological perspective, certain elements of popular repertoire as they appear in musical environments and instrumentations most commonly associated with classical idioms; this is presented in view of the fact that Nailor, as both arranger and soloist, developed his art in the popular music world. In the third chapter, the use of the orchestra in Brazilian music is placed into historical context, exploring the development of the milieu from which the Orquestra Jazz Sinfônica emerged. The fourth chapter presents analysis from musical scores and recordings of the aforementioned arrangements, focusing on instrumentation, form, duration, rhythm, melody, harmony and writing techniques. It is observed that Nailor adapts the compositions of Pixinguinha to a formal pattern characteristic of the jazz big band, and incorporates elements of writing techniques related to jazz and traditional Brazilian music bands, as well as classical music; for example, parts of two introductions merge melodies of Pixinguinha and Maurice Ravel's works. It is noted that the arranger strives to maintain the original character of the compositions as much as possible, while still implementing a high degree of change and transformation. The results demonstrate the range of artistic and musical solutions available for the production of arrangements of choro and related repertory, in which the resources of improvisation developed by Proveta find an ideal setting; it also presents an interesting working strategy for the professional musician who functions as both arranger and instrumentalist / Doutorado / Musica / Doutor 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.

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.

Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.