Through the researcher's experience and informal discussions with other pedagogues working in tertiary music environments, the researcher was of the opinion that there is currently not a comprehensive arranging/orchestration method book that could be used exclusively as a course text in post-secondary arranging courses. While there are numerous published method books available, they are generally produced in North America and do not address all the needs of an arranging/orchestration course. The aim of the research was to find what are the constituent parts and theoretical underpinnings of a model Arranging course text book. Also, to find what materials are currently being used by lecturers and teachers throughout Australasian universities, colleges and other institutions for the delivery of arranging (and/or orchestration) courses, and if these materials differ from those used in North America. Of interest are the assumptions made in the background knowledge of the students entering these courses from upper-secondary level or otherwise and if this project can assist students making the transition. Finally, is there potential to have a standard text published in Australia, what are the important elements that should be included, and is it possible to deliver such a text as an online document? The research showed that most teachers and lecturers in post-secondary school music courses teaching arranging/orchestration use extracts from several books and link them together, filling in the gaps, with their own methodologies and experiences. The problem with this approach is the resultant lack of uniformity through the various sections of the course; in particular the musical examples used and the availability of audio recordings of the examples. Some older published texts, while valuable in their content, do not supply audio recordings. Most texts investigated that do supply audio recordings only demonstrate good arranging/orchestration techniques and fail to compare the same example conceived through poor technique. This study revealed some important findings about the lack of a course method book existing that met the needs of educators delivering post-secondary courses in arranging. The key elements of such a course book were identified through research and then written into a model text (the project) with accompanying CD audio examples. Upon gaining valuable insights and completing the project, there was some scope for improving, extending (or changing delivery method) and publishing the project.

The writer of this master thesis was acquiring an education in classical percussion and deeply respecting the music genre named djent. He was so impressed by metal music that he taught himself how to use the notation programme Sibelius 7 and arranged a number of his favourite songs for the percussion ensemble so he would be able to play them. The following text supports and describes the process. A short analysis of 16 arrangements is included as well.

The transcription was an integral part of the marimba repertoire for many years. However, the range and technical advancements of the time limited the transcription process. Often the marimba part would consist of the melody while a piano would be utilized to fill in the accompaniment and notes not able to be performed by the marimbist. The marimba and piano share many similarities that allow for successful transcriptions between the two instruments. This document focuses on the transcription of eighteenth- and nineteenth-century keyboard music for the marimba duo setting. It is the opinion of the author that better transcriptions can be attained through the utilization of the modern range of the marimba, techniques used in marimba performance, and two marimbas. By omitting the traditional piano accompaniment, transcriptions can be better executed through the use of one timbre, as is used in the original keyboard work. Presented in this document are six arrangements realized by the author that demonstrate the possibilities for transcriptions in today's percussive world.

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

Despite increasing popularity and interest in contemporary a cappella, little research exists involving this genre of music making. In this study, I investigated how SIX, a professional contemporary a cappella group, utilizes a primary practice of aural arranging to create original, a cappella cover arrangements entirely by ear. From one initial question and use of classic grounded theory analysis, three questions emerged: what did SIX do, how did SIX carry out what they do, and what characterizes how SIX carries out what they do? The substantive theory of aural arranging and the substantive and formal theories of fluid leadership emerged from the data. The theory of aural arranging posits that SIX creates original cover arrangements by ear through the use of interactive activities initiated by application of task and social-emotional leadership. This substantive theory addresses the questions: what does SIX do and how does SIX carry out what they do? The theory of fluid leadership posits that SIX uses a form of horizontal leadership governed by five principles; 1) no single, primary leader, 2) leading in areas of strength, 3) accurate awareness of strengths, 4) a practice of unassuming leadership, and 5) the maintenance of a healthy relational climate. These substantive and formal theories address the question, what characterizes how SIX carries out what they do? Aural arranging and fluid leadership emerged from an environment of complex challenges wherein SIX established environments of safety and empowerment, promoting the sharing and utilization of musical and leadership thinking and knowing toward creation of an aural arrangement. Although the findings from this research are not generalizable given the single case study methodology, the theory of aural arranging presents a viable structure for creation of aural arrangements in other contemporary a cappella groups, and fluid leadership illustrates potential as a leadership model within small musical ensembles both within and beyond the formal music education classroom. The principles of fluid leadership may potentially be useful in dissimilar small groups traversing many disciplines. This study expands and enhances the current knowledge base related to contemporary a cappella, aural arranging, and leadership within small ensembles and groups.

Master of Music / Department of Music / Julie Yu / University choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful. The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decisions

This thesis is based on the research conducted by the author for the series, Richard Niles' History of Pop Arranging, seven thirty-minute documentary programmes for BBC Radio 2, researched, written and presented by the author and broadcast in 2003. It also draws on interviews conducted by the author (and other research) between 2002 and 2007 both for the radio series and for this thesis and on the author's experience as a professional arranger in popular music working with many of the genre's significant recording artists including Paul McCartney, Ray Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve Lipson, Steve Mac and Steve Anderson. It will be argued that the role of the arranger in popular music has often been undervalued and that during a critical period of popular music history (1950-2000) arrangers played a significant part in the evolution of musical content. This thesis is, to the best of the author's knowledge, the first time (apart from the above mentioned documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on record liner notes or in books or articles concerning popular music. A considerable amount of research has been necessary to determine who wrote many of the arrangements considered herein. Motown's Berry Gordy purposely kept the names of musicians and arrangers off the records because he feared others might 'poach' the trademark 'Motown Sound'. Other record labels considered the job of the arranger to be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and spontanaeity they wished to promote. Some producers and recording artists disliked sharing credit for their work. Motown arranger David Van dePitte told the author that arranging was "thankless and anonymous - a very service-oriented profession where others often take credit for what you've done." Arranging has therefore remained an intrinsically unseen art created by 'invisible' artists. By analyzing many recordings, revealing the techniques and concepts they have used in their work to create popular records, arrangers and their art will be made more 'visible'.

abstract: The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms. / Dissertation/Thesis / D.M.A. Music 2013

<p>Nordic Mashup - komp. och arr. av Magnus Holmander</p><p>klarinett: Magnus Holmander</p><p>piano: Alfredo Salvador</p>

Orientador: Antonio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T08:57:52Z (GMT). No. of bitstreams: 1 Sion_Roberto_D.pdf: 8247516 bytes, checksum: 8011c6724815011e3f5df6552a8f5b91 (MD5) Previous issue date: 2015 / Resumo: Esta tese pretende contribuir com reflexões sobre arranjo a partir da experiência profissional do autor. Segue-se um histórico conciso de como a escrita do arranjo se desenvolveu, do final do século XIX até hoje, nos Estados Unidos e no Brasil. O autor descreve o contexto social relativo a seu aprendizado, atuação como músico e as três diretrizes de sua atividade: a música popular brasileira, a tradição jazzística e a herança erudita. Finalmente, a criação de um arranjo exclusivo é demonstrada através de análise textual, grade de partitura e registro sonoro ao vivo pela Orquestra Jovem Tom Jobim / Abstract: This paper intend to contribute with some reflections about musical arranging from the author's professional experiencies. It is offered an historical description of its roots, from the late XIX century until today in the United States and Brazil. The author also comments the social contexts on which his learning and working were developed, emphasising the role played by brazilian popular music, jazz and classical backgrounds in his music. From this point on, it is described the researches and procedures taken in account to write an exclusive arrangement, using text explanation, original score and alive recording by Tom Jobim's Youth Orchestra / Doutorado / Processos Criativos / Doutor em Música