Dissertations / Theses on the topic 'Arranging'
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Lim, Sharn Selina, and sharnster@gmail com. "Engaging Space: A practice of arranging." RMIT University. Architecture + Design, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080724.114344.
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Engaging Space focuses on arranging as means to engage with space. The adaptive arrangements and spatial negotiations of street vendors provide the stimulus for my inquiry. Noticing the various ways vendors constantly engage spatially has led me to observe the ways spatial practices are adapted to suit various requirements. What might I learn, as an interior practitioner, from the spatial practices of street vendors? How might this be applied to an interior practice, to inform an understanding of adaptive methods to engage with space? Undertaking a practice of vendoring, the projects then become engaging spaces - exploring a practice of arranging to produce interiors.
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Byron, Jay M. "Jazz band arranging : original big band arrangements." FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/1950.
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This paper examines five big band arrangements written during a period of two semesters from 1998-1999. I will provide an overview and performance considerations for each arrangement. Each arrangement uses common conventions such as unison lines, octave doubling, four and five part voicings, found in closed, semi-open, and open position. Approach techniques include diatonic, dominant, diminished, chromatic, and parallel. Choice was based primarily on two considerations: desired texture and the best voice leading options identified to provide each part with a swinging line and maintain melodic integrity. Other conventions applied include chord substitution, upper structure triads, and altered and diminished scales to provide harmonic contrast and color. Each arrangement supplied new challenges and the tunes selected provided the arranger with a diverse experience of styles. The inherent qualities of the melody and harmonic progression of each piece were the primary considerations for selection.
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Davies, Elizabeth Anne. "Arranging an enantioselective aza-[2,3]-Wittig rearrangement." Thesis, University of Nottingham, 2009. http://eprints.nottingham.ac.uk/10701/.
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The use of the aza-[2,3]-Wittig sigmatropic rearrangement in the synthesis of α,α-disubstituted α-amino acids has been investigated with the emphasis on obtaining enantioenriched rearrangement products. It was hoped that an enantioenriched precursor could form an axially chiral enolate which would impart chiral information on the product. To access an axially chiral enolate, the rearrangement conditions of a known precursor 66 have been studied. Varying temperature had no effect on the enantioselectivity. Different bases were investigated with only KHMDS instigating rearrangement. Upon treatment with KHMDS, 66 rearranged to form the desired product as well as pyrrolidine 119. The temperature of the rearrangement was varied; at lower temperatures only 119 was isolated. A range of precursors with potential chelating groups has been synthesised. The effect of temperature on aza-[2,3]-Wittig rearrangement of these precursors was investigated; however, rearrangement did not occur at below temperatures of around - 40 ºC and this temperature was not low enough to provide an axially chiral enolate intermediate, as evidenced by the racemic nature of the rearrangement products. The aza-[2,3]-Wittig rearrangement of amide precursor 63 was also investigated. The only product isolated upon treatment with KH and 18-crown -6 was pyrrolidine 158. Precursors 150 (derived from tert-leucine), and oxazoline 159 were subjected to rearrangement conditions. Deuterium quench studies showed that, in both cases, deprotonation had not occurred, possibly due to the sterically encumbered enolate that would form upon deprotonation. Further investigations into the cyclisation of 66 showed that the probable mechanism was aza-[2,3]-Wittig rearrangement, followed by cyclisation. The resulting pyrrolidine was formed as a single diastereomer. Precursors 65, 67 and 175 also underwent cyclisation in a similar manner. The relative stereochemistry of these pyrrolidines was determined by nOe experiments. Studies of the mechanism of cyclisation of 63 were inconclusive. It is unknown whether pyrrolidine 158 is formed by an incomplete rearrangement or a fast rearrangement-cyclisation sequence. The utility of the cyclisation was further demonstrated by Fleming oxidation of the dimethylphenylsilyl group and protiodesilylation of 119.
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Garton, Andrew. "Spontaneous Collective Arranging for Large Jazz Ensembles." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370831.
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This thesis investigates approaches to composition and performance in a jazz context where
large ensembles are encouraged to spontaneously create arrangements of the composed
material in real-time. Case studies explore examples of compositions and performances
across the chronology of jazz history and beyond, specifically Joe “King” Oliver’s Canal
Street Blues , Duke Ellington’s Concerto for Cootie , Earle Brown’s December 1952 , Charles
Mingus’s The Black Saint and the Sinner Lady , John Zorn’s Cobra and Lawrence “Butch”
Morris’s practice of Conduction and the commonality of a performer-centric approach across
all compositions is identified. It is demonstrated that Butch Morris’s Conduction can be
viewed as a compendium of signs and gestures that allows many of the techniques of
performer-centric compositions developed throughout the twentieth century to be generated
spontaneously in performance. The thesis concludes with a reflective approach, where
compositions influenced by these case studies are presented and discussed as well as a
final extended work that synthesises the findings of the project.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Brennan, John Michael. "Show Design and Wind Arranging for Marching Ensembles." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397561909.
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Meckler, Jennifer. "Arranging for School Full Orchestras with Incomplete Instrumentation." Thesis, The William Paterson University of New Jersey, 2020. http://pqdtopen.proquest.com/#viewpdf?dispub=27668002.
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The purpose of this study is to investigate how to choose, adapt, and arrange music for school full orchestras with incomplete instrumentation that are not yet ready to perform unarranged standard literature. The literature suggests that while school full orchestra directors may be able to find some published arrangements that include generous cues for missing instruments and parts for substitute instruments, the most effective approach is to alter and arrange music as-needed. When arranging, it is important for teachers to make choices that allow for their students to be successful, but also preserve the original octaves, timbres, form, and tempo of the piece, as intended by the composer. Arranging options that accommodate incomplete instrumentation are demonstrated in an arrangement by the author for school full orchestra of Franz Joseph Haydn’s Symphony No. 82, Movement I. Further examinations of arranging techniques and abridgement considerations are provided in an additional arrangement by the author of Ludwig van Beethoven’s Symphony No. 6, Movement I, for school string orchestra. Two different published arrangements of “Dance Bacchanale,” from the opera Samson and Dalila by Camille Saint-Saëns, are compared to each other and to the original, to observe how existing arrangements anticipate and accommodate incomplete instrumentation in school full orchestras. A brief history of the full orchestra ensemble in American schools is also included.
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Holmander, Magnus. "Nordiska mästare." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2685.
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Lindell, Sebastian. "Lära i komposition : En fenomenologiskt inriktad självstudie." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-37896.
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I detta självständiga arbete utforskar jag, utifrån hermeneutiskt inriktad fenomenologi, mina processer i samband med komponerande och arrangerande för en septett bestående av elgitarr, elbas, trumset och fyra blåsare. Under två terminer förde jag loggbok över de olika moment där jag arbetade med denna kreativa process, moment som bestod av komponerande, lektioner med lärare samt repetition med ensemblen. Resultatet redovisas med hjälp av tematiseringarna Sökande efter ett kompositoriskt flöde, Frön som gror och växer samt Känslan av att hitta nya vägar. Dessa teman ställs i diskussionskapitlet mot tidigare forskning på området samt hermeneutiskt fenomenologiskt perspektiv.I this thesis I have explored my processes when composing and arranging for an ensemble consisting of electric guitar, electric bass, drums and four wind instruments. During two semesters I kept a log over the different events in which I’ve been working with this creative process, events such as composing, lessons with teachers and rehearsals with the ensemble. The result is reported in the themes The search of a compositional flow, Seeds that germinate and grow and The feeling of finding new ways. These themes are in the last chapter discussed in relation to previous research on the subject and a hermeneutic phenomenological perspective.
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Andersson, Daniel. "Watch Out : En undersökning om hur tid påverkar låtars musikaliska element." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74450.
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I detta arbete har jag undersökt huruvida min låtskrivningsprocess skiljer sig utifrån fem musikaliska element när den skrivs under tidspress. - Melodisk utveckling (omfång/register) - Rytmisk variation - Variation (låtens helhet) - Repetition - Hookar Jag har, utifrån tre bestämda tidsramar, skrivit fem låtar per tidsram, gjort demo-versioner på samtliga och fått de musikaliska elementen betygsatta av en lyssningsgrupp. Dessa betyg har jag sedan sammanställt för att se hur lyssningsgruppen har uppfattat låtarna utifrån elementen och om det då finns några skillnader när jag skriver utifrån de olika tidsramarna. Resultatet visar att det finns en tydlig olikhet mellan den kortaste och de längre tidsramarna, då det finns en påtaglig saknad av de musikaliska elementen vid den kortare tidsramen. Differensen mellan de längre tidsramarna är mer diffus men vid den längsta tidsramen är de musikaliska elementen mer närvarande, hos samtliga element, än vid den näst längsta tidsramen.
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Fisher, Brock Leslie. "Wrighting ethnography : processes of collecting and arranging ethnographic plays /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164504.
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Ghaderi, Reza. "Arranging simple neural networks to solve complex classification problems." Thesis, University of Surrey, 2000. http://epubs.surrey.ac.uk/844428/.
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In "decomposition/reconstruction" strategy, we can solve a complex problem by 1) decomposing the problem into simpler sub-problems, 2) solving sub-problems with simpler systems (sub-systems) and 3) combining the results of sub-systems to solve the original problem. In a classification task we may have "label complexity" which is due to high number of possible classes, "function complexity" which means the existence of complex input-output relationship, and "input complexity" which is due to requirement of a huge feature set to represent patterns. Error Correcting Output Code (ECOC) is a technique to reduce the label complexity in which a multi-class problem will be decomposed into a set of binary sub-problems, based oil the sequence of "0"s and "1"s of the columns of a decomposition (code) matrix. Then a given pattern can be assigned to the class having minimum distance to the results of sub-problems. The lack of knowledge about the relationship between distance measurement and class score (like posterior probabilities) has caused some essential shortcomings to answering questions about "source of effectiveness", "error analysis", " code selecting ", and " alternative reconstruction methods" in previous works. Proposing a theoretical framework in this thesis to specify this relationship, our main contributions in this subject are to: 1) explain the theoretical reasons for code selection conditions 2) suggest new conditions for code generation (equidistance code)which minimise reconstruction error and address a search technique for code selection 3) provide an analysis to show the effect of different kinds of error on final performance 4) suggest a novel combining method to reduce the effect of code word selection in non-optimum codes 5) suggest novel reconstruction frameworks to combine the component outputs. Some experiments on artificial and real benchmarks demonstrate significant improvement achieved in multi-class problems when simple feed forward neural networks are arranged based on suggested framework To solve the problem of function complexity we considered AdaBoost, as a technique which can be fused with ECOC to overcome its shortcoming for binary problems. And to handle the problems of huge feature sets, we have suggested a multi-net structure with local back propagation. To demonstrate these improvements on realistic problems a face recognition application is considered. Key words: decomposition/ reconstruction, reconstruction error, error correcting output codes, bias-variance decomposition.
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Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.
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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
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Hopkins, Evan James. "Arranging the Music of Radiohead for Classical Guitar Quartet." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26357.
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For over two decades the music of Radiohead has delighted and intrigued listeners around the world. Their music is fascinating precisely for the ways in which it confounds our expectations, carefully treading the line between established norms and the unpredictable. Music that achieves this is deemed to be ‘salient’. Brad Osborn identifies four domains in which Radiohead reliably elicit salience in the listener: form, rhythm, timbre and harmony. Building on Osborn’s pioneering work into the analysis of Radiohead’s music, I developed ten arrangements of songs by Radiohead that sought to maintain these salient elements when arranged for the classical guitar quartet. In creating these arrangements, I designed an aesthetic framework from which to operate which outlined the goals and objectives of the arrangements, including limiting the scope and design of these arrangements.
In creating these arrangements, I developed a number of novel solutions and techniques uncommon in the classical guitar repertoire. These solutions were developed in the pursuit of maintaining the salient elements of Radiohead’s music. At times, I also made use of the same compositional techniques that Radiohead frequently employ to create salience through the composition of original parts so that I might create more satisfying arrangements.
This dissertation outlines the process of creating these arrangements while also undertaking a musical analysis of the songs arranged for this project in order to understand and preserve the salient elements. The discussion of this dissertation follows the structure of Osborn’s analysis and is appropriately divided into the four domains identified as evoking salience in the listener.
This dissertation describes how in creating these arrangements for classical guitar quartet I was able to maintain the salient elements of Radiohead’s music, while creating arrangements that are appealing to a wide variety of listeners. This research shows the value in making arrangements of popular music for classical instruments and how in doing so we may develop our own instances of salience, subverting the commonly held notions of what is expected in classical music.
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McKenzie, Daryl, and dmck@netspace net au. "Arranging and Orchestration methods:a model text for post secondary courses." RMIT University. Education, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081029.145347.
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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.
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Sheller, Nikhita Siobhan. "Klezmer: An Exploration of a Genre Through Arranging and Performing." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556279951977829.
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Anders, Ariel(Ariel Sharone). "Reliably arranging objects : a conformant planning approach to robot manipulation." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/121649.
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This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Thesis: Ph. D., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 2019
Cataloged from student-submitted PDF version of thesis. Vita.
Includes bibliographical references (pages 123-126).
A crucial challenge in robotics is achieving reliable results in spite of sensing and control uncertainty. In this work, we explore the conformant planning approach to reliable robot manipulation. In particular, we tackle the problem of pushing multiple planar objects simultaneously to achieve a specified arrangement without using external sensing. A conformant plan is a sequence of manipulation actions that reliably achieve a goal arrangement in spite of uncertainty in object pose and nondeterministic action outcomes, and without assuming the availability of additional observations. To find conformant plans, we explored two different approaches: Conformant planning by construction. This approach formalizes conformant planning as a belief-state planning problem. A belief state is the set of all possible states of the world, and the objective is to find a sequence of actions that will bring an initial belief state to a goal belief state. To do forward belief-state planning, we created a deterministic belief-state transition model from on-line physics-based simulations and supervised learning based on off-line physics simulations. Conformant planning through plan improvement. This approach takes a deterministic manipulation plan and augments it by adding fixtures (movable obstacles) to push parts up against. This method uses an optimization-based approach to determine the ideal fixture placement location. This thesis provides insight and develops approaches toward scalable methods for solving challenging planar manipulation problems with multiple objects or concave shape geometry. We show the success of these approaches based on planning times and robustness in real and simulated experiments.
by Ariel S. Anders.
Ph. D.
Ph.D. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Morin, Viktor. "Intuition, Teknik och Erfarenhet : Observation av en lärandeprocess." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36993.
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Detta är en studie om lärande- och skapandeprocesser. Mer specifikt innefattar studien en observation av hur jag arrangerar 3 låtar för olika instrument under en tidsbestämd period. De frågor som behandlas är vilka tekniker jag använder, vilka problem som uppstår och hur det fungerar att arrangera på tid. Slutsatsen av hela observationen har visat att det är en bredd av faktorer som samspelar i kompositionsprocessen. Det har visat sig att jag applicerar intuition, diskursivt tänkande, musikteoretisk teknik och erfarenhet i arrangeringen av musik. Observationen är till stor del belyst av det fenomenologiska perspektivet och fenomenologisk metod används i analysen av mitt observerade material.This is a study about learning and creative processes. More specifically, the study contains an observation of how I arrange three songs for different instruments within a specific time limit. The questions that are accounted for in this study are what techniques I use, which problems arise and how the time limit affects the result. The result of this study shows that a variety of factors are present during my composition/arranging process. It shows that I apply intuition, discursive thinking, music theoretical techniques, and experience in the field of arranging music. The observation is, to some extent, analysed from phenomenological perspective.
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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Thesis (D.M.A.)--UCLA, 2008.Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).
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Evanshen, Pamela, and Janet Faulk. "Looking Through a Lens: Arranging the Classroom for Social Learning Experiences." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/4354.
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NGUYEN, MINH THANG. "Arranging multiple types of enzymes in defined space by modular adaptors." Kyoto University, 2019. http://hdl.handle.net/2433/242324.
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Bayseferogullari, Can. "Improving Operational Performance Of Antennas On Complex Platforms By Arranging Their Placements." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612762/index.pdf.
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The aim of this thesis is to improve the operational performance of the communication antennas mounted on complex platforms such as aircrafts and warships by arranging placements of these antennas.
Towards this aim, primarily, in order to gain insight on the influence of geometrically simple structures composing the platform on antenna performance, a quarter wavelength monopole antenna placed at the center of a finite square ground plane is studied by using uniform Geometrical Theory of Diffraction (GTD). Besides, the change of far field radiation pattern and complex diffraction functions due to the variation of the width of a square ground plane is examined.
Secondly, electromagnetic analysis of two Ultra High Frequency (UHF) antennas mounted on geometrically simple structures composing simplified F-4 aircraft is carried out by using transient solver of Computer Simulation Technology (CST) Microwave Studio®(MWS), in order to conceive the influence of each structure on antenna performance. Then, electromagnetic analysis of these antennas mounted on simplified and original F-4 aircrafts is performed, in order to determine the optimal location of the lower UHF antenna (newly installed antenna) for the operational performance of this antenna to be optimum in terms of electromagnetic coupling and far field radiation pattern. Finally, electromagnetic analysis of the communication antennas mounted on a warship is performed by using transient solver of CST MWS®
, in order to determine the optimal locations of these antennas for the operational performance of these antennas to be optimum in terms of electromagnetic coupling and far field radiation pattern.
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Smith, Jane Elizabeth. "Experiences of caregivers in arranging services for survivors of traumatic brain injury." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/MQ34476.pdf.
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Wolf, Stephanie Alana. "Narratives of Anatomy: Arranging Identity and Regulating Visibility in the Nineteenth Century Anatomical Museum." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/honors_theses/3.
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During the nineteenth century, museums dedicated to the collection, preservation, and display of human anatomy became familiar institutions in America and Europe. The anatomical museum operated under one of two guises: popular museums run as commercial establishments, or medical museums attached to a professional medical society or college. Over the course of the century, the medical establishment sought to cement its authority over anatomy by legitimating its expertise through specialized training. Doctors criticized commercial anatomical museums, which were eventually closed under accusations of obscenity, yet there was considerable overlap in the types of objects on display at both museums. This paper examines how the medical museum was permitted to supersede its commercial cousin and explores the exhibitionary narratives at the sites of both types of institutions.
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Jacobs, Natalie. "Adapting the Music of Argentinean Tango for Wind Quintet: Techniques for Arranging and Performance." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365360.
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In recent times the wind quintet chamber ensemble from the European classical music tradition has incorporated diverse forms of music in its repertoire including the music of Argentinean tango. Despite tango's popularity, only a limited number of arrangements for wind quintet are available. Incorporating diverse forms of music has shown to be an innovative practice in which to expand on the repertoire of European classical music to further sustain and continue its survival as well as providing new and exciting performances for musicians and audiences. This paper discusses the historical background of the wind quintet and the music of Argentinean tango, followed by an analysis of tango's performance practice techniques, yeites, and how these are adapted to the wind quintet. Three tango compositions are then presented to further explore tango's performance mannerisms. This research is important, firstly, as the wind quintet is removed from the cultural context of tango and secondly the manner in which tango is performed is vastly different to its notation on the score. The outcome of this study resulted in my personal wind quintet arrangements of tango compositions for my Master of Music Research degree which were performed with my wind quintet, Liber Winds.Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium of Music
Arts, Education and Law
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Swanson, Christina Marie. "Adding to the viola repertoire by arranging: A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280389.
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The purpose of this document is to present research on methods of arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects of research include arrangements made by the composer as well as those made by other arrangers. Principal works studied include the Brahms Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A. Examples are also included from other relevant works fitting the criteria. Following the analysis on arranging techniques, I have used knowledge gained from my research to prepare an arrangement for viola of the Saint-Saens Clarinet Sonata in E-flat, Op. 167. Saint-Saens, who wrote no solo music for the viola, wrote many pieces for both the violin and the cello, some of which are standard in the solo repertoire for these instruments. Since there is a dearth of viola music by romantic composers, a Saint-Saens arrangement will help fill a gap in the solo repertoire for the viola. This sonata has qualities that make it an ideal candidate for a successful arrangement for viola. Following this project, I will attempt to publish the arrangement, so that it may be available to violists around the country.
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Ahone, Lauri. "Djentophonic Project : A Meeting Point of Classical and Metal Music Through Percussion Ensemble." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1941.
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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.
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Armstrong, Joshua Kyle. "Marimba Duo Transcriptions: Expanding the Western Art Music Tradition for Percussionists." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/306927.
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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.
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Carver, Ben. "Arranging the past, reconsidering the present : the emergence of alternate history in the nineteenth century." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4243.
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This study examines the expression and patterns of alternate history in nineteenth-century Britain and France. “Alternate history” refers to the presentation of events that did not happen in order to consider historical trajectories that might have been and the consequent displacements of present and future. The central chapters of this thesis correspond to the three fields of writing in which these texts are clustered: in narratives of undefeated and resurgent Napoleons, which I trace from the rival journalistic claims made about Napoleon and his historical significance; in accounts that re-imagine the transition from antiquity to modernity, for example by delaying the passage of Christianity from the Middle East to western Europe; and, as part of the plurality-of-worlds debate, in the popular-astronomical imagination of variant versions of human history upon other planets. Three patterns of alternate history are discernible: the romantic-utopian, the critical-reflexive and the linear-chronological. I attach to these patterns the figures of the garden, the map and the dial. These models do not correspond to the three temporal fields of the recent, antique and planetary past, and there is not a straightforward development of these patterns or modes across the nineteenth century; they rather represent a spectrum of purposes for the fictional alteration of the past which occur at various moments and contexts in the century. Alternate history in this period has never been the subject of in-depth analysis. The approach of this study will not absorb such transformations of history into a tradition of futurist writing, as some critics have done. Maintaining alternate history’s distinctness from futurism makes it possible to avoid framing the texts as precursors to science fiction’s historical anticipations. This study will argue that alternate history should instead be recognised as a category of writing that is aware of and concerned with the way that history is written and received, in particular with history’s interactions with other literary forms and the relationships between writing history and other disciplinary fields. More broadly, alternate history should be interpreted in the context of the often described formation of History as a positivist discipline by the late nineteenth century; but far from indicating a steady progression toward scientific historiography, alternate-historical texts reflect upon that transformation and its consequences in other literary fields (journalism, political theory, popular Astronomy, the romance novel) in the century whose “great obsession” is said to have been history.
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Davies, Glynis L. "An analysis of Pat Metheny's and Lyle Mays's "Third Wind"| Arranging techniques and performance considerations." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587274.
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This paper explores the arranging techniques and performance considerations related to the transcription and analysis of "Third Wind" by Pat Metheny and Lyle Mays; it compares Metheny and Mays' original piece to the author's arrangement as performed at her Master's Recital. Biographical information about Metheny and Mays are used as a preface to their lives as composers and performers. Also included is an in-depth analysis of the original lead sheet, the author's arrangement, and the performance itself. The incorporation of wordless vocals, as used in the original, is also covered. The author wrote original lyrics for parts of the song that help to clarify her interpretation of this lengthy through-composed piece of music.
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Lindroth, James Teodor. "The Impact of Arranging Music for the Large Ensemble on the Teacher: A Phenomenological Exploration." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4127.
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Abstract
The purpose of this study was to examine the phenomenon of what arranging music in the large instrumental ensemble music setting came to mean to the teachers doing the arranging. Four secondary music teachers (N=4) were asked to create a musical arrangement for one of their school ensembles. Over a period of seven weeks, participants rehearsed their arrangement with their students. This study was guided by research on creative identity, the self, and various identity theories from the field of the social sciences. Data were collected by way of in depth semi-constructed interviews, field observations, and journals; and were analyzed Patton's phenomenological method (Patton, 2002).
In analyzing the data, five major themes emerged: a) time and preparation, b) pre-service teacher training, c) educational/curricular design, d) professional development, and e) teacher/student relations. The findings suggest that participants created their arrangements with a focus on their students' needs and that arrangements were revised several times over the rehearsal phase of the study. They did not follow on particular teaching model, but rather a combination of teaching models to rehearse their arrangement. The act of arranging music opened new doors to learning for both the participants and their students. They appeared to have increased interactions during rehearsals and participants reported improved personal relations with their students. Participants seemed to find a balance between their teacher and musician identities by molding these identities together to create their music teacher identity. They also reported an increase in knowledge of musical instrument pedagogy.
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Ross, April Marie. "A Guide to Arranging Late Eighteenth and Early Nineteenth Century Harmoniemusik in an Historical Style." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804847/.
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The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.
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Persson, Josefine. "Att skapa musik där 1+1=3 : Att arrangera och komponera flöjtmusik med interferenstoner." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-79098.
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I denna studie undersöks hur arrangering och komponering av flöjtmusik med interferenstoner kan gå till. Syftet med studien har varit att undersöka skapandeprocessen. I studien beskrivs vad interferenstoner är och hur de fungerar på tvärflöjt. Under studien skapades tre arrangemang och åtta kompositioner som är skrivna antingen för två flöjtister som spelar tillsammans eller för en sjungande flöjtist. Studien identifierar olika resurser som har använts under arrangerings-, och komponeringsprocessen och förklarar även hur de användes. I studien beskrivs också hur arrangemangen och kompositionerna har designats för att interferenstonerna ska uppmärksam- mas.This study investigates the process of arranging and composing music with difference notes for flute. The purpose of the study was to investigate the creative process. The study also describes what a difference note is and how it works on a flute. During the study three arrangements and eight compositions were created and the pieces are either for two flutists playing together or for one singing flutist. The study identifies different resources that are being used during the arranging and composing process and explains how they are being used. The study further describes how the arrangements and compositions have been designed so that the difference notes will be audible.
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Nordliden, Johanna. "Arrangering för stråkinstrument : En fenomenologisk självstudie i arrangering utifrån musikaliska parametrar." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85461.
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I detta självständiga arbete undersöks upplevelsen av arrangering för stråkinstrument utifrån olika musikaliska parametrar. Syftet med arbetet är att analysera dessa upplevelser samt att studera hur inställningen och självförtroendet till arrangeringen varierar och utvecklas. Under tre månader skapas arrangemang av åtta låtar av varierande karaktär, där processen dokumenteras med hjälp av loggbok och analyseras med tematisk analys. Med stöd från det fenomenologiska perspektivet och vald litteratur presenteras ett resultat utifrån följande frågeställningar: Hur påverkar olika musikaliska parametrar så som gehör, rytmik och harmonisering vid arrangering? Hur upplevs arrangeringsprocessen utifrån inställning, självförtroende och utmaningar? Resultatet delas in i två teman som baseras på dessa frågeställningar, Musikaliska parametrar och Upplevelsen av arrangering. I resultatet framkommer att plankning och gehörsbaserad arrangering upplevs som lustfylld och utmanande. Utveckling vad gäller harmonisering och musikteori analyseras och vid arrangering för elever dras slutsatsen att balansen mellan utmaningar och tydlighet i arrangemanget är en utmaning även för arrangören. Struktur lyfts som en betydelsefull faktor i processen och inställningen till arbetet är mestadels positiv. Motgångar ger ny drivkraft och inspiration till nya idéer och självförtroendet växer under arbetets gång. Avslutningsvis följer en diskussion kring arbetets resultat i relation till vald litteratur och det fenomenologiska perspektivet.In this self-study the experience of arranging for string instruments is examined based on different musical parameters. The purpose of this study is to analyze these experiences and to examine how the attitude and self-confidence varies and develops. During three months, arrangements of eight songs of varying character are created, where the process is documented with the help of a journal and analyzed with thematic analysis. With support from the phenomenological perspective and selected literature, a result is presented based on the following questions: How do different musical parameters such as hearing, rhythm and harmonization affect when arranging? How is the arrangement process experienced based on attitude, self-confidence and challenges? The results are divided into two themes based on these issues, musical parameters and the experience of arrangement. The results show that an aural-based arrangement is experienced as pleasurable and challenging. Development in terms of harmonization and music theory is analyzed and when arranging for students, it is concluded that the balance between challenges and clarity in the arrangement is indeed a challenge for the arranger as well. Structure is highlighted as a significant factor in the process and the attitude to the study is mostly positive. Adversity provides new impetus and inspiration to new ideas and self-confidence grows during the study. In conclusion, a discussion follows about the results of the study in relation to selected literature and the phenomenological perspective.
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Niles, Richard. "The invisible artist : arrangers in popular music (1950-2000) : their contribution and techniques." Thesis, Brunel University, 2007. http://bura.brunel.ac.uk/handle/2438/7914.
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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'.
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Leanderson-Andréas, Elinne. "Input - output : låtskrivandes utveckling genom samspel." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1453.
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Det här projektet handlar om att utveckla mitt låtskrivande och vikten av att få både input och output från mina medmusiker och därigenom inspiration till att komponera och arrangera. Jag skriver låtar i genren pop/singer-songwriter men då jag själv är violinist har jag valt att spela med bara stråkinstrument och sång. Bandet består av mig som sjunger och spelar fiol, en cellist och en violinist som även sjunger. I arbetet kan man läsa om processen genom komponerande, arrangerande och repeterande av de fyra låtarna jag har skrivit. Målet är att skriva låtar, arrangera dem, repetera dem, spela in dem i studio, mixa låtarna och sedan spela dem på en konsert. Dessutom finns det ett mål att utvecklas musikaliskt och personligt och våga stå för den musik jag skriver. Nu finns låtarna upplagda på internet (http:// soundcloud.com/violinne) och jag är mycket nöjd med resultatet.This project is about developing my songwriting and the importance of getting both input and output from my fellow musicians and thereby inspired to compose and arrange. I write songs in the genre of pop / singer-songwriter but as I myself am a violinist, I have chosen to play with only stringed instruments and vocals. The band consists of me singing and playing the violin, a cello and a violin player who also sings. In this project, you can read about the process by composing, arranging and repeating the four songs I've written. The goal is to write songs, arrange them, repeat them, record them in the studio, mix songs and have a public play. There is also a personal goal to evolve musically and personally, and self courage of the music I write. Now there are songs uploaded on the Internet (http://soundcloud.com/ violinne) and I am very happy with the results.
Bilaga: 1 CD
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Blair, Mariana Pamela. "Music for the ballet class: a theoretical approach to selecting and structuring music using pastiche arranging methods." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406634152.
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Fox, Heather A. "Arranging Stories: The Implications of Narrative Decision in Short Story Collections by Southern Women Writers, 1894-1944." Scholar Commons, 2017. https://scholarcommons.usf.edu/etd/7254.
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Southern writer Ellen Glasgow once told an audience that “the longer one lives in this world of hazard and disaster, the more reckless one should become . . . in the matter of words.” Between the 1880s and the 1940s, opportunities for southern women writers like Glasgow increased dramatically, first bolstered by readership demands for southern stories in northern periodicals and followed by their acceptance into the southern literary canon during the 1920s-30s Southern Renaissance movement. And yet, it remained difficult for southern women writers to be reckless with words. Confined by magazine requirements and sociocultural expectations, writers often used regional settings to attract publishers and readers. Once a readership was established, they sought to publish a collection of stories separate from popular magazine contexts. This project examines the selection and arrangement of previously-published magazine stories into first short story collections by Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter. Publishing a collection enabled authors to revise their stories outside of magazines’ requirements and provided the agency to arrange individual stories into a collective narrative. In “Arranging Stories,” I argue that selecting and ordering magazine stories for these collections was not arbitrary nor dictated by editors. Instead, it allowed women writers to privilege stories, or to contextualize a particular story by its proximity to other tales, as a form of sociopolitical commentary. This project, supported by archival research at ten institutional repositories, invites a reconsideration of women writers’ authorial control throughout the publication process.
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Sion, Roberto 1946. "A arte de arranjar e procedimentos usados no arranjo sinfônico para a canção Estrada Branca de Tom Jobim e Vinicius de Moraes." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285322.
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Orientador: Antonio Rafael Carvalho dos SantosTese (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
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Marjamäki, Veikko. "Franz Schubert's "Arpeggione" sonata : Style, background and role in romantic viola repertoire." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3978.
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The importance that Franz Schuberts music has on any classical musician is almost indisputable. His output stretches over all the important genres of his time and while he never wrote solo pieces specifically for the viola, one work has gained an essential status in the viola repertoire. That work being the sonata for arpeggione and piano, D. 821. Volumes have been written on Schubert, his style, early 19th century Vienna, romanticism, classicism and the formal development of the sonata form as well as the rise of the bourgeoise music scene. Perhaps less is written on the viola and especially the arpeggione. My aim in this paper is to answer the question,” why arpeggione?”. Why does this work hold such a high status in our repertoire? I shall approach this question by both presenting the sonata in question by drawing its background and generally the style and background of Schubert and early romantic Vienna, and also by introducing two alternative early romantic sonatas, both by esteemed composers and written originally for viola. Lastly, I shall dissect the mostly arrangement-related challenges of the arpeggione sonata and discuss different reasons for it having attained such an important role in spite of its problematic suitability for the viola.
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Das, Sreashi. "Arranging an arranged marriage an autoethnography on the performance of self while negotiating an alliance in contemporary India /." Click here for download, 2010. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=1947082161&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Cassidy, Timothy John. "Modern a cappella-pop and showchoir methods for the classically trained music educator." Kansas State University, 2013. http://hdl.handle.net/2097/15629.
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Master of MusicDepartment 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
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Evens, Gabe. "A Model of Collaborative Creativity: The Arrangements of Nelson Riddle for Frank Sinatra and Ella Fitzgerald." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849765/.
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This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product.
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Williams, Jeffrey C. "Love and Loss: A Contemporary Song Cycle." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588778516530969.
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Alexander, Jan. "Turning the Odds in My Favor : Exploring Non-Isochronous Meters Through Composition and Practice." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4064.
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This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements.The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I rehearsed and performed with an ensemble. During the process of composing, arranging, practicing and rehearsing, I gained a lot of articulated knowledge as well as embodied knowledge of the idiosyncrasies of various non-isochronous meters and different ways to perceive and play them.
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Luttrell, Briony M. "A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108032/2/Briony_Luttrell_Thesis.pdf.
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This thesis contributes new knowledge about writing and analyzing string arrangements for recorded Popular music. I show how string arrangements can be categorized under one of seven distinct styles that are made coherent and meaningful through their identification with specific social and cultural institutions. The string styles are derived from and situated in a cultural and historical corpus of 500 albums released between 1952 and 2011. The thesis offers a new way for arrangers to analyze examples of practice, inform new creative work, and communicate with other musical professionals about string arranging.
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Belck, Scott Brian. "LICKETY SPLIT: Modern Aspects of Composition and Orchestration in the Large Jazz Ensemble Compositions of Jim McNeely: An Analysis of EXTRA CREDIT, IN THE WEE SMALL HOURS OF THE MORNING, and ABSOLUTION." Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1204569102.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Advisor: Alan Siebert. Title from electronic thesis title page (viewed May 12, 2008). Includes abstract. Keywords: McNeely, Jim; jazz arranging; wright, rayburn; vanguard jazz orchestra; Thad Jones Mel Lewis jazz orchestra; jazz composition;. Includes bibliographical references.
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Landh, Evelina. "Arrangering för vokalgrupp." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2630.
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Syftet med detta arbete är att synliggöra processen vid arrangerandet av en låt för vokalgrupp i den afroamerikanska genren. Bland annat musikteoriprofessorn Roine Janssons idéer om vokalgruppsarrangering, The Real Groups- och Trey McLaughlins vokalgruppsarrangemang har inspirerat detta arbete. För att undersöka processen har den dokumenterats genom loggboksskrivande, sparade sibeliusutkast och videoinspelningar från träffar med en ihopsatt vokalgrupp som testar arrangemanget allteftersom det utformats. Undersökandet av vad en kreativ process innebär har också stått i fokus. I mitt resultat har det kommit fram vad jag har lagt störst vikt vid. Det har varit variation, dynamisk balans, låta röster härma andra instrument, sociala aspekter vid arrangerandet och att ha tid och att bejaka och testa allt. Jag har till stor del arbetat efter eget tycke och smak med att arrangera och experimentera för att hitta en helhet så som jag vill ha den och som fungerar för sångare i målgruppen. I diskussionen tar jag upp insikter om arrangering och vad som har gynnat kreativiteten.
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Nylin, Sebastian. "Arrangering för sologitarr." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2597.
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Detta arbetegår ut på att hitta konkreta tekniker för hur populärmusik kan arrangeras för sologitarr, specifikt inom genren fingerstyle. Utgångspunkten för arrangemangen har varit att i så stor grad som möjligt behålla de rytmiska, harmoniska och melodiska komponenter som originallåtarna innehåller.Med hjälp utav allmänna arrangeringsmetoder såväl som tekniker specifika för gitarren har arrangemangen växt fram. Digital inspelning har varit den främsta källan till dokumentation. Utöver dessa inspelningar har valda stycken noterats för analys. Detta har resulterat i fyra kompletta arrangemang och ett oavslutat. Alternativa stämningar och capotasto har i hög grad används för att bättra gitarrens kompabilitet med grundmaterialet. Genomatt manipulera stämningen efter låten behov blir det möjligt att förlägga stora delar av både melodin och ackorden på öppna strängar, vilket i min mening ger arrangemanget en större öppenhet och ett bättre flyt än om gitarrens normalstämning hade använts.I slutändan formades arrangemangen för mycket av mina egna tekniska förutsättningar, vilket lede till ett i mitt tycke alltför homogent slutresultat. Då arrangemangen endast spelats av mig har det varit svårt att separera min roll som arrangör från den som gitarrist, och vad jag själv har kunnat åstadkomma på instrumentet har dikterat slutresultatet mer än önskvärt.
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Hankins, Elizabeth Aylmer. "An Exploration of Musical Habits of Alumni from “The Lakewood Project” and How They Musick After High School." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492171182633657.
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Nilsson, Robin. "Komposition och arrangering för sologitarr." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1454.
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Syftet med detta självständiga arbete var att utveckla mina kunskaper inom komposition och arrangering för solospel på gitarr. I studiesyfte har jag undersökt traditionellt solospel för gitarr, så kallad chord melody och hämtat inspiration och idéer från inspelningar av tongivande gitarrister. Med den utgångspunkten har jag tittat på hur man vanligtvis harmoniserar för gitarr i jazzgenren och experimenterat för att hitta ett eget uttryck. Den största kreativa delen av arbetet har varit att, efter eget tycke, komponera, experimentera och arrangera för att hitta ett spelsätt som uttrycker min musik så som jag vill att det ska låta. En strävan har varit försöka frigöra mig från normer kring låtuppbyggnad, genretypiska spelsätt och teoretiskt tänk i syfte att försöka skapa något eget och personligt. Arbetet resulterade i en studioinspelning av fyra låtar där tre är egenkomponerade och en är en komposition av Bill Evans som jag arrangerat för sologitarr.Bilaga: 1 CD