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Relevant bibliographies by topics / Orchestral music

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Academic literature on the topic 'Orchestral music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Orchestral music"

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[李明晏], Lee Ming-yen. "Performing the South Seas: Singapore Chinese Orchestra and the Making of Nanyang-Style Music." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 9–26. http://dx.doi.org/10.30819/aemr.9-2.

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Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.

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Sun, Mingyu, and Yan Lin. "The dialogue between ethnicity and symphony. On the composition and development of Chinese ethnic orchestral music in the New Era." OOO "Zhurnal "Voprosy Istorii" 2022, no. 10-2 (October 1, 2022): 250–57. http://dx.doi.org/10.31166/voprosyistorii202210statyi60.

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Chinese folk orchestral music is the product of the combination of thousands of years of Chinese instrumental ensemble culture and the excellent orchestral experience of the West. In the past hundred years, Chinese folk orchestra has gone through the process of “from learning and imitation to integration and innovation” twice. Since the New Era, Chinese folk orchestras have been developing rapidly, the number of outstanding composers has been increasing, the compositional style has been diversified, and the creative space has been active. This paper analyzes the creation of folk orchestras in the New era, and then gives the path and suggestions to promote the development of folk orchestras.

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Woolford, Donald H., Edward C. Carterette, and Donald E. Morgan. "Hearing Impairment among Orchestral Musicians." Music Perception 5, no. 3 (1988): 261–84. http://dx.doi.org/10.2307/40285400.

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It would seem anomalous that an orchestral musician would have less than normal hearing in order to monitor an exacting musical output. However, some recent studies show that a proportion of symphony musicians do have hearing impairments of various pathologies of which noise exposure, including the music alone, is the dominant causal factor. Intense music exposures in symphony orchestras often exceed the intensity standards of hearing conversation. A basic procedure for industrial hearing conservation is the control of the sound at the source, but the very purpose of the orchestra prevents its use. Hearing protection which is used voluntarily by some musicians presents a different sound picture. The control of intensity of music exposures is necessary but is separate from the concern of the present study with industrial issues and the perceptual-motor performance of musicians. Relevant aspects which are briefly reviewed include the incidence, susceptibility, and severity of hearing impairment among musicians; musical performance of the hearing impaired and the effects of various pathologies on their performance; medical-legal rules of impairment, disability, and handicap; and the incidence of compensible losses among musicians of certain orchestras. Illustrative results are presented of a preliminary study of hearing among 13 volunteer members of The Los Angeles Philharmonic Orchestra. It is suggested that a three- phase study be done: (1) a comparative study of hearing among symphony orchestras; (2) development of comprehensive tests to determine hearing-related performance; (3) provision of a rational basis for hearing criteria in the case of musicians for dealing with their employment, transfer, retirement, disability, handicap, and award of compensation. A fourth issue requiring concurrent study is the conserving of the hearing of orchestral musicians.

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De Souza, Jonathan. "Orchestra Machines, Old and New." Organised Sound 23, no. 2 (July 31, 2018): 156–66. http://dx.doi.org/10.1017/s1355771818000031.

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What is ‘orchestral’ about a networked laptop orchestra? And what is network-like about a classical orchestra? This article juxtaposes orchestras, nineteenth-century music machines and twenty-first-century network music projects. Drawing on organology and cybernetics, it asks how these systems connect people and instruments. It considers interaction and coordination in particular networks, from the panharmonicon to PLork, but also their abstract informational topologies. Ultimately, orchestra machines, old and new, involve both technical and social organisation – and, as such, they can be used to problematise the ontological separation of technology and society.

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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.

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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.

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Duraković, Lada, and Marijana Kokanović Marković. "From the History of Military Music in the Austro-Hungarian Monarchy." Musicological Annual 57, no. 1 (July 5, 2021): 65–84. http://dx.doi.org/10.4312/mz.57.1.65-84.

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The subject of this paper is the work of Franz Jaksch (1851–1931), a versatile musician who served as the bandmaster of the Imperial and Royal Navy Orchestra in Pula, the main port of the Austro-Hungarian monarchy in the period between 1899 and 1917. It was in Pula that he composed most of his pieces tailored for military orchestras, opera stages and bourgeois salons. During his bandmaster term, the Navy Orchestra performed some of the most significant orchestral pieces from the symphonic repertoire.

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Volodymyr Fedorovych, CHERKASOV. "FORMATION OF CONDUCTING AND ORCHESTRAL COMPETENCE OF FUTURE TEACHERS MUSICAL ART." Academis notes. Series: Pedagogical sciences 5 (November 23, 2023): 50–55. http://dx.doi.org/10.59694/ped_sciences.2023.05.050.

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The article proves the formation of conducting and orchestral competence of future music teachers. The formula for the successful performance of an orchestra largely depends on the professional training of the leader of the group, the formation of his conducting and orchestral competence, which includes certain qualities, among which are communication skills, which perform many important functions in the development of the individual. It is proven that several types of communicative skills are distinguished in the scientific environment, namely: informationalcommunicative, regulatory-communicative and affective-communicative. It has been established that the conducting and orchestral competence of future music teachers is formed in the process of working on an orchestral score under the conditions of introducing certain qualities into the rehearsal and stage-performance process. In the process of working on an orchestral score, the conducting and orchestral competence of future music teachers is formed in the process: analysis of the orchestral score of a musical work; detailed analysis of a musical work; works on fragments of musical works; improvement of conducting technique skills; reading orchestral parts; fixation of musical material. It has been proven that the formation of conducting and orchestral competence of future music teachers is realized in the process of individual classes and independent work of students of higher education. At the same time, the following teaching methods are introduced, such as: practical classes, counseling, the method of reading from a letter, the method of artistic context, the method of emotional drama, the method of working in an orchestra, the interpretation of a musical piece, the method of working on the orchestral score of a musi

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Urniežius, Rytis. "Grieg and Violins." Musicological Annual 57, no. 2 (December 28, 2021): 83–103. http://dx.doi.org/10.4312/mz.57.2.83-103.

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Violin was Edvard Grieg’s favourite orchestral instrument. This affinity expanded to other string family instruments and a string orchestra. The article aims to characterise Grieg’s two-movement cycles of miniatures for string orchestra, emphasizing the features of their orchestration. The analysis revealed that these cycles should be considered as original and creative orchestral compositions where the composer efficiently employs the possibilities of string instruments.

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Lonnert, Lia. "Amateur orchestras as a learning environment for music academy students." International Journal of Community Music 13, no. 1 (May 1, 2020): 49–63. http://dx.doi.org/10.1386/ijcm_00012_1.

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Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student’s overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.

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Kenny, Dianna T., Tim Driscoll, and Bronwen J. Ackermann. "Is Playing in the Pit Really the Pits? Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 1–7. http://dx.doi.org/10.21091/mppa.2016.1001.

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INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.

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Dissertations / Theses on the topic "Orchestral music"

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Obregon, Luis J. "Cuauhtli (the Aztec eagle)." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227461849.

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Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.

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Wu, Yimin. "Looking for." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554512235019402.

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Weimer, Steven M. "Monoliths, an orchestral work." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1399624092.

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Chen, Ying-Lung Chen Yi. "Taiwan suite for orchestra." Diss., UMK access, 2007.

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Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007.
"A dissertation in music composition." Typescript. Advisor: Chen Yi. Vita. Description based on contents viewed Nov. 20, 2007; title from "catalog record" of the print edition. Online version of the print edition.

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Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.

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Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.

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Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.

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Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.

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Nakao, Maiko Mobberley James. "Music at will." Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
"A thesis in music composition." Advisor: James Mobberley Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Page, Isaac. "Orchestral Music of the Canadian Centennial." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586955294987414.

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Más-Arocas, Octavio. "Fearless Programming: Invigorating the American Orchestral Tradition through New Music." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467125862.

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Books on the topic "Orchestral music"

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David, Daniels. Orchestral music: A handbook. 3rd ed. Lanham, Md: Scarecrow Press, 1996.

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Korhonen, Kimmo. Finnish orchestral music. Helsinki: Foundation for the Promotion of Finnish Music, Finnish Music Information Centre, 1995.

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Baird, Tadeusz. Songs and orchestral music. London: Olympia, 1993.

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Prévost, André. Fantasmes: [orchestre = orchestra, 1963]. Saint-Nicolas (Québec), Canada: Doberman-Yppan, 2002.

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Daniels, David. Orchestral music: A handbook. 4th ed. Lanham, MD: Scarecrow Press, 2006.

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K, Farish Margaret, ed. Orchestral music in print. Philadelphia: Musicdata, 1994.

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Centre, Canadian Music. Canadian orchestral music catalogue. Toronto: Canadian Music Centre = Centre de musique canadienne, 1994.

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Neeme, Jarvi, and London Symphony Orchestra, eds. Hungarian dances: (orchestral). Netherlands]: Brilliant Classics, 2008.

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Mann, Alfred. Handel: The orchestral music : orchestral concertos, organ concertos, Water music, Music for the royal fireworks. New York: Schirmer Books, 1995.

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Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.

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Book chapters on the topic "Orchestral music"

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Taylor, Benedict. "Orchestral Music." In Arthur Sullivan, 30–56. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-3.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Baroque Orchestral Music." In Anthology to Accompany Gateways to Understanding Music, 60–65. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-20.

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Dixon, Gavin. "Orchestral Works." In The Routledge Handbook to the Music of Alfred Schnittke, 102–88. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429274046-5.

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Pitts, Stephanie, Karen Burland, and Tom Spurgin. "6. Becoming a Classical Musician of the Future." In Classical Music Futures, 103–26. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.06.

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This chapter draws upon 26 survey responses and four interviews with musicians from our two partner orchestras, in which the musicians reflect on their training and the extent to which this prepared them for professional orchestral playing. These exploratory findings raise questions about the role of conservatoires in supporting or inhibiting innovation in the profession, highlight the challenges of work-life balance that were altered by the pandemic, and show how musicians themselves can be agents for change. The second half of the chapter will report on a conversation between musicians and directors at the two orchestras, in which they respond to the findings and help set the agenda for future research and innovation. Little research has so far focused on the impact of innovation in classical music on performers’ experience and wellbeing, or upon the resultant changes that might be needed in conservatoire and university music education to equip performers for this new age (Burland & Bennett, 2022). In our collaboration between the Sheffield Performer and Audience Research Centre (SPARC), Manchester Collective and the Philharmonia Orchestra, we are raising questions about how performers in heritage and alternative classical music organisations are adapting to changing circumstances.

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Doyle, Jenna. "Mixing and Recording a Small Orchestral Ensemble to Create a Large Orchestral Sound." In Innovation in Music, 226–47. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-15.

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Simms, Bryan R. "Writings on Berg's Orchestral Music." In Alban Berg, 150–67. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003248965-7.

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"ORCHESTRAL MUSIC." In Music in the 20th Century (3 Vol Set), 458–61. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-349.

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Rushton, Julian. "Orchestral Music." In The Master Musicians: Mozart, 85–101. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195182644.003.0010.

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Watson, Derek. "Orchestral music." In Liszt, 264–84. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0013.

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Abstract The majority of the symphonic works date from Liszt’s years at Weimar (1848-61): the Faust and Dante symphonies, twelve symphonic poems, two Episodes from Lenau’s ‘Faust’, six festive marches, and Les Marts. This is a prodigious output when considered along with Liszt’s many other Weimar activities. Les Marts became the first of his Trois Odes Funebres, a set completed during the Roman years.

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Musgrave, Michael. "Orchestral Music." In The Music of Brahms, 209–38. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0009.

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Abstract In the clear patterns of relationship which exist within the chamber and orchestral works of the third period, no two works stand as close in time and character as the Second Symphony and the Violin Concerto, produced within a year in 1877 and 1878 respectively. In the common moods of their first movements, symbolised by shared key, metre, triadic shape of opening themes and orchestral colour-warm lyricism coexisting with a rhetorical manner which results in identical rhythmic figures at one point - (compare bars 118 and 78 of the respective movements) they complement each other as different expressions of this aspect of Brahms’s mature language. Yet they occupy rather different positions in his output. Unlike the Second, and to an even greater extent than the First Symphony, the Violin Concerto stands in a distinct tradition: that of the violin concerto as exemplified by Beethoven.

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Conference papers on the topic "Orchestral music"

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Janer, Jordi, Emilia Gomez, Agustin Martorell, Marius Miron, and Benjamin de Wit. "Immersive Orchestras: Audio Processing for Orchestral Music VR Content." In 2016 8th International Conference on Games and Virtual Worlds for Serious Applications (VS-Games). IEEE, 2016. http://dx.doi.org/10.1109/vs-games.2016.7590352.

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Amihalachioaie, Mihai. "Ways of arrangement of folkloric instrumental pieces for voice, men’s choir and folk music orchestra." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.07.

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One of the basic ideas in this discourse is experimentation in the arrangement process. The author aims to argue the need of developing the knowledge of some ways of arranging folk music material in a modern version, applied to an orchestral score in the context of the local musical art modernization through the prism of his own experience as a practitioner. Especially in vocal pieces, but also instrumental ones, the author comes up with some newer arrangement features in the process of developing the sound material. One of the essential features of this experiment is the use of the male choir during the development of the folk music material in the vocal, instrumental or orchestral pieces, the introduction of brass band interventions in the folk music orchestra score, which lead to an even wider development of the musical material.

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Zhang, YanXiang, Li Tao, YiRun Shen, Elieisar Clayton, and Fangbemi Abassin. "Interactive virtual reality orchestral music." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306214.3338547.

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.

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Solis, Catherine, Fahimeh Rajabiyazdi, and Fanny Chevalier. "Designing Visual Guides for Casual Listeners of Live Orchestral Music." In 2019 IEEE Visualization Conference (VIS). IEEE, 2019. http://dx.doi.org/10.1109/visual.2019.8933734.

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Li, You, Christoph M. Wilk, Takeshi Hori, and Shigeki Sagayama. "Automatic Piano Reduction of Orchestral Music Based on Musical Entropy." In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8693036.

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Li, Zhiming. "The Construction and Significance of "Spatial Thinking" in the Orchestral Music Creation." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.81.

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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.

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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.

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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.

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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.

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Reports on the topic "Orchestral music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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Näslund-Hadley, Emma, María Mercedes Mateo-Berganza Díaz, Emma Strother, and Danielle S. Parrillo. The Power of Music Education: Unlocking the Talent of Latin American and Caribbean Youth. Inter-American Development Bank, September 2023. http://dx.doi.org/10.18235/0005159.

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The IDB supports youth empowerment through music education in Latin America and the Caribbean. This note draws on conversations with beneficiaries, project team leaders, and partner organizations about music as an engine of social inclusion and economic development. It highlights successful initiatives, including a program focused on music entrepreneurship among young people in Colombia, an all-female orchestra and a choir for women's rights in Guatemala, young luthiers crafting stringed instruments in Peru, and a program preventing violence through music education for children and their families in Nicaragua.

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