Letteratura scientifica selezionata sul tema "Orchestral music Scores"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Orchestral music Scores".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Orchestral music Scores"
1
Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
Testo completoAbstract (sommario):
John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
2
Urniežius, Rytis. "Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg." Musicological Annual 56, no. 1 (June 30, 2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.
Testo completoAbstract (sommario):
Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.
3
Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.
Testo completoAbstract (sommario):
AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instruments, Sabat has developed a unique manner of orchestrating that is at once timbrally rich and uncompromising in pitch precision. After a brief introduction to the extended just intonation framework that Sabat employs, his concepts of ‘fixed microtonal pitches’ and ‘tuneable intervals’ are discussed and connected to orchestration in his scores. Drawing upon this analysis, connections are made between the microtonal system with orchestration and musical aesthetics broadly.
4
Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
Testo completoAbstract (sommario):
Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.
5
Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.
Testo completoAbstract (sommario):
FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.
6
Fischer, Manda, Kit Soden, Etienne Thoret, Marcel Montrey, and Stephen McAdams. "Instrument Timbre Enhances Perceptual Segregation in Orchestral Music." Music Perception 38, no. 5 (June 1, 2021): 473–98. http://dx.doi.org/10.1525/mp.2021.38.5.473.
Testo completoAbstract (sommario):
Timbre perception and auditory grouping principles can provide a theoretical basis for aspects of orchestration. In Experiment 1, 36 excerpts contained two streams and 12 contained one stream as determined by music analysts. Streams—the perceptual connecting of successive events—comprised either single instruments or blended combinations of instruments from the same or different families. Musicians and nonmusicians rated the degree of segregation perceived in the excerpts. Heterogeneous instrument combinations between streams yielded greater segregation than did homogeneous ones. Experiment 2 presented the individual streams from each two-stream excerpt. Blend ratings on isolated individual streams from the two-stream excerpts did not predict global segregation between streams. In Experiment 3, Experiment 1 excerpts were reorchestrated with only string instruments to determine the relative contribution of timbre to segregation beyond other musical cues. Decreasing timbral differences reduced segregation ratings. Acoustic and score-based descriptors were extracted from the recordings and scores, respectively, to statistically quantify the factors involved in these effects. Instrument family, part crossing, consonance, spectral factors related to timbre, and onset synchrony all played a role, providing evidence of how timbral differences enhance segregation in orchestral music.
7
Miron, Marius, Julio J. Carabias-Orti, Juan J. Bosch, Emilia Gómez, and Jordi Janer. "Score-Informed Source Separation for Multichannel Orchestral Recordings." Journal of Electrical and Computer Engineering 2016 (2016): 1–19. http://dx.doi.org/10.1155/2016/8363507.
Testo completoAbstract (sommario):
This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distant-microphone setup. To solve these problems, we design context-specific methods such as the refinement of score-following output in order to obtain a more precise alignment. Moreover, we extend a close-microphone separation framework to deal with the distant-microphone orchestral recordings. Then, we propose the first open evaluation dataset in this musical context, including annotations of the notes played by multiple instruments from an orchestral ensemble. The evaluation aims at analyzing the interactions of important parts of the separation framework on the quality of separation. Results show that we are able to align the original score with the audio of the performance and separate the sources corresponding to the instrument sections.
8
Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
Testo completoAbstract (sommario):
During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
9
Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.
Testo completoAbstract (sommario):
"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
10
Anderson, Martin. "London, St John's Smith Square: David Matthews's ‘A Vision and a Journey’." Tempo 58, no. 228 (April 2004): 59–61. http://dx.doi.org/10.1017/s0040298204220150.
Testo completoAbstract (sommario):
A Vision and a Journey is David Matthews's op. 60 – a neat coincidence, then, that the first performance of its revised version should be part of the celebrations of his sixtieth birthday. The work is part of a series of imposing orchestral scores Matthews has been composing over the past two decades, beginning with In the Dark Time in 1983 and continuing with Chaconne in 1985 and The Music of Dawn two years later; this one followed in 1993, when it was premièred by Yan Pascal Tortelier and the BBC Philharmonic, but it underwent a thoroughgoing revision between March 1996 and March 1997. I asked the composer before the concert what the revisions had entailed: ‘I completely rewrote the whole thing. It's more or less a new work’.
Tesi sul tema "Orchestral music Scores"
1
Maidanik, Victoria. "Vicissitudes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37251.pdf.
Testo completo
2
Frank, Robert J. 1961. "Temporal Distortions: a Composition for Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278557/.
Testo completoAbstract (sommario):
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.
3
Au, Siu-ming Stefan. "Sinfonietta." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278459/.
Testo completoAbstract (sommario):
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.
4
陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
Testo completo
5
Godin, Scott 1970. "Weight for orchestra." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84210.
Testo completoAbstract (sommario):
This dissertation consists of two parts. Part One is a written text which defines compositional processes and provides an analysis of the musical material incorporated in weight, my composition for orchestra. Part Two of the dissertation comprises the musical score for weight.<br>weight is a nineteen-minute composition for symphonic orchestra [2222, 4231, piano, percussion (2 players), timpani, strings (16,14,10,10,8)] which attempts to exploit the various allusions conjured up by the title. The term "weight" implies lightness or heaviness which can be applied to various musical elements (e.g., where a chord is "heavier" than the previous, a rhythm is becoming "lighter," etc.). weight is an attempt to remove the subjectivity surrounding the use of this type of terminology by measuring and developing certain musical elements in a logical and elegant manner.<br>Following an introductory chapter, the written text focuses on three main components. Chapter Two deals with the harmonic component of weight, first, describing how the harmonic language for the composition has been constructed, followed by a detailed explanation of how the harmonies are given numerical "weights," and subsequently how they are manipulated in the composition. Chapter Three defines and numerically calculates subsidiary elements such as rhythm, orchestration, and a formal element identified as temporal splicing. Chapter Four reveals the overall form of weight , and illustrates through a series of sectional analyses how each subsidiary element interacts with one another in each formal region. The fifth chapter concludes the written text, summarizing the paper and considers future uses of the compositional and analytical methods introduced in this paper.
6
Jestadt, Jason T. "Desert places : for orchestra." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32833.
Testo completoAbstract (sommario):
Desert Places is a composition for large orchestra with a duration of approximately 12 minutes. Inspired by the Robert Frost poem "Desert Places", the work is primarily concerned with "covering up" one type of musical material with another. Specifically, the work contains a large-scale "cross-fading" of two types of motivic material, and two types of harmonic material. While the processes at work remain clearly defined, the musical materials move smoothly and gradually through the piece, exchanging foreground and background positions, and blurring the divisions of sections.
7
Walczyk, Kevin 1964. "Capriccio: A Composition for Symphonic Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935623/.
Testo completoAbstract (sommario):
A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.
8
Gaviola, Natalia. "De azufre y sal." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq37296.pdf.
Testo completo
9
Dehler, Elizabeth. "Now and forever." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79278.
Testo completoAbstract (sommario):
Now and Forever is a thesis in two parts: a twelve-minute piece for orchestra and a text providing an analysis of the piece. The orchestra consists of two flutes (flute 2 doubling piccolo), two oboes, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in C, two tenor trombones, one bass trombone, two percussion and strings. The work features the use of an original text as the underlying program, the use of golden section proportions as a principal organisational device, a rising semitone motive as the foundation for melodic, harmonic and registral development, and the intermittent appearance of micropolyphonic textures. In some passages, the harmonic series is the basis of pitch field development, notably in section VI, which consists of an orchestral evocation of the sounds of an aeolian harp.
10
Desjardins, Jacques A. 1962. "Les Chemins de Milarepa /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59549.
Testo completoAbstract (sommario):
This project consists of two parts. The first part is a composition for orchestra of approximately thirteen minutes in duration. The second part, an analysis of the work, describes the music in terms of its form, harmony, rhythm and orchestration.<br>The piece can be considered as a free rondo in the sense that it does not necessarily follow the usual plan of the classical rondo. This particular composition sometimes displays two verses in a row, thus trying to introduce some new ideas into this very old type of musical form.<br>In terms of harmony, the work deals with two basic categories of chords. First, some chords are designed as to show different ways of combining together the two whole-tone scales. Second, the chords sometimes mimic the behaviour of the harmonic series by using a decreasing sequence of harmonic intervals from the lower register to the upper register.<br>The rhythms of the piece mainly follow Olivier Messiaen's theory of added durations.<br>Finally, the orchestration aspect basically shows examples of chords which are held still in a certain number of voices while they are slightly ornamented by other voices in the orchestra. This device has simply been named the technique of "simmering sound".
Libri sul tema "Orchestral music Scores"
1
Prévost, André. Fantasmes: [orchestre = orchestra, 1963]. Saint-Nicolas (Québec), Canada: Doberman-Yppan, 2002.
Cerca il testo completo
2
Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.
Cerca il testo completo
3
Torke, Michael. Bright blue music: For orchestra. [New York]: Adjustable Music, 1996.
Cerca il testo completo
4
Schwantner, Joseph. Toward light: An orchestral set. Valley Forge, Pa: European American Music, 1987.
Cerca il testo completo
5
Heinrich, Anthony Philip. The wildwood spirit's chant, or, Scintillations of Yankeedoodle: (1842) : a grand national heroic fantasia for a powerful orchestra in 44 parts. Philadelphia: Kallisti Music Press, 1996.
Cerca il testo completo
6
Library, Somerset County. Catalogue of instrumental music, chamber music sets, orchestral parts sets and orchestral/study scores. [Bridgwater]: Somerset County Library, 1986.
Cerca il testo completo
7
Wuorinen, Charles. Crossfire: Orchestra. New York: C.F. Peters Corp., 1985.
Cerca il testo completo
9
John, Adams. Lollapalooza: For orchestra. [United States]: Hendon Music, 1999.
Cerca il testo completo
10
Tower, Joan. Sequoia: For orchestra. New York, NY: Associated Music Publishers, 1990.
Cerca il testo completoCapitoli di libri sul tema "Orchestral music Scores"
1
Leman, Marc. "Orchestra Score in CSOUND." In Music and Schema Theory, 197–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-85213-8_14.
Testo completo
2
Smith, Steven C. "The South Is Dead." In Music by Max Steiner, 232–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0016.
Testo completoAbstract (sommario):
No Steiner project would be more difficult or emotionally draining than Gone with the Wind. This chapter explores how the composer wrote and/or supervised more than three hours of orchestral music in less than two and a half months (while concurrently writing three other film scores), amid constant and often contradictory direction from Selznick. The producer was more combatant than collaborator: “the whole thing had a nightmare quality,” recalled one participant. Due to a near-impossible deadline, Steiner was forced to have members of his team compose several GWTW music cues. These collaborators always worked under Max’s direction, using Steiner-composed leitmotivs. The chapter uses multiple examples of these cues to draw the distinction between the kind of “ghost writing” by uncredited composers that was common in Hollywood, and GWTW, a case in which Steiner remained the primary creative force behind this, his best-loved score.
3
Burlingame, Jon. "“This is the way”Music for Cable and Streaming Services." In Music for Prime Time, 399—C12.P127. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0013.
Testo completoAbstract (sommario):
Abstract Music for cable and streaming services, unencumbered by commercial network restrictions, was an attractive outlet for composers in the late twentieth and early twenty-first centuries. And changing times also meant more opportunities for women and people of color as composers for TV. Early examples: the Latin jazz theme for Sex and the City, the Django Reinhardt–style Monk, and the Caribbean-influenced Dexter music. The Sopranos and The Wire broke precedent by going without conventional scores, only songs in the narrative. Thomas Newman won an Emmy for his Six Feet Under theme; the music of House of Cards won two more, Game of Thrones two more for music in the wildly popular fantasy series (also inspiring millions of YouTube takeoffs on the theme). Up-and-comer Bear McCreary scored multiple cable series, including the revived Battlestar Galactica and the new Outlander. Spinoffs from older shows include Star Trek: Discovery and Lost in Space, both with compelling orchestral scores. Period pieces including Deadwood, Rome, The Tudors, and The Borgias offered memorable, appropriate music. Michael Kamen did his best work for the HBO miniseries From the Earth to the Moon and the World War II Band of Brothers, and Thomas Newman wrote one of the greatest scores in TV history for Angels in America—none even nominated for the Emmy, pointing up flaws in the voting procedures. Laura Karpman did lauded work for the sci-fi Taken. Music supervision gained traction as a key component in many series, notably Grey’s Anatomy and Glee on network, Breaking Bad on cable.
4
Winters, Ben. "New Opportunities in Film: Korngold and Warner Bros." In Korngold and His World, 111–30. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.003.0005.
Testo completoAbstract (sommario):
This chapter sketches an overview of Erich Korngold's film output that draws attention to the variety of scenarios for which he provided music. It also discusses the kinds of musical gestures and techniques he used to help him meet their dramatic demands. In many ways these techniques represent a significant expansion from the range demonstrated by his operatic output; in that sense Korngold's Hollywood career was not a regression from the culturally engaged world of opera but represented an opportunity to develop his gifts as a musical dramatist. After a brief summary of Korngold's working practices, the chapter explores the sound of his scores—including his use of particular orchestral colors—and his ability to score a variety of narrative scenarios. It then outlines some aspects of his approach to scoring, including his thematic technique.
5
"FM Radio and the New Hollywood Soundtrack." In Voicing the Cinema, edited by Julie Hubbert, 54–72. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0004.
Testo completoAbstract (sommario):
In studio production between the mid-1960s and early 1980s, the period often referred to as “New Hollywood,” the music soundtrack was the site of significant upheaval. As box office revues continued to plummet, the studios allowed filmmakers greater freedom to experiment with narrative structures and with soundtrack conventions. Specifically, they allowed directors to exert new control over film music, which they did often by jettisoning new composed orchestral scores in favor of compilations of preexisting, recorded music. Film music scholars have long acknowledged this shift, but few have recognized the degree to which the new soundtrack practices that emerged in the New Hollywood period were also the result of radical shifts in popular music and contemporary listening practices. By looking at two films from the early 1970s, Zabriskie Point (1971) and The Strawberry Statement (1970, this article considers the degree to which progressive rock, FM radio, and countercultural listening practices changed not only the content of film soundtracks but also the placement of music in film, unseating long-standing sound hierarchies and privileging music in new ways.
6
Deutsch, Diana. "The Perceptual Organization of Streams of Sound." In Musical Illusions and Phantom Words, 46–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0004.
Testo completoAbstract (sommario):
Chapter 3 first explores the principles by which we organize elements of an array into groupings. The Gestalt psychologists proposed a set of grouping principles that have profoundly influenced the study of hearing and vision ever since—these include “proximity,” “similarity,” “good continuation,” “common fate,” and “closure.” Passages of conventional tonal music illustrating these principles are described, along with several illusions and other surprising characteristics of music and speech, all presented as sound examples. They involve the segregation of pitch sequences into separate streams based on proximity in pitch or in time, and also on timbre or sound quality. Figure–ground relationships, analogous to those in vision, are also discussed. Much information arrives at our sense organs in fragmented form, and the perceptual system needs to infer continuities between the fragments, and fill in the gaps appropriately. It is shown that this occurs in both music and speech. We have evolved mechanisms to perform these tasks, but these mechanisms often fool us into “hearing” sounds that are not really there. Another approach to perceptual organization in music exploits the use of orchestral sound textures to create ambiguous images. This approach has been used to excellent effect in 20th-century music such as film scores; for example, it contributes to the mysterious ambience in Stanley Kubrick’s 2001: A Space Odyssey.
7
Smith, Steven C. "Startling, Unusual Sensation." In Music by Max Steiner, 99–117. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0008.
Testo completoAbstract (sommario):
Before leaving RKO in late 1932, David O. Selznick greenlit the studio’s most costly and ambitious production: King Kong. The result was a landmark in Hollywood special effects and storytelling; its influence continues today, in the fantasy/action films that dominate the industry. Just as significantly, Kong inspired a Steiner score that is still cited by many directors, screenwriters, and composers as the work that first made them aware of the power of film music. This chapter aims to provide a definitive account of the score’s creation, from Steiner’s use of lyrical melodies and startling dissonance to humanize and add credibility to the title character; through the challenges of recording music whose orchestral richness tested the limits of 1933 sound technology. King Kong’s box office success, at the height of the Depression, temporarily saved RKO. It also launched Steiner into a new era of creative experimentation.
8
Marlow, Eugene. "Liu Sola: China’s Musically Eclectic Composer." In Jazz in China, 126–35. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0012.
Testo completoAbstract (sommario):
This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. This chapter presents an interview with composer, author, and vocalist Liu Sola, who has blended the musical traditions of China with jazz, blues, and improvisation. Since the 1980s, Liu Sola has scored many Chinese and international film sound tracks, as well as TV and drama productions. She has composed music for orchestra, ensemble, opera, modern theater, modern dance, and art exhibitions. Her range of musical styles includes classical music, jazz, early music, rock, traditional, and contemporary music. She is the founder of Liu Sola Music Studio, located in the Songzhuang art colony, a Beijing artist district. Liu Sola designed and built a music space for her ensemble to rehearse and record.
9
Burlingame, Jon. "“Flintstones! Meet the Flintstones!”Cartoons in Prime Time." In Music for Prime Time, 311—C9.P67. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0010.
Testo completoAbstract (sommario):
Abstract Hoyt Curtin, architect of the Hanna-Barbera sound, created indelible theme songs for The Flintstones, Jetsons, Top Cat, and Jonny Quest. TV’s Bugs Bunny Show showcased the greatest curtain-raiser of all with “This Is It!” Jay Ward’s Rocky and Bullwinkle featured fun music. Vince Guaraldi’s piano-based jazz for the Peanuts specials, starting with “A Charlie Brown Christmas,” became iconic. The Simpsons became one of the longest-running prime-time series ever, with a 1960s-inspired theme by Danny Elfman and hundreds of smart scores by Alf Clausen (until he was fired). The animated Batman, Superman, Justice League, and other DC heroes won Emmys for their music. Seth MacFarlane’s Family Guy featured large orchestras and Broadway-style numbers. The Rankin-Bass holiday specials (starting with “Rudolph the Red-Nosed Reindeer”) were distinguished by warm and appropriate scores by Maury Laws.
10
"Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers’ School." In Collaborative Creative Thought and Practice in Music, 73–87. Routledge, 2016. http://dx.doi.org/10.4324/9781315572635-12.
Testo completoRapporti di organizzazioni sul tema "Orchestral music Scores"
1
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Testo completoAbstract (sommario):
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.