The Study of Orchestration
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|Author||: Samuel Adler|
|Editor||: W. W. Norton|
Written by a renowned composer whose works have been performed by major orchestras around the world, The Study of Orchestration is the only text that explores the characteristics of orchestral instruments and shows students how a master composer approaches orchestration. The Fourth Edition invites students to experience the instruments through online audio and video recordings and now offers more coverage of writing for band.
|Author||: Dave Black,Tom Gerou|
|Editor||: Alfred Music|
At last, an orchestration book tailor-made for the classroom musician on a budget. Any teacher, student or professional musician, whether a composer, orchestrator, arranger, performer or enthusiast will find this thoroughly comprehensive dictionary full of the most needed information on over 150 instruments. Designed for quick and easy reference, the Essential Dictionary of Orchestration includes those much-needed instrument ranges, general characteristics, tone quality descriptions, technical pitfalls, useful scoring tips and much more!
|Author||: Nikolay Rimsky-Korsakov|
|Editor||: Library of Alexandria|
In his "Memoirs of my musical life" the following passage occurs: "I had planned to devote all my energies to the compilation of a full treatise on orchestration. To this end I made several rough copies, jotting down explanatory notes detailing the technique of different instruments. What I intended to present to the world on this subject, was to include everything. The writing of this treatise, or, to be more exact, the sketch for it took up most of my time in the years 1873 and 1874. After reading the works of Tyndall and Helmholtz, I framed an introduction to my work, in which I endeavoured to expound the laws of acoustics as applied to the principles governing the construction of musical instruments. My manual was to begin with a detailed list of instruments, classified in groups and tabulated, including a description of the various systems in use at the present day. I had not yet thought of the second part of the book which was to be devoted to instruments in combination. But I soon realised that I had gone too far. With wind instruments in particular, the different systems were innumerable, and each manufacturer favoured his own pet theory. By the addition of a certain key the maker endowed his instrument with the possibility of a new trill, and made some difficult passages more playable than on an instrument of another kind. "There was no end to such complications. In the brass, I found instruments with three, four, and five valves, the mechanism varying according to the make. Obviously, I could not hope to cover so large a field; besides, of what value would such a treatise be to the student? Such a mass of detailed description of the various systems, their advantages and drawbacks, could not but fail to confuse the reader only too eager to learn. Naturally he would wish to know what instrument to employ, the extent of its capabilities etc., and getting no satisfactory information he would throw my massive work aside. For these reasons my interest in the book gradually waned, and finally I gave up the task."
|Author||: Cecil Forsyth|
|Editor||: Courier Corporation|
In what is probably the best general book on the subject, a noted English composer describes 57 orchestral instruments, tracing their origins, development, and status at the beginning of World War I.
|Author||: Adam von Ahn Carse|
|Editor||: Courier Corporation|
This well-known study by an eminent musicologist constitutes one of the best mid-level explorations of the nature and function of the orchestra. Tracing the beginnings of modern music from the seventeenth through early twentieth centuries, the survey presents forty-four musical excerpts and thirteen sketches of instruments, plus appendices and quotations related to conducting methods. Featured composers include Purcell, Scarlatti, Bach, Handel, Gluck, Haydn, Mozart, Beethoven, Schubert, Berlioz, Wagner, Debussy, Elgar, and many others. Author Adam Carse examines the evolution of individual musical instruments along with varying performance techniques and concepts of instrumental color. He further explores the recognition of major instrumental groups and their musical distinctions, decisions regarding volume and balance of tone, the influence of musical subject matter upon orchestration, and many similar topics. This volume represents a splendid resource for music students, enthusiasts of musical history and classical music, and music lovers of all ages.
|Author||: Samuel Adler|
|Editor||: W W Norton & Company Incorporated|
The workbook reviews and reinforces the techniques discussed in each chapter of the text. It includes graded self-tests about each choir of the orchestra, as well as worksheets on special topics. The new edition features a broader array of "Listen and Score" exercises as well as opportunities for students to practice reducing orchestral scores to piano scores.
|Author||: Paul Mathews|
Orchestration: An Anthology of Writings is designed to be a primary or ancillary text for college-level music majors. Although there are several 'how to' textbooks aimed at this market, there is little available that traces the history of orchestration through the writings of composers themselves. By collecting writings from the ninenteenth century to today, Mathews illuminates how orchestration has grown and developed, as well as presenting a wide variety of theories that have been embraced by the leading practitioners in the field. The collection then traces the history of orchestration, beginning with Beethoven's Orchestra (with writings by Berlioz, Wagner, Gounod, Mahler, and others), the 19th century (Mahler, Gevaert, Strauss) the fin de siecle (on the edge of musical modernism; writings by Berlioz, Jadassohn, Delius, and Rimsky Korsakov), early modern (Busoni, Schoenberg, Stravinsky, Grainger, and others), and high modern (Carter, Feldman, Reich, Brant). Many of these pieces have never been translated into English before; some only appeared in small journals or the popular press and have never appeared in a book; and none have ever been collected in one place. The study of orchestration is a key part of all students of music theory and composition. Orchestration provides a much needed resource for these students, filling a gap in the literature.
|Author||: Alfred Blatter|
The essentials of accomplished orchestration - the combining of diverse instrumental qualities in ensemble performance - are covered in the next two chapters. Here, step by step, Blatter proceeds from the basics of musical lines to scoring for various instrumental groupings. Chapters ten and eleven explain the techniques of transcription and arrangement while chapter twelve discusses the performance dynamics of chamber groups and larger ensembles. The appendixes provide quick access to essential technical information: transposition of instruments, electronic sound modification, MIDI, the harmonic series, and fingerings.
|Author||: Norman Del Mar|
|Editor||: Univ of California Press|
Before his death in 1994, Norman Del Mar was acknowledged as one of the world's foremost authorities on the orchestra. Anatomy of the Orchestra is written not only for fellow conductors, players, students, and professional musicians, but also for everyone interested in the performance of orchestral music.
|Author||: Jon W. Finson,Associate Professor of Music Jon W Finson|
|Editor||: Oxford : Clarendon Press|
Robert Schumann sketched his First Symphony in only four days--a remarkable feat for an artist poorly versed in the genre. In this study, Jon Finson examines these sketches to show how the composer's experience with symphonic composition and his autodidactic course in orchestration assisted in the rapid fashioning of this symphony--a work deliberately calculated to establish his reputation as a major artist. Finson also provides examples of the autograph score and subsequent editions of the Spring Symphony to reveal Schumann's empirical method of orchestration and his concern for the exigencies of performance.
|Author||: Nikolai Rimsky-Korsakov|
|Editor||: Courier Corporation|
Great classical orchestrator provides fundamentals of tonal resonance, progression of parts, voice and orchestra, tutti effects, and much else in major document. Includes 330 pages of musical excerpts.
|Author||: Ertuğrul Sevsay|
|Editor||: Cambridge University Press|
Demonstrating not only how to write for orchestra but also how to understand and enjoy a score, The Cambridge Guide to Orchestration is a theoretical and practical guide to instrumentation and orchestration for scholars, professionals and enthusiasts. With detailed information on all the instruments of the orchestra, both past and present, it combines discussion of both traditional and modern playing techniques to give the most complete overview of the subject. It contains fifty reduced scores to be re-orchestrated and a wide range of exercises, which clarify complex subjects such as multiple stops on stringed instruments, harmonics and trombone glissandi. Systematic analysis reveals the orchestration techniques used in original scores, including seven twentieth-century compositions. This Guide also includes tables and lists for quick reference, providing the ranges of commonly used instruments and the musical names and terminology used in English, German, Italian and French.
|Author||: Malinda Kapuruge,Jun Han,Alan Colman|
Service orchestration techniques combine the benefits of Service Oriented Architecture (SOA) and Business Process Management (BPM) to compose and coordinate distributed software services. On the other hand, Software-as-a-Service (SaaS) is gaining popularity as a software delivery model through cloud platforms due to the many benefits to software vendors, as well as their customers. Multi-tenancy, which refers to the sharing of a single application instance across multiple customers or user groups (called tenants), is an essential characteristic of the SaaS model. Written in an easy to follow style with discussions supported by real-world examples, Service Orchestration as Organization introduces a novel approach with associated language, framework, and tool support to show how service orchestration techniques can be used to engineer and deploy SaaS applications. Describes the benefits as well as the challenges of building adaptive, multi-tenant software service applications using service-orchestration techniques Provides a thorough synopsis of the current state of the art, including the advantages and drawbacks of the adaptation techniques available Describes in detail how the underlying framework of the new approach has been implemented using available technologies, such as business rules engines and web services
|Author||: Elaine Gould|
|Editor||: Faber Music Ltd|
Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. This full eBook version is in fixed-layout format to ensure layout and image quality is consistent with the original hardback edition. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis. This is the full eBook version of the original hardback edition.