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Orchestration Analysis

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Orchestration Analysis

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0.1 Foreword
1.1 Introduction
1.2 Musical examples
1.3 Edited notation
2.1 Texture analysis
2.2 From transcription to reduction
2.3 Texture types
2.4 Singular and compound elements
2.5 Summary
3.1 Orchestration methods: Layout
3.2 Instrument distribution and segments
3.3 Continuity: Linear and spilt orchestration
3.4 Octave position
3.4.1 Psychoacoustics
3.4.2 The distance between textural elements
3.4.3 Instrument register
3.5 Depth position
3.5.1 Creating depth through textural characteristics
3.5.2 Creating depth through dynamics
3.5.3 Interpretation of dynamic markings
3.6 Summary
4.1 Orchestration methods: Doublings
4.2 Unison and octave doublings
4.3 Doublings by displaced interval
4.4 Doublings by similar motion
4.5 Doublings by temporal displacement
4.6 Doublings by contour
4.7 Partial doublings
4.8 Combination of doublings
4.9 Chord spacing
4.10 Summary
5.1 Segment analysis
5.2 Segment analysis exemplified
5.3 Segments and sub-segments
5.4 Summary
6.1 Perception analysis
6.2 Gestalt principles
6.3 Proximity and similarity
6.4 Common fate
6.5 Figure and ground
6.6 Prägnanz
6.7 Listening and perception
6.8 Perception and segment analysis
6.8.1 Example 1 (Stravinsky)
6.8.2 Example 2 (Sciarrino)
6.8.3 Example 3 (Messiaen
6.9 Summary
7.1 Orchestration strategy examples
7.2 Ravel: An orchestrated interpretation
7.2.1 Added articulation and colorful effects
7.2.2 Rapid change in the distribution and complex blends
7.2.3 Contrasting strategy
7.2.4 Summary
7.3 Lutoslawski: Orchestration as composition
7.3.1 The "triangular" motif
7.3.2 In pair of two
7.3.3 The distribution of the instrumental resources
7.3.4 Summary
7.4 Sciarrino: Instruments as material
7.4.1 The choice of soloist
7.4.2 The "Horn-bone"
7.4.3 The anonymized instruments in the background
7.4.4 Summary

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