• Title/Summary/Keyword: instrumental orchestration

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An Activity Theoretical Analysis on the Instrumenatal Orchestration of the Teacher: Focusing on the Calculator-Based Classroom Activities of Gifted Elementary Math Students (교사의 도구적 오케스트레이션에 관한 활동이론적 분석: 계산기 기반 초등 수학 영재 수업을 중심으로)

  • Kang, Young Ran;Cho, Cheong Soo
    • School Mathematics
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    • v.17 no.2
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    • pp.273-287
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    • 2015
  • The purpose of this study was to obtain a deeper understanding of didactic processing in the class that unified with engineering by analyzing on the types of the teacher's instumental orchestration and schematizing it as an activity system. In order to do so, a qualitative study of a 5th grade class for math-gifted students in Y elementary school with ethnography was conducted. Interviews with the students were held and various document data were collected during the participational observation of the class. The collected qualitative data were gone through the analytical induction while the instrumental orchestration of Drijvers, Boon, Doorman, Reed, & Gravemeijer as well as the secondgeneration activity theory of Engestrom were using as the frame of conceptional reference. According to the result of this study, there exist 4 types, such as 'technical demo' 'link screen board', 'detection-exploring small group' and 'explain the screen and technical demo'.

The Importance of Arrangement focusing on Tony Awards Winners for Best Orchestration : with , , and (토니상 오케스트레이션상 수상작으로 살펴보는 편곡의 중요성 : <스위니 토드>, <스프링 어웨이크닝>, <인 더 하이츠>를 중심으로)

  • Seong, Chan-Kyeong
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.4
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    • pp.121-131
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    • 2020
  • The study of arrangement in musical theatre has been relatively marginalized compared to the playwriting and composition. However, as complete musical music can never exist without the process of arranging, the arranger is a major creator who plays the most important role as a playwright or composer, and finally makes a decisive contribution to enhancing the completeness of the musical. Based on the tracks of (2006), (2007) and (2008), among the prestigious Tony Awards winners for Best Orchestrations, the feature is divided into instrumentation, instrumental combinations and dispositions, and insertions of counterpoint. So, we can discover the new imagination and creativity of the arranger, and the arranger's clever orchestration techniques that meet the composer's intentions.

Study on Orchestration in John Williams's Film Score "Star Wars-Main Title" (존 윌리암스의 영화음악 "Star Wars-Main Title"에 나타난 관현악법 연구)

  • Jung, Kil
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.12 no.12
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    • pp.5477-5485
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    • 2011
  • This study comparatively analyzed the instrumentation and the voicing structure, which were shown in the film music titled "Star Wars-Main Title" by John Williams(1932~), with analytical technique that the writer mapped out, and aimed to discover the progression principle in orchestration based on the results. Also, it applied a functional part-division method that was classified and distributed into 3 functional parts according to auditory cognitive level as for each of functional elements such as the musical element. And, it made it pattern for the vertical structure and the voicing structure in musical instruments, which were distributed to each functional part based on this, and comparatively analyzed the standard point in a change which were shown according to progression of music, namely, the operating technique. As for the results of this study, first, each theme has specific instrumentation pattern. Unity was emphasized by consistently organizing those things in exposition, reprise, and recapitulation of each theme. To reinforce diversity, an attempt was made such as adding and reducing auxiliary instruments in the middle part and the rear part. Second, even in a change of instrumentation pattern by passage in accordance with a change in theme amid each part, the same instrumental group was organized in the middle part, thereby having maintained unity. Third, to strengthen diversity by clause, which is forming each theme, a continuous change in voicing pattern was created by adding or omitting a part. Fourth, the voicing concentration was maintained the structure of "thinness-thickness" in the whole musical piece. However, in part 2 that is repeated theme 3, diversity was pursued with a unique change of "thickness-thickness." Fifth, in part 4 that is indicated theme 4, the other diversity was intensified with the inverted range in the front part and the middle part. Accordingly, based on the conclusions that were indicated in this work, it is desired to be conducive to understanding the horizontal consideration and the progression principle of orchestration.