Authenticity in Transcribing
(2024)
author(s): Marie-Lou Debels
published in: KC Research Portal
This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.
The Sound of the Big Band: Between evolution and continuity
(2017)
author(s): Claudio jr de Rosa
published in: KC Research Portal
Name: Claudio Jr De Rosa
Main Subject: Jazz Saxophone
Research Supervisor: Patrick Schenkius
Title of Research: The Sound of the Big Band: Between evolution and continuity
Research Question:
How can I define the essential characteristics of the voicings in the writing of Gil Evans, Bob Brookmeyer, and Maria Schneider? How can I internalize them and make them part of my arranging vocabulary?
Summary of Results:
The main goal of this thesis is outlining the fundamental elements of the style of three jazz masters of Big Band arranging: Gil Evans, Bob Brookmeyer, and Maria Schneider, focusing on their voicings through a deep analysis of some of their works.
The second part, however, is intended to be more practical and personal. Knowing
the elements that characterize the style of these writers, I will show some components that stood out in the previous analysis included in some of the 13 arrangements I did during my Master.
Biography:
Saxophonist, composer, arranger, award winner, Claudio Jr De Rosa is a rising personality in the European Jazz scene. After a Master in Classical Saxophone, he is concluding the Master in Jazz under the guidance of J. Ruocco, H. Huizinga, and P. Schenkius. He recorded jazz CDs with his trio Zadeno Trio and with the CJDR Jazz 4et, and toured extensively in Europe and Asia. As an arranger, he wrote for the NSJO, KC Big Band, CvA Big Band, and CJDR Jazz Ensemble. He won the “Louis van Dick Arranging Jazz Award 2016” and his music was performed by the Jazz Orchestra of the Concertgebouw.
The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
(2014)
author(s): Andrea Vasi
published in: KC Research Portal
Name: Andrea Vasi
Main Subject: Piano
Research Coach: Theo Verbey
Title of Research: The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
Research Question:
What is the nicest way to make an arrangement for 2 pianos of the first Romanian Rhapsody opus 11 no. 1 by George Enescu, and how has this piece been influenced by Romanian folk music?
Research Process:
My (Romanian) father, who is also a professional musician, helped me in the sense that he told me his views on what Romanian folk music was, which I took as a starting point. Throughout my childhood, I listened to Romanian folk music a lot (every week, we went to a café in The Hague where Romanians would play their music), so I have quite much personal experience with it as well (I sometimes played along, and had my own ‘gypsy’ ensemble). Only one valuable book on Enescu has been published in the west, in 1990, namely ‘George Enescu: His Life and Music’ by N. Malcolm. A lot of biographical and musicological information on Enescu I could find in here, but I really needed my father to translate the Romanian sources I had collected. I had the chance to quote Enescu himself, because he did some extensive interviews with B. Gavoty. As for the arrangement, I am a pianist myself, and played and studied a lot two piano-pieces in the past. With the help of my coach, composer Theo Verbey, I made my own arrangement for two pianos of Enescu’s Romanian Rhapsody no. 1 opus 11.
Summary of Results:
First of all, one can find the arrangement I made of the Romanian Rhapsody no. 1 opus 11 by George Enescu in the Appendix. I make clear how I made this arrangement for two pianos, and why I made it like this. The main goals were to keep the material as much intact as possible, but while doing this, I wanted to make sure both piano parts were very ‘playable’, very ‘pianistic’. Secondly, I wanted to know how this piece has been influenced by Romanian folk music. In order to be able to do this, I had to determine what ‘Romanian folk music’ actually is. So I tried to narrow it down to the most distinct and prominent characteristics. I did this in chapter three, in which I started by quoting Enescu himself on the subject. According to him, the music of his country is full of ‘dor’ (‘Sehnsucht’), and there is ‘sadness even in the midst of happiness’. Shifting between major and minor also occurs frequently, I noticed. When I started analyzing songs I knew from my childhood, and started looking for characteristics on the internet, in chapter four, I deminstrated that there are some elements which appear in most of Romania’s folk music, concerning instruments, scales and modes, meter and rhythm, ornamentation, ‘doina’ and gypsies.