2026-09-22T07:03:38Zhttps://digital.library.adelaide.edu.au/server/oai/request

oai:digital.library.adelaide.edu.au:2440/1386562023-06-06T02:15:57Zcom_2440_14759col_2440_14760

Keohne, Graeme Dollman, Luke Cheney, Martin Elder Conservatorium of Music 2022 https://hdl.handle.net/2440/138656 Part A: Portfolio of Scores -- Part B: Exegesis -- Part C: Recordings Following the meteoric rise in popularity of the wind orchestra from the late 20th century (especially in the United States of America) it has become commonplace for composers to transcribe their pieces for the medium. The process is not only applied to orchestral works, but also that of choral and chamber ensembles and even solo piano repertoire. Consequently, as the status of the wind orchestra and notoriety of its composers has steadily improved, this re-orchestration process became somewhat bidirectional, with many wind orchestra composers now adapting their works for alternative instrumentations. This has had the dual effect of not only expanding a composer’s reach by their work being available for new media, but it has also introduced many composers to audiences who would otherwise have been unfamiliar with them. While there have been analyses of individual works and composers with a more purely theoretical bent, there is scant material available on the more tangible and aesthetic outcomes of the re-orchestration process, especially related to the wind orchestra. The aim of this research was to holistically examine the considerations made by composers and arrangers in these transitions from a theoretical, aesthetic and performance-based perspective. Assessing the effectiveness of these case studies through the unique lenses and viewpoints of composer, performer, audience, and conductor has ultimately resulted in a collection of notation and transcription options that can assist in streamlining the task of future re-orchestrations for composers wishing to undertake a similar process. Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2023 en Composition orchestration wind orchestra wind ensemble transcription arrangement Re-orchestration Case Studies for Wind Orchestra: Portfolio of Compositions, Transcriptions and Exegesis Thesis This electronic version is made publicly available by the University of Adelaide in accordance with its open access policy for student theses. Copyright in this thesis remains with the author. This thesis may incorporate third party material which has been used by the author pursuant to Fair Dealing exceptions. If you are the owner of any included third party copyright material you wish to be removed from this electronic version, please complete the take down form located at: http://www.adelaide.edu.au/legalsopen.access