Towards a Generalised Theory of Orchestration Practice: a Grounded Theory Approach

Schonken, Philip Antoni (2015-12)

Thesis (DPhil)--Stellenbosch University, 2015.

Thesis

ENGLISH ABSTRACT: A number of authors have attempted to devise a set of principles according to which symphonic orchestration practice takes place. However, these authors have routinely failed to acknowledge the differences between a personal outlook on orchestration and a generalised study of orchestration practice. In this dissertation, Grounded Theory methodology was adopted and adapted in order to study a large number of text fragments from the most commonly used and respected orchestration textbooks of the twentieth and twenty-first century. Analysis of 6672 text fragments in open coding led to the discovery of eight core principles, or perspectives, of symphonic orchestration practice. These eight perspectives do not describe the techniques of orchestration, but rather reveal the underlying mechanics that inform and shape contemporary orchestration practice. A number of South African orchestral scores by Van Wyk, Fagan, Klatzow, Zaidel-Rudolph, Roosenschoon, Temmingh, Grové and Hofmeyr were consulted to provide musical substantiation of a number of findings and to serve as referenced examples throughout the dissertation. Personal correspondence with a number of South African composers aided in further development and corroboration of findings. Three addenda that document A) the collective instrument ranges from a number of textbooks, B) a compiled list of music examples from eight textbooks, and C) a comparative chart of instrumental saliency in low, middle and high registers, aided in providing further description of a number of important concepts throughout the thesis. The findings provide a generalised view of orchestration practice that includes historical, aesthetic, pedagogical and music-

AFRIKAANSE OPSOMMING: `n Aantal outeurs het reeds al gepoog om `n stel kernprinsiepe saam te stel wat die onderliggende werking van simfoniese orkestrasie beskryf. Hierdie outeurs het egter nagelaat om in ag te neem die verskille tussen `n persoonlike uitkyk oor orkestrasie en `n veralgemeende studie van orkestrasiepraktyk. In hierdie tesis is `n Gegronde Teoretiese benadering aangeneem en aangepas om `n groot aantal teksfragmente uit `n versameling belangrike en gerespekteerde orkestrasiehandboeke van die twintigste en een-en-twintigste eeu te analiseer. Analise van 6672 teksfragmente in oop-kodering het gelei tot die ontdekking van agt kernprinsiepe, oftewel perspektiewe, wat simfoniese orkestrasiepraktyk beskryf. Hierdie agt perspektiewe beskryf nie die tegnieke van orkestrasie nie, maar ontbloot eerder die onderliggende meganismes wat die vak vorm gee en verskeie aspekte daarvan beïnvloed. `n Aantal Suid-Afrikaanse orkeswerke van Van Wyk, Fagan, Klatzow, Zaidel-Rudolph, Roosenschoon, Temmingh, Grové en Hofmeyr is geraadpleeg om verdere substansiëring te ontwikkel oor die bevindinge wat gemaak is, en korrespondensie met `n aantal Suid-Afrikaanse komponiste het bydraes gelewer in terme van verdere konseptuele ontwikkeling en stawing van kernkonsepte in die tesis. Drie addenda wat bevat A) `n samevatting van instrumentomvange van verskeie handboeke, B) `n saamgestelde lys van musiekvoorbeelde uit agt handboeke, en C) `n vergelykende tabel van instrumentele hoorbaarheid in lae, middel en hoë registers, het deurlopend gehelp om verdere verduideliking van konsepte moontlik te maak. In geheel dra die bevindinge by tot `n meer veralgemeende verstaan van orkestrasiepraktyk vanuit historiese, estetiese, pedagogiese en musiekteoretiese oogpunte, binne die metodologiese raamwerk wat verskaf is deur Gegronde Teorie.

Please refer to this item in SUNScholar by using the following persistent URL: http://hdl.handle.net/10019.1/98072
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