Professional Master's Degree in Musical Instrumentation and Orchestration (2023)

Simon Rattle, Leonard Bernstein, Pierre Boulez, etc. This Professional Master’s Degree will give you the keys to place yourself at the height of all of them through a comprehensive academic experience and 100% online"

Professional Master's Degree in Musical Instrumentation and Orchestration (1)

Thinking about orchestration as a compositional process has become a recurring theme in the musical field, especially in the more classical aspects. Thanks to the specialized knowledge in this field, as well as the advances that have been made in terms of the possibility of making increasingly creative and specialized arrangements, musical ensembles have been able to cover a wider range of works, giving the public the possibility of enjoying symphonies that awaken the senses and transport them to numerous scenarios: forests, battles, cities, etc. In this context, the role of the professional who is in charge of the musical ensemble is fundamental, since they are not only in charge, on many occasions, of making the adaptations, but it is also their responsibility to set the tempos, pauses and, in general, the course of the work.

And to enable all those interested in this area to specialize in it, TECH has decided to launch a Professional Master’s Degree based on Musical Instrumentation and Orchestration. This is an avant-garde and dynamic program through which graduates will be able to delve into aspects such as harmony, notation, vocal repertoire and tuning. Furthermore, they will acquire a broad and specialized knowledge of the piano and the organ as key elements in the creation of pieces, focusing on their history, their characteristics and their employability in today's classical-cultural sector.

For this purpose, the student will have 1,500 hours of diverse content: the syllabus, elaborated by experts in musical direction, practical cases based on real situations and additional high-quality material presented in various multimedia formats. Everything will be available in a state-of-the-art Virtual Campus, which can be accessed through any device with Internet connection, whether it is a PC, Tablet or cell phone and without schedules or on-site classes. In this way, you will be able to combine the program with any other activity, investing your time in mastering your professional skills to become the next Simon Rattle.

You will delve into the different instrument families, as well as the characteristics of each one of them, so that you can carry out standard and complex formations"

This Professional Master’s Degreein Musical Instrumentation and Orchestrationcontains the most complete and up-to-date program on the market. The most important features include:

  • The development of case studies presented by experts in musical conducting
  • The graphic, schematic and practical contents of the book provide technical and practical information on those disciplines that are essential for professional practice
  • Practical exercises where self-assessment can be used to improve learning
  • Its special emphasis on innovative methodologies
  • Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
  • Content that is accessible from any fixed or portable device with an Internet connection

A program with which you will focus your efforts on the knowledge of the basic fundamentals of instrumentation and orchestration through 1,500 hours of theory, practical and additional content”

The program’s teaching team includes professionals from the sector who contribute their work experience to this educational program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

Specializing in Musical Orchestration had never been so simple and dynamic until TECH decided to launch this academic experience"

Professional Master's Degree in Musical Instrumentation and Orchestration (2)

Thanks to this Professional Master’s Degree, you will reach the highest level of coherence and solidity with your compositions and musical arrangements"

Both the structure and the content of this Professional Master’s Degree have been designed by TECH and a team of experts in music management, who have invested a long period of time to shape a state-of-the-art curricula in the sector. This degree, in addition to the best theory and practical material, includes research articles, complementary readings, dynamic summaries, self-knowledge exercises and much more, so that the student can delve in a personalized way in the different sections of the syllabus, as well as contextualize the information of the same.

Professional Master's Degree in Musical Instrumentation and Orchestration (3)

In the Virtual Campus, you will find detailed videos, research articles, complementary readings and much more additional material to contextualize the information and delve deeper into the sections you consider necessary"

Module 1. Introduction to the Piano

1.1. The Piano

1.1.1. Organological Description of the Piano Musical Instrument
1.1.2. Main Parts of the Piano
1.1.3. Evolution of the Piano as a Musical Instrument
1.1.4. Most Important Composers

1.2. The Musical Notes

1.2.1. Location of the Notes
1.2.2. G Clef and F Clef
1.2.3. Association of Right Hand and Left Hand
1.2.4. Ascending and Descending Musical Notes
1.2.5. Fingering

1.3. Figures, Dynamics and Musical Nuances

1.3.1. Musical Figures and their Practical Applications
1.3.2. Dynamics and their Practical Application
1.3.3. Musical Nuances and their Practical Applications
1.3.4. Figures, Dynamics and Musical Nuances Together on the Piano

1.4. Introduction to Musical Reading

1.4.1. Reading Sheet Music in G Clef
1.4.2. Reading Sheet Music in F Clef
1.4.3. Combination of the Two Musical Clefs
1.4.4. Internalization of the Concepts Acquired in the Piano

1.5. Improvisation

1.5.1. Main Musical Scales
1.5.2. Main Musical Chords
1.5.3. The Main Tones
1.5.4. Techniques of Musical Improvisation

1.6. Aural Application

1.6.1. Aural Recognition of Melodic Intervals
1.6.2. Aural Recognition of Major and Minor Chords
1.6.3. Aural Recognition of Augmented and Diminished Chords
1.6.4. Playing Intervals
1.6.5. Playing Major and Minor Chords

1.7. Composition

1.7.1. Written Composition of a Short Musical Piece in G Clef
1.7.2. Written Composition of a Short Musical Piece in F Clef
1.7.3. Composition of a Passage of a Musical Piece Using Both Musical Clefs
1.7.4. Improvised Composition of a Short Musical Piece

1.8. Sight-Reading

1.8.1. Sight-Reading Intonation
1.8.2. Rhythm at First Sight
1.8.3. Sight-Reading of a Short Musical Piece in G Clef
1.8.4. Sight-Reading of a Short Musical Piece in F Clef
1.8.5. Sight-Reading of a Passage in G and F Clef

1.9. The Pedal

1.9.1. Introduction to the Pedal
1.9.2. Recognition of the Three Piano Pedals
1.9.3. Recognition of the Pedal Symbols
1.9.4. Coordination and Internalization of the Pedal with Both Hands

1.10. Four-Hand Technique

1.10.1. What is Four-Hand Playing?
1.10.2. Main Repertoire Composed to be Played by Four Hands
1.10.3. Performance of a Four-Hand Piece in its Melodic Part
1.10.4. Performance of a Four-Hand Piece in its Harmonic Part

Module 2. Instrumentation and Orchestration

2.1. The Orchestra

2.1.1. What is an Orchestra?
2.1.2. What Instruments Make Up an Orchestra?
2.1.3. Beginnings of the Orchestra
2.1.4. The Baroque Orchestra
2.1.5. The Classical Orchestra
2.1.6. Beethoven's Orchestra
2.1.7. The Post-Beethoven Orchestra
2.1.8. The Contemporary Orchestra

2.2. Stringed Instruments

2.2.1. What Are the Stringed Instruments?
2.2.2. Tessitura
2.2.3. Special Mention of the Piano
2.2.4. The String Quartet
2.2.5. Roles of the Stringed Instruments in the Orchestra

2.3. Woodwind Instruments

2.3.1. Which Are the Woodwind Instruments?
2.3.2. Woodwind Quintet
2.3.3. Tessitura
2.3.4. Roles of the Woodwind Instruments in the Orchestra

2.4. Brass Instruments

(Video) Alan Silvestri Breaks Down the Composing Workflow Behind his Blockbuster Scores | Native Instruments

2.4.1. Which Are the Brass Instruments?
2.4.2. Tessitura
2.4.3. Roles of the Brass Instruments in the Orchestra
2.4.4. Types of Brass Instruments: Conical Bore and Cylindrical Bore

2.5. Chamber Ensembles

2.5.1. What are Chamber Formations?
2.5.2. What is Chamber Music?
2.5.3. Origins of Chamber Ensembles
2.5.4. Most Common Chamber Ensembles

2.6. Percussion

2.6.1. Which are the Percussion Instruments?
2.6.2. Classification of Percussion Instruments
2.6.3. Types of Percussion Percussion of Drumhead Percussion of Blades Minor Percussion

2.6.4. Role of Percussion

2.7. Harp and Guitar

2.7.1. Brief Description of the Harp
2.7.2. Origins of the Harp
2.7.3. Brief Description of the Guitar
2.7.4. Origins of the Guitar
2.7.5. Role of the Harp in the Orchestra
2.7.6. Role of the Guitar in the Orchestra

2.8. Keyboard Instruments

2.8.1. Which are the Keyboard Instruments?
2.8.2. Characteristics of Keyboard Instruments
2.8.3. The Piano in the Orchestra
2.8.4. Historical Evolution of the Piano

2.9. Solo Instruments in the Orchestra

2.9.1. What is a Solo Instrument and What is its Role?
2.9.2. Which are the Soloist Instruments?
2.9.3. The Most Important Solo Instruments in the 15th-16th Centuries
2.9.4. Today's Most Important Solo Instruments

2.10. The Arrangement in the Orchestra

2.10.1. Stringed Instruments
2.10.2. Woodwind Instruments
2.10.3. Brass Instruments
2.10.4. Percussion

Module 3. Harmony I

3.1. Harmony

3.1.1. What is Harmony in Music?
3.1.2. Evolution of the Harmonic Concept
3.1.3. Functional Harmony
3.1.4. Harmony in Schools

3.2. Figured Bass

3.2.1. What is a Figured Bass?
3.2.2. History of the Figured Bass
3.2.3. Performance and Execution of a Figured Bass
3.2.4. Basic Figures

3.3. Conduction of Voices

3.3.1. What is Conduction of Voices?
3.3.2. Rules for Arrangement of Voices
3.3.3. Rules of the Melodic Movement of Each Voice
3.3.4. Rules of the Harmonic Movement Between Two Voices
3.3.5. Rules for Notes of Compulsory Resolution

3.4. The Chords of the Scale

3.4.1. Triad Chord Links
3.4.2. Chord Sequences
3.4.3. Chords Derived From the Major Scale
3.4.4. Seventh Chords Derived From the Major Scale
3.4.5. Chords Derived From the Minor Scale

3.5. The Seventh and Ninth Chords

3.5.1. What are Seventh Chords?
3.5.2. Types of Seventh Chords
3.5.3. What are Ninth Chords?
3.5.4. Types of Ninth Chords

3.6. The Cadences

3.6.1. Perfect Cadence
3.6.2. Plagal Cadence
3.6.3. Broken Cadence
3.6.4. Semi-Cadence
3.6.5. Andalusian Cadence
3.6.6. Imperfect Cadence

3.7. The Dissonance

3.7.1. Concept
3.7.2. Role of the Dissonance
3.7.3. Harmonic Resolution of Dissonance
3.7.4. Melodic Resolution of Dissonance

3.8. Chord Inversions

3.8.1. What is an Inversion?
3.8.2. Inversions of Triad Chords
3.8.3. Seventh Chord Inversions
3.8.4. Ninth Chord Inversions

3.9. Ornamental Notes

3.9.1. What is an Ornamental Note?
3.9.2. Passing Note
3.9.3. Fioriture
3.9.4. Ritardando
3.9.5. Anticipation
3.9.6. Appoggiatura
3.9.7. Échapée
3.9.8. Cambiata
3.9.9. Pedal Point

3.10. Modulation

3.10.1. Concept and Operation
3.10.2. Modulation by Pivot Chord
3.10.3. Chromatic Modulation
3.10.4. The Enharmonic Modulation

Module 4. Vocal-Orchestral Repertoire

4.1. Classification of Voices

4.1.1. Introduction to Voice Types
4.1.2. Soprano
4.1.3. Mezzo Soprano
4.1.4. Contralto
4.1.5. Countertenor
4.1.6. Tenor
4.1.7. Baritone
4.1.8. Bass

4.2. Opera

4.2.1. The Beginnings of Opera
4.2.2. The Italian Opera Baroque Reforms of Gluck and Mozart The Bel Canto
4.2.3. German Opera
4.2.4. Composers and Opera to Highlight

4.3. Structure of the Opera

4.3.1. Acts and Scenes
4.3.2. The Recitative
4.3.3. Duets, Tercets
4.3.4. Choral Part

4.4. The Operetta

4.4.1. What is the Operetta?
4.4.2. The French Operetta
4.4.3. The Viennese Operetta
4.4.4. Influence of the Operetta in the Beginnings of the Musical

4.5. The Opera Bufa

4.5.1. What is the Opera Bufa?
4.5.2. Beginnings of the Opera Bufa
4.5.3. The Cilla. Michelangelo Faggioli
4.5.4. Most Important Bufa Operas

(Video) A Trick for writing Orchestral Music like the Pros

4.6. The French Comic Opera

4.6.1. What is the French Comic Opera?
4.6.2. When did French Comic Opera Emerge?
4.6.3. Evolution of the French Comic Opera at the End of the 18th Century
4.6.4. Main Composers of French Comic Opera

4.7. The English Ballad Opera and the German Singspiel

4.7.1. Introduction to the Ballad Opera
4.7.2. Introduction to the Singspiel
4.7.3. Origins of the Singspiel
4.7.4. The Singspiel in the Rococo Period
4.7.5. Main Singspiel and its Composers

4.8. Zarzuela

4.8.1. What is the Zarzuela?
4.8.2. Beginnings of Zarzuela
4.8.3. Main Zarzuelas
4.8.4. Main Composers

4.9. The Mass

4.9.1. Description of the Mass Genre
4.9.2. Parts of the Mass
4.9.3. The Requiem
4.9.4. Most Outstanding Requiems Mozart's Requiem

4.10. The Symphony and the Chorus

4.10.1. The Choral Symphony
4.10.2. Birth and Evolution
4.10.3. Main Symphonies and Composers
4.10.4. Unaccompanied Choral Symphonies

Module 5. Harmony II

5.1. The Scales

5.1.1. The Seven Modal Scales
5.1.2. The Minor Scales
5.1.3. Scale Degrees
5.1.4. The Tonal and Modal Degrees

5.2. The Movements of the Voices

5.2.1. The Direct Movement
5.2.2. The Contrary Movement
5.2.3. The Oblique Movement
5.2.4. The Arrangement of the Voices

5.3. Extension and Duplication of Voices

5.3.1. Bass Extension
5.3.2. Tenor Extension
5.3.3. Contralto Extension
5.3.4. Soprano/Treble Extension
5.3.5. Voice Duplication Rules

5.4. Harmonization

5.4.1. Harmonization of Figured and Non-Figured Basses
5.4.2. Harmonization of Trebles
5.4.3. Harmonization of Mixed Works (Bass-Treble or Treble-Bass)
5.4.4. Creation and Harmonization of Self-Works

5.5. Tonal and Modal Ligatures

5.5.1. Tonal Ligatures: (V-I) (I-IV)
5.5.2. Tonal Ligatures: (V-I) (I-IV)
5.5.3. Tonal Ligatures: (I-VI) (IV-II)
5.5.4. Modal Ligatures: (V-II) (IV-I)
5.5.5. Modal Ligatures: (V-IV) (II-I)
5.5.6. Modal Ligatures: (I-III) (II-IV)

5.6. Modulation

5.6.1. Modulation by Pivot Chord
5.6.2. Chromatic Modulation
5.6.3. The Enharmonic Modulation
5.6.4. Modulation to the Third Ascending Circle of Fifths

5.7. Sixth Chords

5.7.1. Origin
5.7.2. The Italian Sixth
5.7.3. The French Sixth
5.7.4. The German Sixth

5.8. The Dominant Ninth

5.8.1. The Major Dominant Ninth
5.8.2. The Minor Dominant Ninth
5.8.3. Notes of Compulsory Resolution
5.8.4. The Ligature

5.9. Harmonic Rhythm/Subdivisions

5.9.1. What is Harmonic Rhythm?
5.9.2. History of Harmonic Rhythm
5.9.3. What is Rhythmic Subdivision?
5.9.4. Subdivision of Harmonic Rhythm

5.10. Harmonization of a Chorale

5.10.1. Harmonic Sequencing
5.10.2. Prioritization of Cadences
5.10.3. Modulation Points
5.10.4. The Use of the V with Seventh in Inversions

Module 6. Organ

6.1. The Organ

6.1.1. Introduction to the Organ
6.1.2. The Organ in Ancient and Middle Ages
6.1.3. The Organ in Classicism and Romanticism
6.1.4. The Organ in the Baroque

6.2. How the Organ Works

6.2.1. How is the Sound Made?
6.2.2. The Change of Pitch and Timbre
6.2.3. The Valves and Windchests
6.2.4. Positive Organ

6.3. Structural Composition of the Organ

6.3.1. The Box
6.3.2. The Console
6.3.3. Manual
6.3.4. Pedalboard

6.4. Parts of the Organ

6.4.1. Records
6.4.2. Pipes
6.4.3. Secret
6.4.4. Mechanisms
6.4.5. Bellows

6.5. The German Music of the 17th-18th Centuries

6.5.1. Bach
6.5.2. Pachelbel
6.5.3. Walter
6.5.4. Boehm

6.6. Most Relevant Organ Pieces

6.6.1. Baroque Period
6.6.2. Classicism
6.6.3. Romanticism
6.6.4. 20th Century

6.7. The Portable Organ, Realejo and Positive

6.7.1. Introduction
6.7.2. The Portable Organ
6.7.3. The Realejo
6.7.4. Positive Organ

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6.8. The Wanamaker Organ

6.8.1. Introduction
6.8.2. History
6.8.3. The Architectural Layout of the Organ
6.8.4. Music Composed Specifically for the Wanamaker Organ

6.9. The Organ in Cinema and Videogames

6.9.1. Pirates of the Caribbean
6.9.2. Interstellar
6.9.3. The Legend Of Zelda
6.9.4. Final Fantasy IV

6.10. The Most Famous Organs in the World

6.10.1. The Organ of the Cathedral of Notre Dame (Paris)
6.10.2. The Organ of St. Stephen's Cathedral (Passau)
6.10.3. The Organ of the Basilica of Notre-Dame (Alençon)
6.10.4. The Organ of the Oliwa Cathedral (Gdańsk)

Module 7. Piano Tuning

7.1. The Invention of the Piano

7.1.1. What is a Piano?
7.1.2. Predecessors and Origins of the Piano
7.1.3. Bartolomeo Cristofori
7.1.4. The Transformations Undergone by the Piano

7.2. Types of Piano

7.2.1. The Upright Piano
7.2.2. The One-Quarter and Half-Tail Piano
7.2.3. The Grand Piano
7.2.4. The Electric Piano

7.3. Tuning Tools

7.3.1. The Tuning Key
7.3.2. Tuning Fork
7.3.3. Mutes, Tweezers and Felt Strips
7.3.4. Rubber Wedges

7.4. Beat

7.4.1. What is the Beat?
7.4.2. Slow Beat
7.4.3. Fast Beat
7.4.4. Beat Frequencies
7.4.5. Beat Tones

7.5. Temperament

7.5.1. What is the Temperament?
7.5.2. Acoustic Physics and Temperament
7.5.3. Mesotonic Temperament
7.5.4. Equal Temperament

7.6. Piano Strings

7.6.1. What is the Piano String?
7.6.2. Steel or Flat Strings
7.6.3. The Bordone Strings
7.6.4. Main Manufacturers of Strings

7.7. The Condition of the Piano

7.7.1. Evaluation of the Condition of the Piano Cabinet
7.7.2. Evaluation of the Condition of the Piano Pedals
7.7.3. Evaluation of the Condition of the Piano Tuning
7.7.4. Evaluation of the Condition of the Piano Harmonization

7.8. Replacement of the Parts and Elements of the Piano Mechanics

7.8.1. Preparation of the Piano for its Accessibility
7.8.2. Applying Corrections to Elements of the Piano Harmonic Set
7.8.3. Assembly and Disassembly of Piano Parts to be Repaired
7.8.4. Selection and Preparation of Strings and/or Bass Strings

7.9. The Octaves

7.9.1. Ora Railsback and the Octave Stretching
7.9.2. Inharmonicity
7.9.3. The Central Piano with its First Four Theory Harmonics
7.9.4. Tuning of a Piano's Theory Octave
7.9.5. Tuning of a Piano's Real Octave

7.10. Piano Manufacture

7.10.1. Piano Manufacturing Materials
7.10.2. Creation of the Basic Structure
7.10.3. The Tension Resonator and Harmonic Table
7.10.4. The Pegbox
7.10.5. Key and Hammers

Module 8. Musical Notation

8.1. Gregorian Chant Notations

8.1.1. The Neumes, Breathing, Custos
8.1.2. Adiasmatic Notations
8.1.3. Diasthematic Notations
8.1.4. Modern Editions of Gregorian Chant

8.2. First Polyphonies

8.2.1. The Parallel Organum Musica Enchiriadis
8.2.2. The Dasian Notation (First Polyphonies)
8.2.3. Alphabetic Notation
8.2.4. The Notation of St. Martial of Limoges

8.3. The Codex Calixtinus

8.3.1. The Diasthematic Notation of the Codex
8.3.2. The Authorship of the Codex Calixtinus
8.3.3. Type of Music Found in the Codex
8.3.4. The Polyphonic Music of the Codex Book V

8.4. The Notation at the School of Notre Dame

8.4.1. The Repertoire and its Sources
8.4.2. Modal Notation and Rhythmic Modes
8.4.3. The Notation in the Different Genres: Organa, Conducti and Motets
8.4.4. Main Manuscripts

8.5. The Notation of the Ars Antiqua

8.5.1. Ars Antiqua and Ars NovaTerminology
8.5.2. The Pre-Franconian Notation
8.5.3. The Franconian Notation
8.5.4. The Petronian Notation

8.6. Notation in the 14th Century

8.6.1. The Notation of the French Ars Nova
8.6.2. The Notation of the Italian Trecento
8.6.3. The Division of Longa, Breve and Semibreve
8.6.4. The Ars Subtilior

8.7. The Copyists

8.7.1. Introduction
8.7.2. The Origins of the Calligraphy
8.7.3. History of Copyists
8.7.4. Music Copyists

8.8. The Printing Press

8.8.1. Bi Sheng and the First Chinese Printing Press
8.8.2. Introduction to Printing Press
8.8.3. The Gutenberg Printing Press
8.8.4. The First Printings
8.8.5. The Printing Press Today

8.9. Music Printing Press

8.9.1. Babylon. First Forms of Musical Notation
8.9.2. Ottaviano Petrucci. Printing with Movable Type
8.9.3. John Rastell's Printing Model
8.9.4. Intaglio Printing

8.10. The Current Musical Notation

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8.10.1. The Representation of Durations
8.10.2. The Representation of Pitches
8.10.3. Musical Expression
8.10.4. Tablature

Module 9. Organology

9.1. The Organology

9.1.1. What is Organology?
9.1.2. Concept of Musical Instrument
9.1.3. Concept and Purpose of Musical Instrument Classifications
9.1.4. Musical Instruments Classification. Hornbostel-Sachs

9.2. Historical Process of Musical Instruments

9.2.1. The First Musical Instruments. Prehistoric Instruments
9.2.2. Ancient Instruments
9.2.3. Instruments in the Middle Ages
9.2.4. Instruments in the Modern Age
9.2.5. The Instruments in the Renaissance and Baroque
9.2.6. Instruments in Classicism and Romanticism

9.3. Idiophones

9.3.1. What is an Idiophone?
9.3.2. Percussive Idiophones
9.3.3. Shaken Idiophones
9.3.4. Plucked Idiophones
9.3.5. Friction Idiophones
9.3.6. With the Hand

9.4. Membranophones

9.4.1. What is a Membranophone?
9.4.2. Percussed Membranophones
9.4.3. Fretted Membranophones
9.4.4. Singing Membranophone

9.5. Aerophone

9.5.1. What is an Aerophone?
9.5.2. Classification According to Manufacturing Materials Brass Aerophones Woodwind Aerophones Wind-Mechanical Aerophones

9.5.3. Single Reed Aerophones
9.5.4. Double Reed Aerophones
9.5.5. Embouchure Aerophones
9.5.6. Mouthpiece Aerophones
9.5.7. Aerophones with Air Reservoir

9.6. Chordophones

9.6.1. What is a Chordophone?
9.6.2. Plucked String Chordophones
9.6.3. Fretted Stringed Chordophones
9.6.4. Plucked String Chordophones

9.7. Electrophones

9.7.1. What is an Electrophone?
9.7.2. Sachs and Galpin
9.7.3. Electromechanical Electrophones
9.7.4. Electronic Electrophones

9.8. The Musical Iconography

9.8.1. Definition of Musical Iconography
9.8.2. The Musical Iconography in the Prehistory and Ancient Times
9.8.3. The Medieval Musical Iconography
9.8.4. Main Pictorial Art Pieces

9.9. The Portico of Glory

9.9.1. Introduction
9.9.2. Master Mateo
9.9.3. The Architectural Structure of the Portico of Glory
9.9.4. Musical Instruments

9.10. The Codex Calixtinus

9.10.1. What is the Codex Calixtinus?
9.10.2. The History of the Codex Calixtinus
9.10.3. The Structure of the Codex Calixtinus
9.10.4. Music of the Codex Calixtinus

Module 10. Orchestra Conducting

10.1. Orchestra Conductors

10.1.1. Introduction
10.1.2. Role of the Orchestra Conductor
10.1.3. Composer-Conductor Relationship
10.1.4. Most Renowned Conductors

10.2. The Gesture

10.2.1. The Levare
10.2.2. The Vertical Gesture
10.2.3. The Cross
10.2.4. Triangle

10.3. The Free Pulse

10.3.1. The Free Pulse in the Fundamental Figures
10.3.2. Regular Time Signatures
10.3.3. Irregular Time Signatures
10.3.4. Irregular Cross Time Signatures

10.4. The Anacrustic Beginning

10.4.1. What is an Anacrusis?
10.4.2. Anacrustic Beginning on Fundamental Figures
10.4.3. The Normal Levare
10.4.4. The MetricLevare

10.5. The Tempo

10.5.1. Tempo Alterations as Part of Musical Speech
10.5.2. Tempo Changes after a Pause
10.5.3. Progressive Changes
10.5.4. The Change of Tempo, Pulse and Time Signature

10.6. The Baton

10.6.1. Introduction. Origin and Creator of the Baton
10.6.2. The Handle
10.6.3. Rod
10.6.4. Length

10.7. The Piano

10.7.1. Sight-Reading of Sheet Music for Two Hands
10.7.2. Musical Transport
10.7.3. Harmonic Connections
10.7.4. Composition

10.8. Vocal Groups

10.8.1. The Human Voice and its Classification
10.8.2. Technical Rudiments of Conducting Applied to Vocal Music
10.8.3. The Vocal Repertoire
10.8.4. The Rehearsal, the Planning and the Concert

10.9. Instrumental Groups

10.9.1. Organology
10.9.2. Technical Rudiments of Conducting Applied to Instrumental Music
10.9.3. The Instrumental Repertoire
10.9.4. The Rehearsal, the Planning and the Concert

10.10. Tuning

10.10.1. Steps in Orchestral Tuning
10.10.2. The Oboe and the Tuning of the Orchestra
10.10.3. The Concertmaster
10.10.4. Historical Evolution of the Tuning

Professional Master's Degree in Musical Instrumentation and Orchestration (4)

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(Video) [REVIEW] Native Instruments Symphony Essentials


1. Schindler's list - John Williams - NL orchestra
2. Motown Jazz - Smooth Jazz Music & Jazz Instrumental Music for Relaxing and Study | Soft Jazz
(Dr. SaxLove)
3. Introduction to the Instruments of the Orchestra
(Portland Youth Philharmonic)
4. Manchester Orchestra - I Know How To Speak (Acoustic Version / Music Video)
(Manchester Orchestra)
5. Sting - Shape of My Heart (Official Music Video)
6. How to grow into a professional orchestral musician
(Shanghai Orchestra Academy)


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