Pillide tundmine Samuel Adler ,,The Study of orchestration" Alfred Blatter ,, Instrumentation/orchestration" Dan Sebesky ,,The Contemporary Arranger" *Klaaspärlimäng suur klaaskuul löödi puruks *Avet Terterjan Sümfoonia põranda lauda kasutades *John Gage ,,Living Room Music" *Rolf Wallin ,,Scratch" Õhupalli krigin Ei ole ühtki eset, mida ei saaks kasutada instrumendina. Esemed jaotuvad kaheks: esemed, mis VÕIVAD tekitada heli ja esemed, mille esmane ÜLESANNE on heli tekitamine. Heli on meile kuuldaolev võnkeheli. Heli parameetrid: 1
Nouns converted from these verbs are even more expressive and colloquial e.g a pin-up (magazine), a walk-up (six-storey houses, no elevator in these). Phonostylistics Phonostylistics studies phonetic features which are at the speaker's writer's disposal to emphasize words or the whole utterance. The phonetic arrangement of the utterance does not exist by itself- it is iseparably connected with the meaning and message. Phonetically we distinguish between prosodic means and what may be termed as orchestration of sounds. Prosodic means Include such phenomena of speech as loudness, diapason (pitch), acceleration or slowing down the tempo, pausation, logical and emphatic stress, intonation contours. In this respect the written text is far from being perfect, much of it can be pronounced differently and therefore understood differently. Loudness The tone of the voice may vary from being cold, sharp, contemptuous to being tender, gay etc. Depends on many factors
g. "I beg your pudding"). The same holds true for unusual shortenings (e.g. "bacon and e."). Phrasal verbs are more expressive than their one-word counterparts and they are colloquial. Nouns converted from such verbs are even more colloquial (e.g. "a car was in a smash-up", "a pick-up", etc.). 6. PHONETIC EXPRESSIVE MEANS AND STYLISTIC DEVICES We distinguish between prosodic means and orchestration of sounds. Prosodic means include such elements of speech as loudness, pitch, acceleration or slowing down the tempo, pauses, stress, etc. In this respect the written text is far from perfect. Much of it can be pronounced differently and therefore understood differently. LOUDNESS: Depends on many factors. Diminished loudness expresses intimacy, mildness, shyness, but also threat and warning. A loud voice may express familiarity, good heartedness, excitement, etc.
Phonestheme Allusion Rhythm Expressive means Quotation Foot Stylistic devices Epigram Metre: Phonostylistics PU, deformed PU Iambus Phonetic. expr. means Synonymic repetition Trochee Prosody Lexical repetition Anapaest Orchestration Syntactic SD Dactyl Euphony Ellipsis Amphibrach Phonetic SD Aposiopesis Spondee Onomatopoeia Nominative sent. Pyrrhic Alliteration Asyndeton Rhythmic invers. Assonance Apokoinu Run-on line
· Phrasal verbs being colloquial become even more expressive and colloquial when they appear as nouns (a walk-up--house with no elevator) 6. Phonetic expressive means Every work of literature is a certain sequence of sounds. Phonostylistics studies phonetic features at the speaker's or writer's disposal to emphasize words. The phonetic arrangement is inseparably linked with the meaning and message. Phonetically we distinguish between prosodic means and orchestration of sounds. Prosodic means include such phenomena of speech as loudness, pitch, acceleration or slowing down the tempo, pausation, stress and intonation. In this respect, the written text is far from perfect. Much of it can be pronounced differently and so understood differently. The pitch depends on the state of excitement. It is high when one is angry and low when one is disappointed, sorrowful or desperate.
In the Twenties and Thirties he gave recitals in several European cities: Helsinki, Stockholm, Budapest, and Paris. In his First Piano Concerto (1905, composed in his student years), which is one of his best achievements, the salient features of his style may be recognised: the breadth of melody, romantic spirit and form winning plaudits for its grace and serenity, 1 Carl Hunnius, “The Daughter of Lembitu”, Elu (Life). Tartu, 29 and 30 Apr. 1908. refined orchestration. This music may seem too “smooth”; we do not encounter severe challenges. Nevertheless, it is very poetic and popular. The first Estonian symphony was composed in 1908 as his diploma work in composition.1 The symphony marks the peak of his symphonic output, complete both in orchestration (triple scoring) and in form (four movements). Some instruments not regularly used were added (Piccolo, Cor anglais, Tuba and Harp). The work begins with
115 Kiri autorile 1.12.2004. 116 Boris Kõrver (1917–1994) õppis 1932–33 Tallinna konservatooriumis klaverit E. Raudkatsi juures, hiljem võttis eratunde prof. A. Lembalt; 1937–40 õppis Tartu ülikoolis algul majandusteaduskonnas, 1938. aastast õigusteaduskonnas, jätkates samal ajal džässiga tegelemist (1938. aastast alates Kuldse 7 pianist). Ülikooli päevil tõlkis eesti keelde Sid Phillipsi orkestratsioonikursuse “Course of Modern Orchestration” (Arike 1966: 5). Sellest tõlkest on säilinud üks masinakirjas eksemplar Rahvusraamatukogu arhiivifondis (RRK Ar. 94... B/Phillips), millest edaspidi täpsemalt. 117 Lisaks tabelis tooduile ka Mustlasjazz (mängis Adamtau tantsukursustel), Autojuhtide lokaali ja restorani Eden ning mõnede koolide orkestrid, mille kohta täpsemad andmed puuduvad. 118 Üldjuhul mängivad kõik saksofonistid ka klarnetit, siin eraldi toodud kolme mehe kohta pole andmeid, et nad
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