Orchestration

Conclusion, Acknowledgements and Bibliography

CONCLUSION

The most important conclusion to be drawn from our study of orchestration is that orchestration can bring out and enhance any aspect of the music. Once the composer gets into the habit of thinking about how timbre can mark and enrich important formal points, clarify and bring into better focus details of rhythmic design, enhance details of harmony and counterpoint, orchestration becomes what it should be for maximum artistic effect: an integral part of composition itself.

ACKNOWLEDGEMENTS

Various people have contributed importantly to this book. Guillaume Jodoin carefully and intelligently proofread the text, always asking pertinent questions. Marc-André Bougie suggested valuable examples. My colleague Sylvain Caron generously gave his time to read the text and made constructive comments. Daniel Barkely kindly helped with some of the score examples.

BIBLIOGRAPHY

• Adler, Samuel. The Study of Orchestration. New York: W. W. Norton and Co., 1982.
• Berlioz, Hector. Treatise on Instrumentation. New York: Edwin F. Kalmus, 1945.
• Brindle, Reginald Smith. Contemporary Percussion. London: Oxford University Press, 1975.
• Carse, Adam. The History of Orchestration. New York: Dover Publications, 1964.
• Forsyth, Cecil. Orchestration. London: Macmillan, 1974.
• Gevaert, F.-A. Cours Méthodique d’Orchestration. Paris: Henri Lemoine, 1890. (?)
• Green, Elisabeth. Orchestral Bowings and Routines. Ann Arbor, Michigan: Campus Publishers, 1983.
• Koechlin, Traité de l’Orchestration (4 volumes). Paris: Max Eschig, 1955. (?)
• Liebowitz, René, and Maguire, Jan. Thinking for Orchestra. New York: G. Schirmer, 1960.
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• Piston, Walter. Orchestration. New York: W. W. Norton and Co., 1955.
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• Read, Gardner. Orchestral Combinations. Lanham, Maryland: Scarecrow Press, 2004.
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• Read, Gardner. Style and Orchestration. New York: Schirmer Books, 1979.
• Rimsky-Korsakov. Principles of Orchestration. New York: Dover Publications, 1964.
• Rogers, Bernard. The Art of Orchestration. Westport, Connecticut: Greenwood Press, 1970.
• Schoenberg, Arnold. Coherence, Counterpoint, Instrumentation, Instruction in Form. Lincoln, University of Nebraska Press, 1994.
• Tovey, Donald Francis. The Forms of Music. New York: Meridian Books, 1963.
• Wellesz, Egon. Die Neue Instrumentation (2 volumes), Berlin: Max Hesses Verlag, 1928.