Orchestration

Throughout recorded human history, experiences and observations of the natural world have inspired the arts. Within the sonic arts, evocations of nature permeate a wide variety of acoustic and electronic composition strategies. These strategies artistically investigate diverse attributes of nature: tranquility, turbulence, abundance, scarcity, complexity, and purity, to name but a few. Within the 20th century, new technologies to understand these attributes, including media recording and scientific analysis, were developed. These technologies allow music composition strategies to go beyond mere evocation and to allow for the construction of musical works that engage explicit models of nature (what has been called ‘biologically inspired music’). This paper explores two such deployments of these ‘natural sound models’ within music and music generation systems created by the authors: an electroacoustic composition using data derived from multi-channel recordings of forest insects (Luna-Mega) and an electronic music generation system that extracts musical events from the different layers of natural soundscapes, in particular oyster reef soundscapes (Stine). Together these works engage a diverse array of extra-musical disciplines: environmental science, acoustic ecology, entomology, and computer science. The works are contextualized with a brief history of natural sound models from pre- antiquity to the present in addition to reflections on the uses of technology within these projects and the potential experiences of audiences listening to these works.

Orchestration is a problem that has been relatively unex- plored in computer music until recently. This is perhaps due to its com- plexity. This paper presents a survey of the field of computer-assisted orchestration. The span of such survey covers different orchestration sys- tems that were initiated by the spectral music movement and developed during the last 40 years in order to establish the current state-of-the-art. In this paper, we also introduce some of our current work-in-progress ideas, which work towards intelligent orchestration systems.

Excerpt from the book on the contemporary playing technique of percussion with special emphasis on mallets and other types of excitation.
The book also contains a series of essays written by renowned composers and performers such as Nicolaus A. Huber, Jan Williams, Steven Schick and Alberto Posadas (see "contents").
Additionally, a database with instructive videos is available on the website of the publisher (https://www.baerenreiter.com/shop/produkt/details/BVK2406/).
In collaboration with the percussionists Christian Dierstein and Jens Ruland. Part of the well-known Bärenreiter Series of Books on playing techniques.

Excerpt from the book on contemporary trombone playing techniques (in collaboration with Mike Svoboda).
Part of the Bärenreiter Verlag's well-known series on contemporary playing techniques and awarded with the German Music Edition Prize as "Best Edition".

[PT]
Um dos paradigmas mais influentes na música contemporânea é o som como material composicional em si mesmo: a expansão das sonoridades, a primazia da escuta e os processos de estruturação que fogem dos parâmetros e formas tradicionais. Este desafio para a análise musical abriu novas possibilidades de abordagem. Pierre Schaeffer desenvolveu uma tipo-morfologia que classifica e descreve os objetos sonoros, inspirando metodologias analíticas especialmente úteis para a música eletroacústica. Lasse Thoresen propõe uma ferramenta gráfica que se baseia na tipo- morfologia schaefferiana, apropriando-se contudo do termo espectromorfologia (apontado pela primeira vez por Denis Smalley). A maior inovação de Thoresen, uma fonte de computador chamada Sonova, é adotada em nossa pesquisa como principal meio ilustrativo. Visamos aqui a abrir um precedente para o estudo da composição instrumental e da orquestração baseado na espectromorfologia, pois a música cujo suporte não é a gravação tem sido pouco pesquisada sob esse olhar, apesar da clara mudança nos paradigmas do último século. Uma abordagem tal, que considera as partituras sem deixar de falar em objeto sonoro, sustenta-se na “desconcretização da sonoridade” (como diria Didier Guigue) e numa revisão dos conceitos schaefferianos. Assim, através da análise de breves exemplos, realizamos uma primeira incursão na qual é evidenciada, ao mesmo tempo, a retroalimentação estético-criativa entre a música instrumental e a eletroacústica, evocando noções como tecnomorfismo e sinal tecnográfico.

[EN]
One of the most influential paradigms in contemporary music is the sound as compositional material in its own: the expansion of sonorities, the primacy of listening and the structuring processes which move away from traditional parameters and forms. This challenge for musical analysis opened up new approach possibilities. Pierre Schaeffer developed a typo-morphology which classifies and describes sonic objects, inspiring useful analytical methodologies especially for electroacoustic music. Lasse Thoresen proposes a graphic tool based on Schaefferian typo-morphology, and borrowing Denis Smalley's original term spectromorphology. Thoresen's greatest innovation, a computer font called Sonova, is adopted in our research as its leading illustrative means. Our aim is to set a precedent for the study of orchestration based on spectromorphology, once non-recording-based music hasn't been researched consistently under this optics, despite the clear change of paradigms in the last century. Such an approach —one that considers the score but still talks about sonic objects— is supported by both the “deconcretization of sonority” (as Didier Guigue would say) and the revision of Schaefferian concepts. Thus, through the analysis of brief excerpts, we conduct an initial research while also providing evidence of the creative and aesthetic feedback between instrumental and electroacoustic music, evoking the notions of technomorphism and technographic signal.

Within the past decade, music-theoretical analysis of popular music has become increasingly common. Nonetheless, until quite recently the purview of such research has been relatively limited, focusing mainly on classic and art rock from the 1960s and 70s. While these repertoires have provided fertile ground for analytical exploration, several more recent genres and styles raise interesting structural, semiotic, and aesthetic questions that also merit study. One of the most distinctive types of contemporary popular music is electronic dance music, a broad category that includes styles such as techno, house, drum-n-bass, and trance. Electronic dance music differs from both rock and art music in a number of ways, all of which suggest avenues for productive theoretical investigation. While many genres of popular music are distinguished from each other on the basis of "surface" differences such as instrumentation or lyrical content, electronic dance music presents a distinctive overall formal structure in addition to its characteristic instrumentation. It also differs from most other types of Western music in its rejection of harmony as a primary musical parameter. Its use of pitch is typically restricted, with the majority of musical development taking place instead in the realms of rhythm, meter, texture, and timbre. Consequently, these areas should be principal concerns for the analyst wishing to pursue a close examination of musical sound in this repertoire. Rhythm provides an ideal starting point, as it seems to be the element to which listeners and fans of EDM relate most directly. This connection is most immediately apparent on the dance floor, where audiences physically enact the rhythms of the music. Written discussions of electronic dance music also tend to highlight its rhythmic qualities-references to its "unrelenting rhythm," "pulsing dance rhythms," and "irresistible tribal rhythm" are common (and fans often refer to the music simply as "beats" (as in, "let's go to the club and hear some beats"). Yet EDM poses a challenge to the analyst, for it differs in many ways from the repertoires that current music-theoretical models of rhythm and meter were developed to address. Transcription can give the impression that it is less complex rhythmically than these other bodies of music: although it typically consists of many different textural layers, each of which has a different rhythmic pattern, these patterns can appear quite simple when considered individually, and they repeat for long periods of time without changing. The

The ways teachers work with (digital) resources for professional practices have become a research focus in the last decade. The primary aim of this doctoral research is to explore how English secondary mathematics teachers access, adapt, create and use resources in-class and out-of-class, individually and collectively in lesson planning, delivery, assessment and the impact on classroom practices. This study also examines the evolution of a community of mathematical teaching practice from teachers' collective work. A qualitative case study approach was used. Data were collected through interviews, observations using the Systematic Classroom Analysis Notation (SCAN), screen capture and document collation. Seven teachers in the real-life context of practice were purposively selected from three schools in England where there exists a culture of technology and digital resources use. Activity theoretic and the 'documentational' approaches are frameworks for developing an understanding and explanation of teachers' appropriation of (digital) resources and its impact on classroom practices. Thematic data analysis was used in developing themes from dataset. The findings highlight the importance of (digital) resources in teaching mathematics in England. They suggest that the widespread use of scheme of work, amongst other features, in England predisposes teachers to adapt, create, share and use variety of digital resources. The research also reveals the co-evolution of individual teacher's and collective documentation systems. The study also shows how students' on-line feedback informed 'emergent (in lesson) task design' afforded by access to multiple resources. Digitalisation has also enabled the advent of a new community of mathematical teaching practice where teachers are 'live' to each other. This study has potential to contribute to the discourse on mathematics teachers' work with resources from an English perspective. It also offers evidence-based insights and recommendations that could benefit mathematics teachers' professional practices.

An analysis on Brahms Symphony No. 1.  Brahms was highly sought after to be the one that was the "hope" of Germanic music after Beethoven.  After taking nearly 15 years on this masterpiece, Brahms shows why he truly is an academic mastermind of composition.

"Terimalah di Hati-Mu" (in English: Accept it in Your heart) is catholic offering song. This is one of my favorite song which composed by Putut Pudyantoro. Mr. Putut is a songwriter also as known as maestro for catholic church music in Indonesia. He has made many songs for mass (worship/ritual). I tried to create the orchestration and I used some instruments. This score actually is for choir, but I just did it for instrumental song so I don't put in the lyrics. I make one full part without any repetition.

Beethovens Musik wird oft als teleologisch vorwärtstreibend beschrieben. Hierzu existieren unzählige musiktheoretische und musikwissenschaftliche Arbeiten, die die Rolle motivisch-struktureller Arbeit für den prozesshaften Verlauf Beethovenscher Kompositionen beleuchten. Dass aber auch die Instrumentationstechnik in den Orchesterwerken ihren wichtigen Teil dazu beiträgt, wurde bislang höchstens erwähnt, jedoch nicht ausführlich zum Gegenstand eigener Untersuchung gemacht. Auch Instrumentationslehren aus Geschichte und Gegenwart fokussieren mehr auf die Instrumentation von Einzelmomenten als auf die Zeitgestaltung durch orchestrale Mittel. Dieser Text will dazu anregen, auch diese Perspektive in die Beethoven-Betrachtung einzubeziehen.

Samuel Adler's The Study of Orchestration, first published in 1982, has already been the standard reference for a whole generation of composers and other musicians. Adler's book is a justly celebrated contribution to the literature and pedagogy of orchestration.

ABSTRACT Responsive Regulation (RR) introduced important new ways of thinking about regulation. But RR was designed for domestic settings in which a single agency had clear jurisdiction, full regulatory capacity, and extensive information, and could (contingently) deploy stringent sanctions against well-defined targets. Under globalization, many regulatory problems have shifted to the transnational arena, characterized by multiple regulators, public and private, with limited capacities, authority, and information, and modest sanctioning ability; globalized production also renders the targets of regulation diffuse and difficult to identify. RR holds important lessons for transnational regulation, but it must be adapted to these challenging conditions. Some components of transnational RR are already emerging, including numerous private and public–private schemes that regulate business through voluntary norms: “transnational regulatory standard-setting” (TRSS). Alone, however, TRSS schemes face serious limitations. Intergovernmental organizations (IGOs) are best positioned to “take RR transnational” by supporting and working with the nascent TRSS system. Two regulatory strategies are particularly promising: collaboration and orchestration. In “regulatory collaboration,” IGOs promote business self-regulation, much as in RR; they can escalate in response to defection by deploying reputational and market sanctions. In “orchestration,” IGOs support and steer intermediaries, including TRSS schemes and NGOs, which use their material and ideational capacities to regulate target behavior. Orchestration cumulates regulatory competencies, creates avenues of escalation, and provides many benefits of RR “tripartism.”

This is the complete 132 pages of this monumental work, with my notes showing themes, use of doubling, form, harmony and much more.

One of Ravel's longest works, it is a seldom played, or studied, masterpiece.

A perfect work to examine for new harmonic and orchestration choices to add towards your own writing.

Tarihsel süreç içerisinde transkripsiyon, birçok bestecinin çeşitli uygulamalarıyla tanınmış bir tekniktir. Piyanoya özgü özelliklerden dolayı, piyano müziğinin orkestra için transkripsiyonunda karşılaşabilecek bazı güçlükler olduğu bilinmektedir. Piyano notasının doğrudan doğruya orkestra partilerine aktarımı teknik açıdan olumsuz ya da başarısız sonuçlar getirebilir. Bu çeşit problemleri çözmek için birçok teorisyen ve bestecinin deneyim ve bilgilerinden yararlanıp ardından bazı çalışmalar yapılmalıdır. Böylece daha sonraki transkripsiyonların ve beraberinde orkestrasyonların daha başarılı olması sağlanacaktır.Bu çalışmada öncelikle senfonik orkestranın belkemiğini oluşturan yaylı çalgıların teknik özellikleri ve transkripsiyon kurallarının incelenmesi yapılacaktır. Ardından tipik bir öğrenci orkestrasının çalabileceği düzeyde bir piyano parçasının teması, yaylı çalgılar için transkripsiyon yapılarak bu kural ve kalıpların uygulanması gösterilecektir.

In my dissertation Sound Colour and its Function in Music Composition Construction I am trying to find new point of view on the situations when sound colour becomes an active element. Hierarchy in construction (its presence or contingent absence) is the key fac- tor in selecting concrete compositions. I am using a triad of terms as a methodolo- gical instrument – dynamic culmination, tectonic centre and tectonically-dynamic culmina- tion.  ese terms are specified in the first chapter. Dynamic culmination relates to the dynamic behaviour, tectonic centre relates to the hierarchy in construction, and tecto- nically-dynamic culmination is an incorporation of these two at the same time.  e crucial term in my dissertation is the centre, which I consider a part of musical struc- ture, being more important than other parts, in light of perception.  is way the cen- tre is structuring the musical stream hierarchically in time. In the following analyses I am dealing with the sound colour function in less common construction solution, in terms of dynamic behaviour and hierarchy.  ese include cases when: the compo- sition has a tectonic centre which is not identical with dynamic culmination; the composi- tion is constructed as an arch but without a tectonic centre; the composition has several dynamic culminations but no tectonic centre; the composition has no dynamic culmination, but other tectonic centre; the composition (or its part) is constructed as an inverse arch, i.e. descends to the rock-bottom and backwards; the composition has neither dynamic culmi- nation nor tectonic centre. In the conclusion I am dealing with the retrieved information in a more universal context, which leads me to the question of hierarchical structuring during musical perception and other broader aspects of the construction conceptions mentioned above.

The Climax is essential to every form of art, film and music composition among them.  Classic Hollywood Film tends to rely heavily on the score to create the climax. Indeed, it is one of the greatest tools at a composer’s disposal to emphasize the most critical narrative point, persuade generic expectations and to fundamentally shape the emotional arc of the entire movie.  E.T. The Extraterrestrial’s iconic flying scene is arguably one of the most memorable climaxes in the history of Hollywood cinema. As an intense emotional moment, it strives to evoke escapism, wonder and an idealization of childhood as an essential and euphoric period of the human existence. Composer John Williams craftily composed this climax building up to this moment during the entire movie.  This paper analyzes the syntax behind this composition, demonstrating the way its musical and filmic codes interact to effectively make this modern fairy tale credible.

Tesi di dottorato (cotutela Università Ca' Foscari, Venezia - Université Paris 8)

L’elaborato si propone di sondare la presenza del saxofono all’interno delle partiture orchestrali francesi e italiane della prima metà del secolo XX, con lo scopo di confermare la legittimità della sua inclusione in pianta stabile fra le fila dell’orchestra. La prima parte della tesi (Teoria. I trattati di strumentazione e di orchestrazione) ha come obiettivo quello di fornire una ricognizione mai effettuata prima d’ora della presenza del saxofono all’interno dei trattati di strumentazione e di orchestrazione sia francesi sia italiani, ma anche di altre nazioni. La seconda (Composizioni francesi) e la terza parte (Composizioni italiane) contemplano la presenza di alcune indagini su compositori che hanno incluso il saxofono all’interno delle loro partiture per orchestra. La scelta dei musicisti e delle composizioni da analizzare è stata fatta sulla base della portata della parte dedicata al saxofono, nonché del peso della singola partitura e del compositore presi in esame.


The aim of this thesis is to investigate the presence of the saxophone in French and Italian orchestral scores, written in the first half of the 20th century, with the purpose of demonstrating the possibility of permanently introducing it in the rows in the orchestra. The first part of the thesis (Teoria. I trattati di strumentazione e di orchestrazione) seeks to produce a reconnaisance (never done so far) of the presence of the saxophone in instrumentation and orchestration treatises, both in Italy and France, but also in other countries. The second section (Composizioni francesi) and the third part (Composizioni italiane) take into consideration some composers who included the saxophone in their orchestral scores. The choice of musicians and composers to be analyzed was made considering the importance of the saxophone’s part, as well as the relevance of the single score and of the composer examined.


La thèse se propose de souligner la présence du saxophone dans les partitions d’orchestre françaises et italiennes de la première moitié du XXe siècle, dans le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente. La première partie de la thèse (Teoria. I trattati di strumentazione e di orchestrazione) a l’objectif de fournir une reconnaissance (jamais effectuée jusqu’à présent) de la présence du saxophone dans les traités d’instrumentation et d’orchestration français comme italiens, mais aussi d’autres pays. La deuxième (Composizioni francesi) et la troisième partie (Composizioni italiane) offrent des recherches sur des compositeurs qui ont placé le saxophone dans leurs partitions d’orchestre. Le choix des musiciens et des compositions à analyser a été fait sur la base de l’importance de la partie du saxophone, ainsi que la portée de la partition et du compositeur pris en examen.

Analysis of the orchestration and motivic development of the intriguing work by the French master.

One of the more remarkable features of this movement is the fact that the theme is played almost continuously. Of the 63 measures in the score, 43 measures contain this unaltered four note motive (68%), a remarkably high percentage.
These four notes imply the diminished, or octatonic scale. This scale is alternating half and whole steps.

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria.
Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes.
À semelhança de outros temas fiz pequenas alterações tanto a nível rítmico como melódico para facilitar a sua execução.
Desci um tom relativamente ao original (de Ré para Dó) para evitar notas acidentadas.
Faço algumas sugestões ao longo do vídeo relativamente aos executantes tendo em conta a dinâmica do tema.
Este pequeno excerto da Obra 9ª Sinfonia pode ser um pretexto para falar em assuntos como: música clássica; História da música e os seus grandes compositores; dinâmica (forte, piano, etc); mudança de andamento, etc...

Happy to finally release the results of this long-time research on the Webern's Variations. My goal was to observe how Webern's orchestration interacts with serialism. The paper  points to some usefull (I hope!) and unpreceded (I guess!) conclusions, and a lot of future work.

Abstract: Webern’s Variationen op. 30 constituted a well-known milestone in the consolidation of serialism as a compositional technique. It has been the target of a large number of investigations focused on the way the composer developed a broader concept. As could it not be otherwise, his orchestral design is also closely tied to his structural concerns. However, it appears to lack a systematization of the composer’s orchestration principles. Thus, to propose an analysis of Webern’s orchestration, one need to elaborate an ad hoc method, virtually starting from scratch. This paper aims to describe the main points of this method in its current experimental stage. At the same time, we point to some conclusions about Webern’s orchestration according to his aesthetics.

Direct link:
https://musmat.org/wp-content/uploads/2018/06/07-Didier.pdf

After the enormity of the Third Symphony, Mahler now gives us a much more manageable piece, in length and in palette, as though after two such pieces, another of this scope were simply unnecessary, or rather, it has now become necessary to step back, to reconsider more modest means. Mahler's Fourth has always been a much more manageable piece, in length and in palette, and referred to as the " little one, " lacking low brass and with triple woodwinds instead of quadruple, and missing even Mahler's trademark in orchestral writing, the section of eight horns. " Little, " however, is not the right word. In scope, it is no less than the pieces that precede it, and in breadth, it is still a long piece by the standards of a Brahms or a Dvorak, and uses a much larger orchestra than those composers typically demanded. The correct word is not " little " but " taut, " at least in this first movement. Mahler's timbral materials are somewhat reduced, but more interesting is the fact that there is none of the sprawling motivic or harmonic architecture of the previous pieces. All of the basic motives of the piece are introduced in the first two key areas, and this economy of means is not surprising, but I haven't seen Mahler taking it to this degree until now. In addition, Mahler's formal construction is very traditional–the closest yet to a sonata-allegro form in the " textbook " sense. The piece begins with a very characteristic texture–flutes in fifths doubling sleigh bells, followed by oboe and clarinet figurations. These three measures set the stage in a very specific, very unique manner. Mahler does not continue with this music, but brings it back at key locations throughout the piece, and the open fifths become a motor rhythm that gives a propulsive aspect to the " exposition " of this movement. The " first theme " begins on the anacrusis to m. 4 in the violins, but most importantly, the downbeat of that measure features a falling sixth. This interval and its rising form are another crucial motive for the movement. Measure 5 and 6 also contain material that is developed later–six-sixteenth notes leading to the downbeat and a rising dotted eighth-sixteenth rhythm. In this sonata form, the transition from first to second key area begins in m. 18 with a modified version of the first theme. A spinning out of the sixteenth-note motive leads to m. 38 and the entrance of the second theme, beginning with a rising sixth–a motivic relation between the two very different themes. Following the rising 6th are three repeated notes, which are echoed in rhythmic diminution throughout the rest of the piece (for example, in the clarinets in m. 47ff. Following a half cadence in m. 57, oboe and bassoon present music that appears to sum

"Quizás distinguir acordes posibles e irrealizables en el violín, la viola o el cello, sea el problema más difícil para compositores y directores que no sean también, instrumentistas de cuerda. El presente trabajo tiene como objetivos principales: analizar aquellos factores que determinan la factibilidad de un acorde o bloque de sonidos en un instrumento de cuerda y acercar a los lectores dos herramientas teóricas básicas para su análisis. Evaluaremos distintos ejemplos a través de la esquematización de la tastiera y escribiremos en detalle un método propuesto por Ertugrul Sevsay.

Possible and unworkable chords distinction in violin, viola or cello, perhaps is the most difficult problem for directors and composers who are not also string players. This work has as main objectives: to analyze the factors that determine the feasibility of a chord on a stringed instrument and bring readers two basic theoretical tools for analysis. Several examples will be evaluated through fingerboard schematization. A new method proposed by Ertugrul Sevsay, will be described in detail."

Composing for guitar and orchestra constitutes a challenge for composers. This thesis focuses on some of the issues raised by this endeavour. By nature, the guitar is an instrument which only manages to impose itself over an orchestra with difficulty, but this did not prevent a wide production of the genre, especially in the second half of the twentieth century. Analysing various works composed for such a formation, this research proposes strategies which make writing for guitar and orchestra easier, seeking to valorize the timbre of the former and to establish a balanced sound effect between both. The choice of orchestral textures is essential to overcome the proposed challenge, as well as a technical knowledge of various areas, from orchestra writing to instrument’s amplification issues. Furthermore, a piece composed by the author is presented, taking into account the results gathered and examined throughout the process. The question of this thesis can be summed up with the following question: what are the strategies that value the timbre of the soloist guitar with the orchestra, and how to overcome the challenge of composing for guitar and orchestra.

A multifacetada carreira de Wassily Kandinsky (1866-1944) projeta desafios e provocações para o diálogo entre artes e saberes. Entre ensaio, literatura, etnografia, pintura, música e teatro, Kandinsky se move em meio a realizações estéticas e reflexões conceptuais.
Neste livro, tais aspectos multissensoriais de Kandinsky são examinados a partir de estudos preparatórios e documentação de processo criativo para um projeto interartístico específico: orquestrações para o ciclo de pinturas denominado Composições, do pintor russo.
Ao fim, o que se vislumbra é um amplo campo de experimentações que se articula a partir de diversos espaços-tempo de escrita: os traços na tela, as notas na pauta e as palavras na página.

Trabajo de Investigación sobre el compositor español Ferrer Ferran y su obra para banda sinfónica "El Coloso".

ESPAÑOL / SPANISH

Sobre el autor se habla tanto de su biografía como del contexto que le lleva a componer la obra.
Sobre la Sinfonía "El Coloso" se realiza un análisis musical melódico, armónico, estructural y de texturas, especialmente del primer movimiento.

INTRODUCCIÓN El abordaje de la composición para las orquestas de nivel infantil en nuestro país, supone para los compositores una gran oportunidad para la puesta en práctica de sus ideas musicales y planteamientos estéticos, no obstante, la escasez de referencias existentes en relación a la manera en que puede ser enfocada la composición para tales agrupaciones, ha derivado en una contada producción de obras nuevas concebidas para dicho formato. Numerosos son los tratados de orquestación e instrumentación disponibles hoy en día para los compositores en los que se detallan, de manera minuciosa, las posibilidades técnicas de los instrumentos y ejecutantes promedio de una orquesta de nivel profesional, así como también, existen numerosas referencias que tratan sobre diversos temas relacionados con los lenguajes compositivos creados y desarrollados durante el siglo XX y su aplicación en la composición, sin embargo, se haría necesario un texto en el cual confluyan estos dos aspectos, reorientados hacia el modo de hacer uso de estos recursos sonoros en obras concebidas para orquestas de nivel infantil, tomando en cuenta sus habilidades instrumentales.