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In the broad sense of the word, any modification of the musical text of a musical work, pursuing certain goals, for example. fixture manufactured. for performance by music lovers who do not have high technology, for use in educational and pedagogical. practice, for the performance of others by the composition of performers, modernization of production. etc. Until about the 18th century. O. was considered as something equivalent to the original composer’s work, but in the subsequent time, in connection with the growing importance of the individual beginning in music, it became a secondary, secondary area. Nevertheless, O., which is not purely handicraft, is an object of copyright.

Widespread use is found by O. single-headed. music samples. In the past in Western Europe. music was distributed polyphonic. O. tunes of Gregorian chant; all polygonal. music before the 16th century was created on the basis of such O. In the 19th and 20th centuries. great importance acquired O. nar. melodies, which is often called their harmonization, but in fact it consists in creating a Nar. accompaniment melodies for a particular instrument or instruments that go beyond the simple sequence of chords. She R. melodies were carried out by many. such major composers as J. Haydn, L. Beethoven, J. Brahms, M. A. Balakirev, N. A. Rimsky-Korsakov, P. I. Tchaikovsky, A. K. Lyadov, and others. formed by time independently. genre, constantly carried out and owls. composers. Special cases of processing one-headed. music – adding accompaniment to compositions written for solo violin, cello, etc. tools. Among them is the arrangement by F. Mendelssohn of the solo violin. chaconnes in d-moll by J. S. Bach for violin with piano accompaniment, arranged by R. Schumann for the same composition of solo violins. sonatas and suites by J. S. Bach (the legitimacy of such O. is disputed by many researchers).

O. polygonal. compositions, pursuing the goal of its adaptation to other composition of performers, often called. arrangement, transcription, and in cases where the product. processed for performance by the orchestra – orchestration. The earliest examples of such O. are associated with wok fittings. compositions for performance instr. compositions (14th-15th centuries; the first O. of this kind that have come down to us are in English org. tablature, c. 1330); this practice played an important role in the formation of instr. music. Common and O. many-headed. op., in which the composition of the performers is preserved. Such O. op. for one instrument, primarily the pianoforte, usually come down to easing technically difficult places in them or, on the contrary, to a wider use of the virtuoso principle in them; the last type of O. is often called. transcription. The authors of transcriptions usually bring in a lot of things that come from their own. creative individuality. Outstanding masters of fp. transcriptions that contributed to the development of FP. virtuosity, were F. Liszt, K. Tausig, F. Busoni, in the field of violin. transcription, the contribution of F. Kreisler is especially significant. The next stage is a paraphrase – a kind of virtuoso free fantasy on the themes of K.-L. prod.

Op. for many performers, both vocalists and instrumentalists, up to the opera. Such O. are, as it were, experiences of a new understanding of the work in the light of creative. installations of the author O., sometimes a well-known modernization of the work, for example. O. of the oratorio Acis and Galatea by Handel by V. A. Mozart, Mussorgsky’s opera Boris Godunov by N. A. Rimsky-Korsakov, O. of the same opera and Mussorgsky’s opera Khovanshchina by D. D. Shostakovich. In the USSR, O. of this kind is usually called. editions.

References: (Processing of folk songs), in the book: History of Russian Soviet Music, vol. 2-4, M., 1959-63.