Welcome to Francis Academic Press

International Journal of New Developments in Engineering and Society, 2019, 3(2); doi: 10.25236/IJNDES.19221.

Research on the Phase Characteristics of Orchestra Instrumentation Development Based on Artistic Value


Bo Zhu

Corresponding Author:
Bo Zhu

Yangtze University, Jingzhou Hubei, 434200 , China


With the development of reform and opening up in China, orchestral music is becoming more and more diversified and delicate in sound combination, and the voice part is becoming more and more individualized. It makes the artistic value orientation of orchestral instrumental method clearer and clearer, and can be more reasonable, effective and calm applied to a wider range of music performance field, so as to further improve and develop the art of orchestral instrumental method. To maximize the possibilities of instrumental playing and seek new timbre to enrich musical expressiveness, each Instrumental Group has different musical expressiveness. String treble open arrangement can make music bright and clear, more brilliant and solemn when playing strong, with distinct personality characteristics. It is the common goal pursued by many contemporary composers. Accumulation has formed a relatively complete theoretical system of traditional orchestral orchestration and orchestral works, which provides colorful and colorful for the study of orchestral creation. It is important for us to understand and understand the development of orchestral instrumentation. Guiding significance.


Artistic value; Orchestral instruments; Development

Cite This Paper

Bo Zhu. Research on the Phase Characteristics of Orchestra Instrumentation Development Based on Artistic Value. International Journal of New Developments in Engineering and Society (2019) Vol.3, Issue 2: 157-163. https://doi.org/10.25236/IJNDES.19221.


[1] Randles C,Griffis S A,Ruiz J V (2015).‘Are you in a band?!’: Participatory music-making in music teacher education. International Journal of Community Music,vol.8, no.1, pp.59-72.
[2] Mark, C (2014). The Orchestral Music of Michael Tippett: Creative Development and the Compositional Process. By Thomas Schuttenhelm. Music and Letters, vol.95, no.4, pp.684-687.
[3] Rij I V (2017)."Votes and Notes": Exhibiting and Contesting Gender in the Orchestra of the New Zealand and South Seas Exhibition (1889–1890). Women and Music: A Journal of Gender and Culture,vol.21, no.1, pp.3-42.
[4] Geringer J M,Macleod R B,Sasanfar J K (2015).In Tune or Out of Tune Are Different Instruments and Voice Heard Differently?. Journal of Research in Music Education,  vol.63, no.1, pp.89-101.
[5] Langlois T A,Schloss K B,Palmer S E (2016).Music-to-Color Associations of Single-Line Piano Melodies in Non-synesthetes. Multisensory Research, vol. 29, no.1-3, pp.157-193.
[6] Pile J (2016).Crosscurrents: American and European Music Interaction, 1900–2000 ed. by Felix Meyer et al Fontes Artis Musicae, vol. 63, no.2, pp.148-149.
[7] Harrison, Angela (2016). Symphonies and empathy: the influence of orchestral experience on music therapy practice. Nordic Journal of Music Therapy, vol,25, no.1, pp.132-133.
[8] Carroll M,Grimshaw P,Koehne J (2014). The “Universal Instrumentation Code”: Bringing Consistency to Orchestral Instrumentation Information. Music Reference Services Quarterly, vol.17, no.1, pp.1-20.