“配器”与“编曲”的词义问题，请见改编曲的第二段。

配器法，主要是研究各种管弦乐器的运用和配合方法，也可以是研究其他各种合奏乐器的配合方法。把乐曲的音响分配给各种不同的乐器，通过各种乐器的不同音色，以便充分表现乐曲的内容和风格。

配器法主要有西洋管弦乐配器、民族管弦乐配器、电声乐队配器等不同的方法，将各种乐器进行分类，研究其结构、发音原理、性能、音域、音区、音色、演奏法等，一般以音调较高的乐器演奏主旋律，而低音乐器一般负责伴奏，中音乐器则负责配合和声。负责配器的人运用特定乐器的色彩、和声和空间感，用一定乐器进行组合，来产生音乐的色彩，利用各种乐器的组合画出一幅生动的图画。

Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble) or of adapting music composed for another medium for an orchestra. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece. Only gradually over the course of music history did orchestration come to be regarded as a compositional art in itself. In classical music, most composers write the melody, chord progression and musical form for a piece and, then, if they want the piece to be played by an orchestra, they orchestrate the piece themselves. In musical theatre, however, the composer typically writes the melodies and then hires a professional arranger or orchestrator to devise the parts for the pit orchestra to play.