Relevant bibliographies by topics / Orchestra education

Academic literature on the topic 'Orchestra education'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Orchestra education"

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Carlson, Alexandra. "The Story of Carora: The Origins of El Sistema." International Journal of Music Education 34, no. 1 (December 8, 2015): 64–73. http://dx.doi.org/10.1177/0255761415617926.

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Venezuela’s youth symphony program, the Fundación Musical Simón Bolívar, commonly referred to as “El Sistema,” combines musical achievement with learning important life skills through orchestral practice and performance. Although the history most commonly reported outside Venezuela is of the program’s director, José Antonio Abreu, hosting a rehearsal of music students in a Caracan parking lot in 1975, El Sistema’s origins are equally owed to another orchestra. That same year, arts advocate Juan Martínez founded Venezuela’s first children’s orchestra in the Venezuelan city of Carora alongside three Chileans who previously taught for a similar program in Chile. I show that the two orchestras were frequent collaborators in the 1975–1977 period, a relationship that was essential in securing government and public support for the nascent Venezuelan program. I combine oral history and historiography to detail how the project in Carora began, define its relationship with Abreu’s orchestra in Caracas, and describe its pedagogy, philosophy, and funding. Beyond illuminating a historical narrative that highlights the importance of both national and international cooperation in the development of youth orchestras in Venezuela, this research has broad implications for advocacy and development of musical programs, within and outside schools.
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[李明晏], Lee Ming-yen. "Performing the South Seas: Singapore Chinese Orchestra and the Making of Nanyang-Style Music." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 9 (June 27, 2022): 9–26. http://dx.doi.org/10.30819/aemr.9-2.

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Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂) of the Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.
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Lonnert, Lia. "Amateur orchestras as a learning environment for music academy students." International Journal of Community Music 13, no. 1 (May 1, 2020): 49–63. http://dx.doi.org/10.1386/ijcm_00012_1.

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Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student’s overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.
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Smith, Bret P., and Gail V. Barnes. "Development and Validation of an Orchestra Performance Rating Scale." Journal of Research in Music Education 55, no. 3 (October 2007): 268–80. http://dx.doi.org/10.1177/002242940705500307.

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The purpose of this study was to develop a factor-derived measure of orchestra performance achievement and to test its validity and reliability for the evaluation of secondary school orchestras. We assembled a pool of 49 statements used in evaluating middle and high school orchestra performance, paired them with a 9-point Likert-type scale, and asked 63 experienced orchestra teachers to evaluate 63 secondary school orchestras. Factor analyses on data from the 189 completed rating sheets identified seven factors: Ensemble, Left Hand, Position, Rhythm, Tempo, Presentation, and Bow. For the reduced scale, we chose 25 items with factor loadings greater than . 64, which showed Cronbach's alphas ranging from . 73 to . 91. Two rounds of validation showed high correlations with MENC's adjudication form and a ranking task; the initial factor structure was not exactly duplicated, indicating directions for future research.
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Pope, David A., and James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival." String Research Journal 11, no. 1 (July 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.

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The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.
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Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (February 1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.
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Hash, Phillip M. "The National School Orchestra Contests." Journal of Research in Music Education 63, no. 4 (December 30, 2015): 397–420. http://dx.doi.org/10.1177/0022429415618373.

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The purpose of this study was to examine the National School Orchestra Contests sponsored by the National Bureau for the Advancement of Music and the Committee on Instrumental Affairs (CIA) of Music Supervisors National Conference from 1929 to 1937. Research questions examined contest (a) organization and operation, (b) rules and procedures, (c) participants, and (d) repertoire, as well as (e) the influence of early school orchestra competitions on subsequent large-group assessment. I also made recommendations for the development of these events today based on their counterparts of the 1920s and 1930s. The first national school orchestra contest convened at the State University of Iowa in May 1929 and in other cities throughout the mid United States until 1937. Judges ranked ensembles based on their ability to perform two prepared selections and sight-read unfamiliar music until 1933, when the CIA implemented a rating system to improve the validity of adjudication, emphasize educational values, and reduce competitiveness. Although the number of participants increased substantially with the rating system, the contests never achieved a national scope due to prohibitive expenses for orchestras traveling long distances.
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Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.

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The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.
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Unver, Zeynep, and Ayse Cakir İlhan. "The assessment of the reasons for choosing their professions of State Opera and Ballet Orchestra artists." Global Journal of Arts Education 9, no. 1 (February 28, 2019): 1–8. http://dx.doi.org/10.18844/gjae.v9i2.4033.

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In this study, it is aimed to lay out the factors which lead to the choice of profession of State Opera and Ballet (SOB) artists. In the survey developed to serve this end, 120 out of a total of 493 orchestra artists working at SOB orchestras in Ankara, Istanbul, Izmir, Mersin, Antalya and Samsun have participated. The data obtained were formatted as tables according to frequency and percentage and analysed with descriptive analysis method. It is understood that, when choosing their profession, orchestra artists do not take into consideration of social and economic factors but rather their ability and interests. Keywords: Choice of profession, musician, musical instrument training, orchestra artist, music education.
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Rafika, Ageng Setiani, Deviana Ika Putri, and Siskawati Sanusi. "SISTEM PEMBAYARAN RINCIAN BIAYA KULIAH PADA PERGURUAN TINGGI RAHARJA MENGGUNAKAN GO+." Journal CERITA 3, no. 1 (February 1, 2017): 64–74. http://dx.doi.org/10.33050/cerita.v3i1.621.

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Along with the development of increasingly sophisticated digital technology, online payment system rife used both government and private agencies. Similarly, in Higher Education. Financial Accounting System on Higher Education Prog is called GO (Green orchesta) is said to be still using the method of effective and efficient because students are required to come to campus first to find out some of the bills that must be paid. Even to know RBR (details Registration Fees) and Yandex (details Tuition) still use the local network that can only be accessed on BoxSiS (Student iLearning Service Box). With the rapid development of existing technologies, systems GO (Green orchesta) need to be made updates to the onlineversions are able to be accessed anytime and anywhere by students. Hence comes the system that has been updated is GO + (Green Orchestra Plus). GO + (Green Orchestra Plus), enables all payment systems pekuliahan student as the student can check the details of tuition anywhere and anytime. Not hasrus come kekampus and queued at the box sis. GO + (Green Orchestra Plus) highly efficient and effective for use as it can support the process online payments.
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Dissertations / Theses on the topic "Orchestra education"

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Williams, Blair A. "Rural School String/Orchestra Programs: Profile and Recommendations." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086972.

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Flueck, Christa Anne. "A New Score for Orchestra Education Programs: A Descriptive Analysis of the Cleveland Orchestra's Learning Through Music Teacher and Musician Workshops." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392970753.

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SANTANGELO, ANGELA MARIE. "The Orchestra Education Concert Survey (OECS): Contemporary Approaches to Creation and Presentation." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211989035.

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Santangelo, Angela Marie. "The orchestra education concert survey (OECS) contemporary approaches to creation and presentation /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211989035.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisor: Mark Gibson. Title from electronic thesis title page (viewed Sep. 4, 2008). Includes abstract. Keywords: orchestra; education; concert; survey; musical selections. Includes bibliographical references.
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Helsel, Bryan R. "Travel as experiential music education: Considering impacts on secondary band, orchestra, and choral programs." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556134241478845.

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Wasilewski, Suzanne Hattala. "Parents' Musical Habitus and its Effects on a Child's Involvement in an Elementary Orchestra Program." Thesis, University of Rochester, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10648549.

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Since the implementation of the New York State Common Core Standards, two primary problems have arisen for elementary instrumental music teachers. First, instrumental music teachers' time to work with students is diminishing. The demands of the rigorous curriculums developed to teach the Common Core Standards create a climate where English Language Arts and Math have precedence over all other subject areas. Music is a core subject in New York State but how it appears in the school day can vary from school district to school district. Second, students are assigned so much more homework causing parents to have reservations about engaging them in other activities but many still involve their children in music. These parents have a set of acquired dispositions of thought, behavior, and taste regarding music or a musical habitus (Bourdieu & Wacquant, 1992; Rimmer, 2006).

This study identifies and explores the musical habitus of parents of students at a K-5 elementary school within a large economically diverse suburban school district in upstate New York. General music classes are part of each elementary school's master schedule and families have the option to participate in an elementary band or orchestra program. Specifically, the author seeks to understand the musical habitus of parents whose children are participating in the elementary orchestra.

The analytical and theoretical framework used by the author for this research is grounded in Bourdieu's (1986, 1992) theory of capital, with a focus on his notion of habitus and Epstein's (2010) theory of overlapping spheres of influence. Bourdieu's concept of habitus has been extended into the arts in general and to music in particular to examine the way in which people's individual histories, class origins, family backgrounds and educational opportunities interact to compose their ongoing relationship with the arts. Rimmer (2006) describes a musical habitus as an active, adaptive and generative action in sustaining musical meanings, and the structures in which they are embedded. Epstein's work focuses on one part of Bourdieu's concept of field by uniting home and school for the families involved. Understanding the level at which these three areas must interact will be a focus in the analysis of data. Together, they served as a lens to understand the musical habitus of the parents and why music is valued. This study challenges orchestra directors and administrators to understand why parents encourage and perpetuate their child's participation in instrumental music when balancing the daily schedules of their students.

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Ihas, Dijana A. "Teaching Behaviors of Middle and High School Orchestra Directors in the Rehearsal Setting." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12064.

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xv, 166 p. : col. ill.
The purpose of this study was to investigate the frequency and the time that middle and high school orchestra directors engaged in seven specific teaching behaviors in a rehearsal setting. Of particular interest was the amount of time orchestra directors engaged in conceptual teaching behaviors operationally defined as verbal behaviors of orchestra directors in which they attempt to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 12) were full-time middle and high school orchestra directors teaching in Washington, Oregon, or California. Each participant submitted a video recording of two regular orchestra rehearsals. Video recordings of participants were divided into 20-minute segments and randomly selected for observation of seven specific and operationally defined teaching behaviors: (a) nonmusical behavior, (b) nonverbal instruction (direction), (c) verbal instruction (direction), (d) noninteractive listening, (e) nonverbal feedback, (f) verbal feedback, and (g) conceptual teaching. These seven teaching behaviors were analyzed using the Simple Computer Recording Interface for Behavioral Evaluation (SCRIBE) of Duke and Stammen (2007). The data were reported in the form of the frequency with which each behavior occurred, the average time for each behavior expressed in minutes and seconds, and the percentage of time used on each behavior. Findings on conceptual teaching were reported. The results indicated that, on average, orchestra directors spent slightly more than 5% of the observed rehearsal time on conceptual teaching. Most of the instructional time was used on nonverbal instruction (28.15%) and verbal instruction (27.76%). Orchestra directors observed in this study used the least amount of time (2.42%) on nonverbal feedback. The most concerning finding of the study was the time orchestra directors used on nonmusical behaviors (14.70%), and the most interesting finding of the study was that middle school orchestra directors used twice as much time (7.40%) as high school orchestra directors (3.21%) on conceptual teaching. The findings of this study provided suggestions for future research and implications for music educators.
Committee in charge: Dr. Frank Diaz, Chair; Dr. Phyllis Paul, Member; Dr. Eric Wiltshire, Member; Dr. Leslie Straka, Member; Dr. Julie Hessler, Outside Member
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Fu, Wing Man. "A Case Study of an Award Winning Public School String Orchestra Program." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242663220.

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Bishop, Jeffrey Scott. "When the rehearsals stop: the reality of music making after high school orchestra." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/18965.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
The purpose of this study was to discover the reasons that led high-achieving high school orchestra musicians to discontinue formal participation in collegiate orchestra class. Using narrative analysis, the researcher examined the intrinsic and extrinsic factors that influenced the student’s decision to not participate in orchestra. The researcher also sought to understand if and how these former high school musicians continued to make music on their own. Three current university students and their high school orchestra teachers were purposefully selected for the study. Data were collected through email queries, surveys, and personal interviews. Upon completion of the interview, the researcher summarized each interview into a narrative and shared it with the participant via email for member checking. Each participant was asked to provide feedback for the narrative and return it to the researcher. The researcher used Riessman’s (2008) adaptation of William Labov’s structural coding to analyze the data. Using Robichaux’s (2003) expansion of Labov’s coding, the researcher was able to establish a structural analysis of the narrative that reinforced the thematic analysis. The researcher coded each participant’s narrative along with that of his or her high school orchestra teacher. Coding was supported by NVivo software. Fact-checking of responses from the initial survey along with answers from the participants’ narrative and that of their high school director’s narrative allowed for a more robust and reliable narrative analysis. Definitive answers were not be sought or expected, but rather the collection of data led to a greater understanding and illustration of why the research participants chose to end their participation in orchestra rehearsals on the collegiate level. The participants offered diverse reasons for why they chose not to continue participating in college on the university level. Their reasons are described within six categories of intrinsic and extrinsic factors: (a) persistence; (b) self-concept of musical ability; (c) motivation for music; (d) parental musicianship and support; (e) director influence; and (f) socioeconomic status. Each participant could not name a single, defining factor that led him or her to discontinue participation in orchestra as each of the identified factors weighed differently for each person.
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Shipley, Sarah N. "Analysis and critique of two beginning method books for the beginning orchestra classroom." Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/18346.

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Master of Music
Department of Music
Frederick Burrack
This report gives a detailed description and analysis of two method books used for beginning orchestra classes; Essential Elements for Strings by Michael Allen, Robert Gillespie, and Pamela Tellejohn Hayes, and Strings Basics by Terry Shade and Jeremy Woolstenhulme. Olathe School District #233 in Olathe, Kansas is doing research to decide whether to continue using their current method book, Essential Elements, or switching to a different method book, String Basics, for the 2014-2015 school year. Book 1 from each series is analyzed by looking at the order of concepts taught, how the concepts are introduced, how the book is laid out, illustrations, accompaniment CDs, the teacher’s manual, and additional resources offered by the publishers. The books are then compared and critiqued before a personal recommendation is given on which book would be more beneficial to the students of Olathe.
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Books on the topic "Orchestra education"

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Babineau, Ninette. Enriching their communities: Education and outreach activities of Canadian Orchestras. Toronto, Ont: Orchestras Canada, 1998.

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The creative band & orchestra. New York, N.Y: Huiksi Music, 2002.

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Association, American String Teachers, Music Educators National Conference (U.S.), and National School Orchestra Association, eds. The Complete string guide: Standards, programs, purchase, and maintenance. Reston, Va: Music Educators National Conference, 1988.

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Cahn, William L. Rochester's orchestra: A history of the Rochester Philharmonic Orchestra and its educational programming, 1922 to 1989. Rochester, N.Y: Citizens for a Quality Philharmonic, 1989.

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Dupuis, Xavier. Les musiciens professionnels d'orchestre: Étude d'une profession artistique. Paris: Ministère de la culture et de la francophonie, Direction de l'administration générale, Dép. des études et de la prospective, 1993.

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Judy, Sills, ed. Musica activa: An approach to music education : rhythmic expression. Mainz: Schott, 1994.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit report for the National Fund for Medical Education for 1998. Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Division, 2000.

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United States. General Accounting Office. Accounting and Information Management Division. Federally chartered corporation: Review of the financial statement audit reports of the National Fund for Medical Education, for fiscal years 1994 through 1997. [Washington, D.C. (P.O. Box 37050, Washington, D.C. 20013): The Office, 1998.

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Book chapters on the topic "Orchestra education"

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Williams, David A. "Beyond Band, Choir, and Orchestra." In A Different Paradigm in Music Education, 77–106. New York ; London : Routledge, 2019. | Series: Routledge new directions in music education series: Routledge, 2019. http://dx.doi.org/10.4324/9780429199806-5.

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Feldman, Evan, and Ari Contzius. "Recruiting, Organizing, and Starting the Band and Orchestra." In Instrumental Music Education, 315–43. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-19.

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Hebert, David G. "Corporate Giants: Yamaha and the Tokyo Kosei Wind Orchestra." In Landscapes: the Arts, Aesthetics, and Education, 203–16. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_13.

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Huhtinen-Hildén, Laura, and Jessica Pitt. "The Group as an Orchestra, Team and Learning Environment." In Taking a Learner-Centred Approach to Music Education, 74–88. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315526539-8.

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Teow Kiat, Tay. "Chinese Orchestral Music in Singapore Schools: Lesson Example and Needed Developments." In SpringerBriefs in Education, 83–88. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-7066-4_7.

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Fasano, M. C., E. Brattico, I. S. Lorenzen, A. Gargiulo, M. L. Kringelbach, C. Semeraro, and R. Cassibba. "The impact of orchestral playing on children's lives." In Arts and Mindfulness Education for Human Flourishing, 106–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003158790-9.

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Eischeid, Susan. "Scholarly, Educational, and Commercial Treatment of Playing for Time by Fania Fénelon." In The Truth about Fania Fénelon and the Women’s Orchestra of Auschwitz-Birkenau, 77–85. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31038-1_9.

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Mkomwa, Saidi, Henry Mloza-Banda, and Weldone Mutai. "Formal education and training for conservation agriculture in Africa." In Conservation agriculture in Africa: climate smart agricultural development, 305–30. Wallingford: CABI, 2022. http://dx.doi.org/10.1079/9781789245745.0019.

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Abstract This chapter examines the role of formal education, training and skills development in Conservation Agriculture (CA) in Sub-Saharan Africa (SSA) in the context of the region's agricultural transformation systems. It explores nascent literature on potential reforms that include development of CA educational programmes and linkages that are more strategically attuned to national agriculture development aspirations. The chapter highlights theoretical grounds and practical examples for the multi-level strategies with complementary relationships aimed at facilitating systemic CA-related education, training and skills development to accelerate and expand its uptake in Africa. The chapter has advocated educational institutions and the university in particular to orchestrate the CA innovation value chain through 'internal' alignment of actors at institutional level (i.e. intra-organizational mainstreaming). The success of an innovation also depends on its 'external' viability. This was illustrated by proposing inter-organizational mainstreaming and a triple helix model where government and industry, respectively, are the principal actors towards increase in sociotechnical viability of the CA innovation system. There are obvious hurdles related to the interactions and coordination between stakeholders, as well as the integration of value complementarities across the value chain. Probable corrective strategies have been exhaustively interrogated and they are, for instance, manifested through technical and organizational adaptations as they summarize and compare systematically their contributions, arguments, assumptions and limitations in the process of creating and harnessing economies of scope in innovation. There may not be any ideal model for demand-led, CA-related education, training and skills development. A number of strategic options present themselves and, in a dynamic world, all strategies are relatively short-lived but must yield outcomes that contribute to longer-term goals. The educational institutions should find appropriate themes and avenues worthy of support in their own right, and projects that invite collaboration on their own terms.
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Newton, Travis. "Community Relationships." In Orchestra Management Handbook, 70–82. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197550670.003.0005.

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Orchestras are uniquely poised to engage with their community, and this chapter focuses on defining and encouraging meaningful community engagement. Following a definition and framework for community engagement, the chapter explores the orchestra as a community unto itself, which suggests that the musicians of the orchestra can play a critical role as community builders. Educational programming of various types is then outlined and explained, as are types of community engagement initiatives. The chapter concludes with a discussion about terminology—that is, “education,” “engagement,” and “outreach”—and also outlines a variety of mini case studies of success in community engagement and education initiatives.
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"Recruiting, Organizing, and Starting the Band and Orchestra." In Instrumental Music Education, 278–310. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-25.

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Conference papers on the topic "Orchestra education"

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Yang, Li. "French Horn---All Rounder in the Orchestra." In 2015 International Conference on Social Science and Technology Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icsste-15.2015.180.

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Malofeeva, Inna. "Evolution of the Clavier Functions in the Orchestra." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.52.

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Matias, Ferry. "Teaching Music Musically (Study of Animé String Orchestra Bandung, Indonesia)." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.015.

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Wang, Fei, Wei Xu, and Zuping Xu. "Study on Current Situation of Orchestra Development in China." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.158.

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Cazacu, Oleg. "Aspects of the history of the military band in the cultural area of the Republic of Moldova." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.03.

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The military marching band is an imposing but also prestigious artistic present in the national and international musical landscape. Having a rich and old tradition, it continues to play an important role in the cultural life, asserting itself as a mechanism for promoting national and universal musical heritage and as an effective means of ethical and aesthetic education of the military and the general public. Often, famous works from the universal repertoire are more easily assimilated by the average spectator through fanfares. In this article, we will refer to some aspects of the history of the phenomenon. After 1990, with the postponement of the independence of the Republic of Moldova, military structures, internal affairs bodies, institutions for training specialists in the field, such as the Police Academy, etc. are created. As a result, military band orchestras are established and invigorated. One of them, which enjoys success and shows high professionalism, is the Band Orchestra of the General Inspectorate of Carabineers of the Ministry of Internal Affairs.
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Yuan, Yihua. "Study on the Method of Orchestra Rehearsal in Colleges and Universities." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.89.

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Jiang, Rong. "Audience Development in Symphony Orchestra — a Case Study of the IOrchestra Project." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.94.

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Schafer, Lisa-Franziska, Dmitrii Kozlov, Morris Ohrnberger, and Peter Ott. "Two Kalman Models for Chirp-Sequence Radar Data Filtering of a Periodically Moving Hand for Conducting a Virtual Orchestra." In 2020 21st International Conference on Research and Education in Mechatronics (REM). IEEE, 2020. http://dx.doi.org/10.1109/rem49740.2020.9313876.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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"A GESTURAL INTERFACE FOR ORCHESTRAL CONDUCTING EDUCATION." In International Conference on Computer Supported Education. SciTePress - Science and and Technology Publications, 2009. http://dx.doi.org/10.5220/0001967904060409.

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Reports on the topic "Orchestra education"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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