Relevant bibliographies by topics / Orchestral education

Academic literature on the topic 'Orchestral education'

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

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Journal articles on the topic "Orchestral education"

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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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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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Calissendorff, Maria, and Haukur F. Hannesson. "Educating Orchestral Musicians." British Journal of Music Education 34, no. 2 (October 10, 2016): 217–23. http://dx.doi.org/10.1017/s0265051716000255.

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This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).
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Renshaw, Peter. "Orchestras and the Training Revolution." British Journal of Music Education 9, no. 1 (March 1992): 61–70. http://dx.doi.org/10.1017/s026505170000869x.

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Over the past decade, some major changes have taken place in the policies of Britain's symphony orchestras towards the communities within which they operate. Responding to local needs, most have now evolved enterprising educational activities. This ‘community’ brief has itself generated enthusiastic commitment from the participating musicians; but it has also highlighted the new responsibilities of orchestral management to the personal and artistic development of the players who must work in this somewhat different cultural climate. The author, Gresham Professor of Music and Director of the Department of Performance and Communication Skills at the Guildhall School of Music and Drama in London, examines these issues and their implications for the future of orchestral musicians.
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Lonnert, Lia. "Bridging the gap: Harp teachers on teaching orchestral playing." International Journal of Music Education 37, no. 2 (March 5, 2019): 210–25. http://dx.doi.org/10.1177/0255761419832400.

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Although orchestral playing is a dominant practice within Western classical music, and one that many students participate in from a young age, some students do not have adequate opportunities to participate. Since harp students often come to orchestral playing later than other instrumentalists, harp teachers are concerned with enabling their students to learn orchestral playing in a relatively short time. For this study, six orchestral harpists who are also teachers were interviewed. The findings show that harp teachers intentionally taught orchestral playing during one-to-one lessons, aiming to prepare their students to continue learning within the orchestral context. They aimed to bridge the gap between lessons and practice, methodically preparing them musically, technically, practically and emotionally for the complex orchestral environment. While students of other instruments might acquire this complex knowledge from extended orchestral experience, student harpists must learn it in a relatively short time. These harp teachers’ descriptions of their teaching practice shed light on how orchestral playing is learned by all instrumentalists.
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Sembiring, Adina, Uyuni Widiastuti, Octaviana Tobing, Esra Siburian, Hendy Obed Sembiring, and Ewin Johan Sembiring. "Character Formation Based on North Sumatra Local Wisdom Through Orchestral Learning in Music Education Study Program, Universitas Negeri Medan." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (November 6, 2019): 315–25. http://dx.doi.org/10.33258/birci.v2i4.594.

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The objectives of this study are to: (1) Producing character building based on North Sumatra local wisdom through orchestral learning in Music Education Study Program, Unimed; (2) Producing orchestral learning that can shape the character of students in the Music Education Study Program; (3) Producing characters that are formed through orchestral learning in Music Education Study Program, Unimed. It is expected that the existence of research on the topic of orchestral learning in Music Education Study Program, Unimed can shape character based on local wisdom in North Sumatra
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Rickert, Dale LL, Margaret S. Barrett, and Bronwen J. Ackermann. "Injury and the Orchestral Environment: Part II. Organisational Culture, Behavioural Norms, and Attitudes to Injury." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 94–101. http://dx.doi.org/10.21091/mppa.2014.2020.

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The organisational culture, behavioural norms, and attitudes of a workplace have a profound influence on levels of injury and illness amongst its workers. While this is well established in Work Health and Safety literature, very little research has attempted to understand the influence of organisational culture on injury risk in the orchestral profession. To address this, the current study aimed to investigate the influence of organisational culture on injury outcomes for orchestral musicians. Using a qualitative case study methodology, in-depth semi-structured interviews were undertaken with 10 professional orchestral cellists (2 freelance and 8 fulltime members) from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of 5 orchestral management staff as a means of data triangulation. All data were analysed using a themes-based “analysis of narrative” approach. The findings indicate that an orchestral culture exists in which musicians see injury as a sign of weakness, failure, and poor musicianship. Such negative perceptions of injury influence musicians to play through considerable levels of pain and continue performing with injuries. Because of perceived judgment from the orchestral group, musicians were found to conceal injuries from colleagues and management staff. Freelance musicians felt that disclosing injuries may lead to decreased work opportunities, and both full-time and casual musicians felt that “opening up” about injury may subject them to group judgment about their technique or musicianship. The study suggests education measures which may be effective at influencing individual behaviours and attitudes as well as cultural change initiatives which could lead to long-term positive health outcomes in the orchestral workplace.
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Shumska, Lyudmyla, Mykola Shumskyi, Galyna Savchuk, Yuliia Puchko-Kolesnyk, Nelia Velychko, and Larisa Chincheva. "Features of the applying the information and communication technologies in the conditions of distance master’s training of choir and orchestra conductors." Eduweb 16, no. 3 (September 28, 2022): 205–17. http://dx.doi.org/10.46502/issn.1856-7576/2022.16.03.15.

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The purpose of the academic paper, based on the results of the analysis of the viewpoints of scientists regarding the selection and application of information and communication technologies in the conditions of distance education of choir and orchestra conductors and the study of practical aspects of the master’s training of specialists in choral and orchestral conducting, lies in revealing and identifying the main features of the professional training of this type of specialists. Methodology. In the process of conducting the research, an analytical and bibliographic method has been used to study the scientific literature on the issues of distance master’s training of choir and orchestra conductors, as well as a questionnaire to conduct a survey of choral and orchestral conductors. Results. Based on the results of the research conducted, the features of the choice and application of information and communication technologies in the conditions of distance master’s training of choir and orchestra conductors have been analysed, and basic information has been prepared on the effectiveness of using various information.
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Altwegg, Raffaele. "Soloist—Orchestral Player—Teacher." International Journal of Music Education os-15, no. 1 (May 1990): 9–12. http://dx.doi.org/10.1177/025576149001500102.

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Dissertations / Theses on the topic "Orchestral education"

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Lindsey, Roberta Lewise. "An historical and musical study of Aaron Copland's first orchestral work : Grohg, a ballet in one act." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261410359.

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Conran, Michael Artemus. "A study of David Conte's secular SATB choral works with non-orchestral score complement." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280405.

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The choral works of David Conte are becoming an ever-increasing part of the American choral repertoire. These works have been performed on numerous choral convention programs and college choral concerts, and by professional choral organizations throughout the United States. Conte's choral compositions have been commercially recorded by several of the world's premier vocal ensembles such as Chanticleer, the American Repertory Singers, Elects Women's Ensemble, and the St. Olaf College Choir. In addition Conte's works are being commissioned by a wide array of groups from top-level high schools and universities to nationally-recognized choral ensembles. To date the only doctoral study that has focused on the music of David Conte is that of Sabrina Lynn Adrian at the University of Texas. Her dissertation focused on his compositions for organ as part of a study of twentieth-century American organ compositions. My study will focus upon one aspect of Conte's choral output: his secular SATB choral works with non-orchestral complement. Special focus will be on the manner in which Conte sets and portrays the text in his works, since it is the text that he cites as being the inspiration for each composition. The pieces will be examined for the harmonic language and various compositional techniques employed to convey the meaning of individual words and the overall emotional progression that the text creates. Based on the information attained through this examination and through surveys sent out to various choral directors, the works will be evaluated as to their level of difficulty and to any inherent problems that would need to be addressed in the rehearsal process.
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Tedford, David. "Performing the canon or creating inroads a study of higher education orchestral programming of contemporary music." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1772.

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Williams, Elizabeth Anne. "Investigating the Motivations, Musical Goals, and Preferences of Adults Learning Orchestral String Instruments in Community Music Classes." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510273876882954.

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Beam-Barber, Michelle. "The effect of music listening maps on second grade music students' preference for and understanding of orchestral music." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/1472.

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This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were administered. An affective survey was administered after the treatments, measuring student preference and attitude. When listening maps were presented, scores were significantly higher. It did not matter whether the listening maps were presented first or not. Results of the survey show student preference will increase with music listening maps.
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Reed, Thomas T. "Jimmy Hamilton and Russell Procope : the clarinet soloists of the Duke Ellington Orchestra, 1943-1974." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273146438.

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Austern, Daniel. "Orkestermusiker - hur övar de? : Hur professionella orkestermusiker övar och reflekterar kring sitt eget lärande." Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4842.

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I denna uppsats behandlar jag orkestermusikers syn på sitt eget lärande. Hur de studerar in verk och om de har liknande strukturer och lärstilar i sin övning. Undersökningen utfördes med hjälp av att intervjua fem altviolinister ur Stavangers symfoniorkester.Jag har i undersökningen kommit fram till att de fem orkestermedlemmarna har väldigt olika inlärningssätt vad gäller sin egen övning. De visade sig också vara en viss skillnad mellan de som på något sätt ägnat sig åt undervisning mot de som inte har någon koppling till det alls.


This study will deal with how orchestra musicians view their own learning. How they study, and if they have similar structures and learning styles in their practice. The survey is based on the interviews of five viola players from the Stavanger Symphony Orchestra. Through the survey, I discovered that the five musicians from the orchestra had very different ways of learning. There seems to be a certain difference between those that have studied teaching, and those that haven’t

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Pearce, Kevin (Conductor). "A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.

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This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.
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Nilhammer, Hanna. "Att vara orkestermusiker och instrumentallärare : En studie om samspelet mellan två yrkesroller." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7279.

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Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum. Mitt resultat är bland annat att musikern blir mer medveten och analytisk till sitt eget och andras spel och att läraren blir en utövande mästare som håller hög spelnivå. Jag diskuterar vilka olika roller mina informanter kan ha, hur deras svar kan relateras till mästarläran kontra coachning samt förmedlad kontra konstruerad kunskap. Det jag kommit fram till är att mina informanter ser jobbkombinationen som värdefull och berikande för båda yrkena, men att tiden ofta inte räcker till.
This study focuses on orchestral musicians who also are instrumental teachers, and how they approach the interrelationship between the two professions. The study presents two views: how the teacher influences the musician, and how the musician influences the teacher. I have based the study on qualitative interviews with six interviewees, all of whom work as string players and pedagogues. They all have different backgrounds, with various experiences of teaching. As a theoretical background, I have used an approach where master teaching, or the teacher as a coach, is central. Among my findings, I have discovered that the musician becomes more conscious and analytic toward his/her own style of playing, but also towards others as well. The teachers are masters and they possess a high technical level in their playing. Further, I discuss what roles the interviewees may have, and how I can relate their answers to my theoretical background. The interviewees make clear that working as both a teacher and a musician is valuable, but the issue of time can be a problem.
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Weatherford, Cameron Lee. "MUSIC IN THE MIDST OF DESOLATION: A CONDUCTOR’S ANALYSIS OF CYRIL BRADLEY ROOTHAM’S FOR THE FALLEN, OPUS 51." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/121.

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World War I (1914-1918) brought with it unimaginable disaster and destruction, reshaping the world and its culture forever. Out of the ashes of this unparalleled conflict came numerous triumphs of art, fueled by the surrounding conditions and personal expressions of their artists. English composer, Dr. Cyril Bradley Rootham (1875-1938) set a powerful and haunting poem from the poet Laurence Binyon (1869-1943) titled "For the Fallen” from a larger collection of his poetry called The Winnowing Fan. The poem was published in The Times on September 21, 1914, just seven weeks after the war began. This monograph seeks to bring to light this glorious and overlooked choral/orchestral work at a time of a centennial anniversary for World War I, bringing even more relevance to the subject matter. Another focus of this document is to highlight the musical accessibility of this work and provide resources that function as a platform for performance. A brief background of the composition, the poem, and the poet will assist in giving context to the setting. This document will also cover specific details regarding musical analysis, textual interpretations, and performance practice concepts.
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Books on the topic "Orchestral 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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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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The creative band & orchestra. New York, N.Y: Huiksi Music, 2002.

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

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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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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 "Orchestral education"

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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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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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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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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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de Souza, Gabriela. "The Business in Orchestras." In Advances in Business Strategy and Competitive Advantage, 341–55. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7265-7.ch018.

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What many people cannot see is the structure that an orchestra requires to exist. Beyond the whole group of musicians who stand up in front of the audience, there are people working on the orchestra's image, needs, fundraising, organization, programming, management, and taking care of every detail to please the audience and also the musicians themselves. As any organization, orchestras need revenue and experienced professionals to move forward. It's not a one-man work; it has to be done by many hands and brains. This chapter shows how fundraising works in orchestras in the US and in Brazil—with some similarities with European model—including which lessons each country could take from the other when talking about this subject. It also describes some examples of how musicians are being involved in administrative issues and/or solutions, and how music education can result in a better basis to the art's management.
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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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Conference papers on the topic "Orchestral education"

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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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Rubino, Gabriele Roberto, Francesca Vergani, and Cristina Arbia. "WEB-BASED INCLUSIVE ORCHESTRAL EDUCATION. ADAPTING THE ESAGRAMMA METHOD DURING LOCKDOWN." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.1215.

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Wang, Yubo. "The Development Path and Thinking of Zhuhai National Orchestral Society." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.076.

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Vergani, Francesca, Licia Sbattella, and Sophie Bourgraff. "ATTENDING PARTICIPATORY ORCHESTRAL SESSIONS FOR THE TRAINING OF PSYCHOTHERAPISTS. A CASE STUDY." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.1210.

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Li, Zhiming. "The Construction and Significance of "Spatial Thinking" in the Orchestral Music Creation." 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-19.2019.81.

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Aleksandrova, Vasilisa. "The Stage Performance Project of B. V. Asafyev’s Orchestral Score for M. P. Mussorgsky’s Opera Khovanshchina." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.058.

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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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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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Reports on the topic "Orchestral 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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