Journal articles: '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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Corkhill, David. "A young person's guide to the orchestral profession." British Journal of Music Education 22, no. 3 (October 21, 2005): 269–85. http://dx.doi.org/10.1017/s0265051705006571.

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Through interviews with ten conservatoire students and ten professional orchestral musicians teaching at conservatoires, this paper seeks to establish whether young people regard the orchestral music profession as a worthwhile ambition. If so, are teachers preparing students sufficiently for their careers and passing on the benefits of their considerable experience? While interviewees express deep enthusiasm and love for the orchestral profession, both students and professors seem less sure about the consistency and quality of career preparation at the conservatoire level. Professors explain the difficulties of prioritising multiple agendas during lesson time, while students, though determined to pursue their dream of becoming orchestral players, reveal only partial understanding and knowledge of the profession.

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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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Sloan, Margaret. "An orchestral educational outreach programme." International Journal of Music Education os-35, no. 1 (May 2000): 17. http://dx.doi.org/10.1177/025576140003500107.

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Tschaikov, Basil D. "Preparation for the Orchestral Profession: Which Kind of Symphony Orchestra Will We Have in 2000?" International Journal of Music Education os-9, no. 1 (May 1987): 3–6. http://dx.doi.org/10.1177/025576148700900101.

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Mills, Janet. "Gifted instrumentalists: how can we recognise them?" British Journal of Music Education 2, no. 1 (March 1985): 39–49. http://dx.doi.org/10.1017/s0265051700004599.

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The popular view that ‘the gifted can look after themselves’ is considered with reference to the identification of gifted orchestral instrumentalists. Among agroup of professional orchestral musicians, a substantial number are found to have started lessons on their principal instrument not on their own initiative, but on that of their school. The absence of a ‘method’ for the identification of gifted instrumentalists is considered, and some ways whereby the music teacher may develop an environment in which more gifted instrumentalists identify themselves are suggested.

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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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Lesovichenko, Andrey. "B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan." Musical Art and Education 7, no. 4 (December 30, 2019): 65–81. http://dx.doi.org/10.31862/2309-1428-2019-7-4-65-81.

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The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segments emanating from the theme borrowed from Henry Purcell, in which the initial idea of the master of the XVII century is deeply rethought. The pedagogical task is connected with the demonstration of the timbres of all instruments in solo, ensemble, orchestral sounds, expressing different semantic facets of the original theme, transformed in the process of development into its own antipode. B. Britten found an organic solution to the problems. The article outlines the options for the use of this work in music lessons in secondary school and in the system of additional musical education in the study of instruments of the Symphony orchestra. For this purpose, the comparative characteristics of the performance of the “Guide” by major conductors of different generations are involved, including the interpretation of the composition by the author of the music, which can be assessed a reference. The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.

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Pakhomov, Yuriy. "Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region." Culturology Ideas, no. 20 (2'2021) (2021): 163–70. http://dx.doi.org/10.37627/2311-9489-20-2021-2.163-170.

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The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the development of this genre of performance. Despite the rather wide coverage of the festivals, the events in the genre of orchestral wind music taking place at different levels of performance in Sumy region, did not receive due attention. Coverage of this issue is necessary for proper understanding and analysis of the state of performance on wind instruments in the region. The material of the article will be useful for scholars who study the festival movement and develop issues of history and development of wind music in our country.

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Zhang, Wang. "Improved RRT-Based Moving Path Planning Algorithm for Teaching Reform and Innovation in Western Orchestral Ensemble Classes in Colleges and Universities." Computational Intelligence and Neuroscience 2022 (September 24, 2022): 1–10. http://dx.doi.org/10.1155/2022/4273761.

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Western orchestral instruments in colleges and universities, as important instruments, occupy a central place in many bachelor’s degree programs in music education. Music teaching reform and innovation are central to the creative wisdom of music teachers, their musical upbringing, and the lived experience of their students. For teachers, the process of pedagogical reform and innovation is the process by which teachers realize their own pedagogical ideals. Teachers must first be motivated; in the absence of motivation, any advanced teaching methods will become pale in comparison and lose their value and usefulness. Therefore, the construction of teaching activities requires teachers to take responsibility for the education and support of students, to align their teaching goals with the development of each student, to make the students’ feelings closely connected to them, and to make them feel their value in the learning process. Starting from teaching western orchestral instrument ensembles in colleges and universities, this thesis uses the research method of improving RRT’s moving path planning algorithm to explain and analyze some problems that arise in teaching western orchestral instrument ensembles in colleges and universities and puts forward constructive suggestions and recommendations.

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Fylypchuk, M. S. "Educational orchestral how the object of scientific cognition is." Educational Dimension 18, no. 2 (May 10, 2007): 175–83. http://dx.doi.org/10.31812/educdim.5971.

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The important questions of methodological bases of functioning of training pops orchestra are considered. In the article Theauthor approached the problem of teaching and education of students in the pops orchestra guiding by strong scientific knowledge’s.

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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.

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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.

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Dittmar, Linda, and Joseph Entin. "Introduction: Archives and Radical Education." Radical Teacher 105 (July 7, 2016): 1–6. http://dx.doi.org/10.5195/rt.2016.317.

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Though Alain Resnais’ documentary film about the French National Library, All the World’s Memory (Toute la Memoir du Monde), is meant to celebrate the library’s scope and organization, anxiety seeps into its cinematic “language”: dim black-and-white footage, a restlessly prowling camera, close-ups that cut off object from context and detail from whole, discontinuous cuts, choppy bullet-like comments, and darkly foreboding orchestral music. It’s a beautiful film, but what does it say about Resnais’ feelings about the library? Certainly awe, but also high modernism’s anxiety about proliferating knowledge. “Man,” the authoritative male voice-over proclaims, “fears being engulfed by this mass of words.”

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Rose, Richard F., and Michael J. Wagner. "Eminence Choices in Three Musical Genres and Music Media Preferences." Journal of Research in Music Education 43, no. 3 (October 1995): 251–60. http://dx.doi.org/10.2307/3345640.

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Subjects in college classes (N = 413) were asked to list five compositions that should “live forever” in three categories: pop/rock, orchestral, and choral/operatic. The students also provided information regarding musical training listening habits, and ownership of audio equipment. Fewer than 50% of the subjects listed five compositions in any one category. Subjects with approximately 10 years of music training completed more entries in the orchestral and choral/operatic categories than did those with fewer years of study. Those who had 3 or more years of music study were better able to complete the music survey than were other subjects. Approximately equal numbers of subjects preferred to listen to music on tapes, radios, and compact disc (CD) formats. Generally, younger subjects listened to more music per day than did older subjects, and subjects who preferred to listen to music on CD players listened to music more hours per day than did subjects choosing other devices.

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Bergee, Martin J. "An exploratory comparison of novice, intermediate, and expert orchestral conductors." International Journal of Music Education 23, no. 1 (April 2005): 23–36. http://dx.doi.org/10.1177/0255761405050928.

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Lytvyshchenko, Oleksandr. "The Student Bayan and Accordion Orchestra at Kharkiv I. P. Kotlyarevsky National University of Arts: specifics of formation and professional development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 89–102. http://dx.doi.org/10.34064/khnum1-59.06.

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Statement of the problem. The purpose of this article is to consider the evolution of the creative activity of the student training collective – the Orchestra of Bayans and Accordions – and to determine the role of its founder, Honored Artist of Ukraine, Professor Oleksandr Ivanovych Nazarenko, a conductor, an outstanding representative of the Ukrainian bayan art (second half of the 20th – early 21st centuries). Relevance and scientific novelty of the study. The team under his leadership has existed for over 28 years, it has achieved significant success and acquired its own creative form, and its activities attract the attention of the artistic community and arouse scientific interest, which determines the relevance of this topic. O. Nazarenko’s composer creativity were covered by Kharkiv bayan players and scientists Yu. Dyachenko (2012), M. Plushenko (2017), S. Ptashenko (2013), I. Snedkov (2016), A. Strilets (2018), but the authors did not address to consideration of O. Nazarenko’s activity as an orchestral conductor and the problems of performing skills of the orchestra of bayans and accordions at Kharkiv National University of Arts, the head of which he is. The research methodology is based on a set of historical, genre-style and interpretive approaches. A comprehensive analysis of the activities of the student orchestra and its leader O. Nazarenko allowed to identify certain stages of professional evolution and the main directions of team development. Particular attention is paid to the consideration of O. Nazarenko’s conducting activity and the principles of his work with a student orchestra composed of homogeneous instruments. Based on the analysis of the artist’s work, the issues of specifics of teaching methods, selection of quality repertoire, peculiarities of arrangement for orchestra of bayans and accordions are investigated. Results and conclusions of the study. O. Nazarenko’s multifaceted activity as the director and conductor of the Student Bayan-Accordion Orchestra is very important for preserving in the repertoire and updating works of foreign and Ukrainian, in particular, Kharkiv, composers, and his education of young professional musicians contributes to the development of the Ukrainian folk instrumental performing. Under the guidance of the master, students master a wide range of instrumental capabilities – a bright palette of stroke techniques and techniques of sound production, smooth bellows movement, develop their ideas about working on a piece of music and learn orchestral thinking. Thus, the main task of the Student Bayan and Accordion Orchestra at Kharkiv National University of Arts is to present a qualitative repertoire, master various orchestra arrangement techniques and peculiarities of filigree ensemble performance. For the first time, a complete repertoire list of the orchestra was compiled, which gives an idea of the scale and content of its activities, demonstrates the principles of selection of works that reflect the artistic taste and preferences of the conductor.

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Savchenko, H. "Manifestations of the “non-classical” in the orchestral manner of C. Debussy." Culture of Ukraine, no. 72 (June 23, 2021): 136–43. http://dx.doi.org/10.31516/2410-5325.072.19.

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The relevance. Multidirectionality of artistic searches in the musical art of the first half of the XX century fully complies with the worldview and values of European culture of that time. The change of perception of the world, matter, time and space is objectified in the sound matter of musical works. Among the composers who have a defining role in paving the ways for new music, we should mention C. Debussy. The purpose of the article is to identify and systematize of “non-classical” features in the orchestral manner of C. Debussy. The novelty of the article is the study of the orchestral manner specifics of C. Debussy as “non-classical” in certain traits. The methodology. The article uses functional, historical, comparative, analytical and complex methods. The theoretical basis of the study are the works of V. Bobrovskyi (2018), H. Golovynskyi (1981), S. Iskhakova (1998), L. Kokoreva (2010), S. Mozhot (2006). The result. Extrapolation of scientific statements of V. Bobrovskyi, H. Golovynskyi, S. Iskhakova, L. Kokoreva, S. Mozhot to the sphere of orchestral thinking and orchestral manner of C. Debussy allowed to reveal signs of “non-classical” as the ones that draw a boundary between the principles of classical-romantic orchestration (based on functional harmony) and new music of the XX century. It is the “non-classical” features that allow to create a new sound matter, a new perception of space and time in the orchestral works of the composer. In our opinion, the manifestations of the “non-classical” are: 1) functional restructuring of the orchestral texture on the basis of non-hierarchy as the dominant principle; 2) building a dense, “concrete” in terms of eventfulness and, at the same time, light (massless), broad musical space, 3) levelling the boundary between the exposing (more integral and continuous) type of orchestration and developing (smaller, dialogical, discrete); 4) interpenetration of continuity and discreteness (discrete continuity) at the level of thematics and orchestration as a consequence of erasing the boundary between the functions of background and relief and the exposing and developing orchestration types. The practical significance. The results of the work can be applied in the training courses “History of orchestral styles”, “History of foreign music”, which are studied in higher education institutions; in further scientific researches.

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Hager, Paul, and Mary C. Johnsson. "Learning to become a professional orchestral musician: going beyond skill and technique." Journal of Vocational Education & Training 61, no. 2 (June 2009): 103–18. http://dx.doi.org/10.1080/13636820902933221.

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Geringer, John M. "Musicians’ Preferences for Tempo and Pitch Levels in Recorded Orchestral Music." Journal of Research in Music Education 58, no. 3 (October 2010): 294–308. http://dx.doi.org/10.1177/0022429410380464.

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This study was designed to ascertain musicians’ tempo and pitch level preferences when listening to orchestral music. Ninety graduate and undergraduate music major students were assigned randomly to one of three groups. Participants listened individually to recorded symphonic excerpts, 5 with relatively fast and 5 with relatively slow tempos. Listeners in the tempo group modulated a dial to adjust tempos to their preferred levels for each of the 10 excerpts (pitch was unchanged). Similarly, pitch group participants turned the dial to modify pitch to preferred levels (tempo was unchanged). For the combination tempo/pitch group, turning the dial produced changes in both pitch and tempo concomitantly.The range of modulation for all groups encompassed ±18% relative to the original recording. Listeners preferred increased levels of tempo, pitch, and tempo/pitch combined for the relatively slow excerpts. For fast tempo examples, however, listeners preferred decreased tempos, little change in pitch, and slightly decreased tempo/pitch combined relative to original levels. Deviations from original recordings were greater for the tempo change group compared to pitch and tempo/pitch groups.

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Salaman, William. "Tribute to John Paynter." British Journal of Music Education 28, no. 01 (January 14, 2011): 33–34. http://dx.doi.org/10.1017/s0265051710000392.

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In 1970 I abandoned a career in orchestral playing to become a teacher of music in schools. Although I am glad that I had the chance to play professionally, I am even more pleased that I pursued the profession for which I had been trained because interesting things were occurring in school music. As it happens, 1970 was also the year in which Sound and Silence by Paynter and Aston was published.

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Tsaklagkanou, Lina, and Andrea Creech. "Sistema-inspired music education as an agent of change in and beyond the musical lifecourse: Perceptions of the transferable skills and transferability." International Journal of Community Music 14, no. 1 (March 1, 2021): 61–79. http://dx.doi.org/10.1386/ijcm_00038_1.

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Within Sistema-inspired music education initiatives, claims have been made relating to the ways in which these experiences may contribute to the musical lifecourse, having lifewide and lifelong implications for young people. For example, a commonly held aspiration amongst Sistema-inspired programmes around the world is to foster participants’ well being, personal development and enhanced academic engagement. This article explores perceptions relating to the wider, transferable competencies derived from participation in one such programme. The National Orchestra for All (NOFA), an inclusive youth orchestra residential programme targeting under-served young people who face diverse barriers to musical participation, seeks to function as an ‘agent of change’ within participants’ lives. NOFA aims to improve the life chances of the young participants using music as means to support the development of personal, social and citizenship skills, their objective being to equip young people for achieving their potential within education, work and community. Our aim in this article is to address whether, and how, a short-term residential orchestral programme is perceived to function as an agent of change in the areas of personal, social or citizenship skills, and whether those skills are thought to be transferable beyond the programme context. Drawing on interviews and focus groups carried out over the course of three years, we present a thematic analysis representing participant perceptions. Overall, a number of transferable ‘life skills’ emerged. However, while some participants indicated that their experiences in NOFA did have an influence that transferred beyond the programme itself, others described persistent challenges that remained outside of the influence of any new skills or competencies gained within NOFA. These findings have implications for developing nuanced understandings of the role that intensive, inclusive orchestra programmes may have in nurturing transferable competencies and wider benefits in the lives of their participants.

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Furman, Charles E., and Robert A. Duke. "Effect of Majority Consensus on Preferences for Recorded Orchestral and Popular Music." Journal of Research in Music Education 36, no. 4 (1988): 220. http://dx.doi.org/10.2307/3344875.

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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011033.

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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.

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FABBRI, FRANCO. "Orchestral Manoeuvres in the 1970s: l’Orchestra Co-operative, 1974–1983." Popular Music 26, no. 3 (October 2007): 409–27. http://dx.doi.org/10.1017/s0261143007001353.

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AbstractL’Orchestra, a cooperative established in 1974/75, based in Milan, Italy, was a unique organisation, involving musicians, sound and lighting engineers, music critics and teachers, and concert managers. It was started as a kind of artists’ union, a federation of folk, rock, political song, jazz, avant-garde groups, but in a few months it became a concert agency and a record company; it held music courses for amateurs and published music tutorials; it helped managing the first multipurpose art/social centre in Milan. L’Orchestra promoted studies along various disciplinary perspectives (sociology, music education, ideological criticism, semiotics) that in some respects embody and in others help explain the development of popular music studies and of the International Association for the Study of Popular Music (IASPM) in Italy.

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Espeland, Magne. "Music in Use: Responsive Music Listening in the Primary School." British Journal of Music Education 4, no. 3 (November 1987): 283–97. http://dx.doi.org/10.1017/s026505170000615x.

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The author invites us to re-examine the case for ‘music appreciation’ teaching. In a two-year project, ‘Music in Use,’ conducted in Norwegian primary schools, Magne Espeland and his colleagues developed new principles and methods for encouraging children to listen to music of many different styles – including modern instrumental and orchestral music, pop and jazz. Working from the belief that response on the part of the listener is crucial in musical understanding, the project group involved the children with a variety of activities which, while primarily related to the music itself, engaged also with experiences in verbal, visual and kinetic expression.

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Addison, Richard. "Parents' Views on their Children's Musical Education in the Primary School: A Survey." British Journal of Music Education 7, no. 2 (July 1990): 133–41. http://dx.doi.org/10.1017/s0265051700007634.

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The writer and ten primary school teachers conducted a survey aiming to find out the extent of parental interest in musical activity in schools of contrasting location and character. Parents' interests and tastes in music were canvassed, together with the interest shown by children at home. They were also asked their opinions about various types of school musical activity. Results showed no lack of interest amongst parents, and strongest support for singing, moving/dancing, listening, and playing ‘school’ instruments. They also, overwhelmingly, would have liked their children to have had the chance of learning orchestral /band instruments. The survey was useful and encouraging, but improvements could follow in any future ones. Parents' views on educational concerns were illuminating and thought-provoking for teachers.

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Toropkova, Evgeniya R. "Music education in the context of new information and distance technologies." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.

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The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect in the educational process is described. The article shows that the introduction of new musical information technologies provides additional opportunities for musicians when working with musical scores, orchestral parts, when performing creative tasks in subjects of the theoretical cycle. The article also discusses and analyzes the interactive educational programs of the series «Playing with Music».

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Davis, Susan A. "“Who Keeps Your Flame? Who Tells Your Story?” Teaching Orchestra through Primary Sources." Music Educators Journal 109, no. 2 (December 2022): 29–37. http://dx.doi.org/10.1177/00274321221138784.

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Music educators often look for ways to deepen students’ understanding and artistic interpretations of repertoire. One way to engage students in discovery and dialogue about the music they perform is through connecting to the historical, cultural, and societal implications of primary sources. This article delves into resources from the Library of Congress that enable us to tell richer stories about the people and circumstances behind familiar orchestral repertoire, including works by Chaminade, Copland, and Miranda. The recommended materials include primary and secondary sources from the Library of Congress digital archives, best practices for using these resources, inquiry-based strategies to engage students in critical thinking, and connections to the 2014 Music Standards.

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Li, Ruipu. "Algorithm Design for Sharing Orchestral Network Teaching Resources Using New Media Platform." Mobile Information Systems 2022 (September 26, 2022): 1–12. http://dx.doi.org/10.1155/2022/7238554.

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The new educational media platforms were introduced to address the problems related to sharing teaching content and promoting students’ learning abilities. However, there are several issues with distributing educational resources on new media platforms, both globally and domestically. In terms of resources, teaching resources are scarce and individual and lack systematization, which affects the implementation and development of our orchestral education and teaching in new media. Regarding technology, there are currently vacancies in data linkage and exchange between different databases when the resource sharing platform is used and the existing system is in operation. The packet loss rate created by the existing technology is far too high. To address this problem, this paper designs a new platform as well as an algorithm, applies to online teaching resource distribution based on a new media platform, plans the teaching resource attributes of orchestral music majors, and studies the optimal solution for the resource sharing game model regarding load balancing and honesty allocation principles in a distributed scenario of heterogeneous networks. Experiments show that our strategy reduces network demand by a significant amount. The results made the designed algorithm applicable to be created, developed, and deployed practically.

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KANG, Yingzheng. "Harbin as a center of the formation of Western European orchestral traditions in northeast China." Humanities science current issues 2, no. 43 (2021): 10–15. http://dx.doi.org/10.24919/2308-4863/43-2-2.

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Montgomery, Amanda P. "Effect of Tempo on Music Preferences of Children in Elementary and Middle School." Journal of Research in Music Education 44, no. 2 (July 1996): 134–46. http://dx.doi.org/10.2307/3345666.

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This study was designed to examine the effect of tempo on preference responses of kindergarten to Grade 8 children. Listener age and gender were additional variables under consideration. In total, 996 subjects indicated preference opinions on pictographic Likert written response forms while listening to 15 excerpts of orchestral music from early Romantic opera. Two moderate and three fast musical examples were given the highest mean ratings. Spearman rank correlation indicated a positive significant relationship between tempo and preference (p < .01). Friedman analyses of variance revealed significant differences in mean preference ratings for music of differing tempos within Grades 3-8 (p < .01). Listener age was also indicated as a strong influence on overall preference ratings, with youngest children generally giving highest ratings. Results provide further support for the role of tempo and listener age in musical preference.

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van Niekerk, Caroline, and Sanna Salminen. "STTEPping in the right direction? Western classical music in an orchestral programme for disadvantaged African youth." Intercultural Education 19, no. 3 (June 2008): 191–202. http://dx.doi.org/10.1080/14675980802078509.

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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

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Geringer, John M., and Clifford K. Madsen. "Gradual Tempo Change and Aesthetic Responses of Music Majors." International Journal of Music Education os-40, no. 1 (May 2003): 3–15. http://dx.doi.org/10.1177/025576140304000102.

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This study was designed to investigate aesthetic responses of music major listeners to gradual tempo changes in orchestral music. Seventy-two graduate and undergraduate participants listened to a recording of the first movement of Haydn's Symphony #104 and indicated aesthetic responses during the presentation using a CRDI dial. One group listened to an unaltered version of the excerpt. A second group heard a version that slowly increased in tempo to a maximum of 20 percent above the original tempo, and a third group heard a version that gradually decreased in tempo to 20 percent below the original. Although the overall contour of responses was similar for all listening conditions, the tempo increase group indicated slightly higher levels of aesthetic response during the latter part of the movement than did the unaltered and tempo decrease groups. None of the listeners in the tempo change groups clearly identified the nature of the change.

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Bychenkova, Maria A., and Elena V. Klochkova. "Concerning the Issue of Influence of the Religious Source on the Orchestral and Piano Music of Alemdar Karamanov." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2015): 120–25. http://dx.doi.org/10.17674/1997-0854.2015.1.18.120-125.

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Macleod, Rebecca B., John M. Geringer, and Laurie Scott. "A descriptive study of high school and university students' focus of attention in fast and slow orchestral excerpts." International Journal of Music Education 27, no. 3 (July 27, 2009): 220–31. http://dx.doi.org/10.1177/0255761409336030.

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46

Ginocchio, John. "The Effects of Different Amounts and Types of Music Training on Music Style Preference." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 7–18. http://dx.doi.org/10.2307/27861458.

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Abstract The purpose of this study was to determine the influence of three different amounts of music training and specific types of music training on the style preferences of college non-music majors. 176 college non-music majors recorded their preference for 19 musical examples in varying popular and non-popular styles. Subjects completed a Personal Information Form to determine their years of music training and specific types of music training. Results showed that subjects with five years or more of music training gave significantly greater overall music preference ratings than subjects with fewer years of training. Differences were also found between subjects with three differing amounts of training for instrumental jazz, orchestral classical, vocal classical, and classical piano music. Responses showed differences in preference ratings between subjects who had been in choir, band, and piano lessons. Participation in band appeared to have the greatest impact on preference for non-popular styles of music.

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47

S.N., Ayensu, Acquah E.O., and Annan J.F. "Technological Remedy for Music Practical Lessons Amidst Covid-19 Restrictions in the Department of Music Education, University of Education Winneba." British Journal of Contemporary Education 1, no. 1 (November 27, 2021): 84–98. http://dx.doi.org/10.52589/bjce-rhwnfhlw.

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The Department of Music Education, University of Education Winneba (UEW), trains students to acquire the skill of playing some Western instruments such as the keyboard, guitar, winds and orchestral strings. Furthermore, students also receive training in playing Ghanaian traditional instruments such as the atenteben and the various traditional drums of the existing ensembles. This practical teaching also include singing, dancing and ensemble making to allow all students perform their instruments in an ensemble. Unexpectedly, training in these instruments and ensembles was despaired by measures to contain the spread of Covid-19 pandemic. While theory courses in music were conducted via platforms such as Moodle, Google Classroom, the University’s Virtual Class (VClass) and Zoom, the exploratory case study design was used to seek technological means to conduct practical lessons which almost came to a halt as a result of its face-to-face teaching nature. Reviewing literature on technologies for teaching and Covid-19, the study which was based on Technological Pedagogical Content Knowledge (T-PACK) model unearthed means to conduct practical lessons. Lecturers, instructors, technicians and students of the Department were interviewed to organize their opinions on how to conduct practical lessons amidst Covid-19 restrictions. The study divulged innovative technological means to situate software programmes and applications such as Zoom, Google Classroom, Moodle, Microsoft Meet, Team Viewer, WhatsApp and Facebook for practical lessons.

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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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Fu'adi, Fu'adi, Putu Sudira, and Kun Setyaning Astuti. "Idris Sardi’s Influence on Musical Development and Education in Indonesia." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 290–302. http://dx.doi.org/10.15294/harmonia.v21i2.32243.

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Idris Sardi is known as a music maestro in Indonesia. This study aims to reveal the influence of Idris Sardi on the development of music and its implications in music education. This study uses a qualitative method with a narrative approach. The data were collected through observation, in-depth interviews, and documentation. The research informants were carefully selected from the family, violin students, and colleagues of Idris Sardi in Jakarta and Bogor, West Java. The data were analyzed by organizing data and creating codes, describing codes in chronological categories and themes, developing interpretations, and visualizing data. The results showed that Idris Sardi was influential in developing (1) keroncong music by varying the tempo and expanding the repertoire; (2) the violin playing techniques included unique characters such as vibrato, glissando, and octave variations; (3) ethnic and popular music were made through orchestrations and collaboration with orchestral music. The implications in music vocational education were (1) problem-based learning by creating a new keroncong style to be accepted by society; (2) the improvement capability by exploring skills to play the violin; (3) life-based-learning by raising local and popular music to be qualified while enhancing the level of society’s music appreciation. In conclusion, Idris Sardi provided a strong influence on the music development in Indonesia, and the implication could be a new strategy to improve the quality of music education.

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Denisova, Galina A. "The Orchestral Song of the Period of the Fin de Siècle: Concerning the Question of Specificity of Genre and Terminology." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 106–13. http://dx.doi.org/10.17674/1997-0854.2015.2.19.106-113.

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Journal articles on the topic 'Orchestral education'

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