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Journal articles on the topic 'Orchestral music'
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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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Sun, Mingyu, and Yan Lin. "The dialogue between ethnicity and symphony. On the composition and development of Chinese ethnic orchestral music in the New Era." OOO "Zhurnal "Voprosy Istorii" 2022, no. 10-2 (October 1, 2022): 250–57. http://dx.doi.org/10.31166/voprosyistorii202210statyi60.
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Chinese folk orchestral music is the product of the combination of thousands of years of Chinese instrumental ensemble culture and the excellent orchestral experience of the West. In the past hundred years, Chinese folk orchestra has gone through the process of “from learning and imitation to integration and innovation” twice. Since the New Era, Chinese folk orchestras have been developing rapidly, the number of outstanding composers has been increasing, the compositional style has been diversified, and the creative space has been active. This paper analyzes the creation of folk orchestras in the New era, and then gives the path and suggestions to promote the development of folk orchestras.
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Woolford, Donald H., Edward C. Carterette, and Donald E. Morgan. "Hearing Impairment among Orchestral Musicians." Music Perception 5, no. 3 (1988): 261–84. http://dx.doi.org/10.2307/40285400.
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It would seem anomalous that an orchestral musician would have less than normal hearing in order to monitor an exacting musical output. However, some recent studies show that a proportion of symphony musicians do have hearing impairments of various pathologies of which noise exposure, including the music alone, is the dominant causal factor. Intense music exposures in symphony orchestras often exceed the intensity standards of hearing conversation. A basic procedure for industrial hearing conservation is the control of the sound at the source, but the very purpose of the orchestra prevents its use. Hearing protection which is used voluntarily by some musicians presents a different sound picture. The control of intensity of music exposures is necessary but is separate from the concern of the present study with industrial issues and the perceptual-motor performance of musicians. Relevant aspects which are briefly reviewed include the incidence, susceptibility, and severity of hearing impairment among musicians; musical performance of the hearing impaired and the effects of various pathologies on their performance; medical-legal rules of impairment, disability, and handicap; and the incidence of compensible losses among musicians of certain orchestras. Illustrative results are presented of a preliminary study of hearing among 13 volunteer members of The Los Angeles Philharmonic Orchestra. It is suggested that a three- phase study be done: (1) a comparative study of hearing among symphony orchestras; (2) development of comprehensive tests to determine hearing-related performance; (3) provision of a rational basis for hearing criteria in the case of musicians for dealing with their employment, transfer, retirement, disability, handicap, and award of compensation. A fourth issue requiring concurrent study is the conserving of the hearing of orchestral musicians.
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De Souza, Jonathan. "Orchestra Machines, Old and New." Organised Sound 23, no. 2 (July 31, 2018): 156–66. http://dx.doi.org/10.1017/s1355771818000031.
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What is ‘orchestral’ about a networked laptop orchestra? And what is network-like about a classical orchestra? This article juxtaposes orchestras, nineteenth-century music machines and twenty-first-century network music projects. Drawing on organology and cybernetics, it asks how these systems connect people and instruments. It considers interaction and coordination in particular networks, from the panharmonicon to PLork, but also their abstract informational topologies. Ultimately, orchestra machines, old and new, involve both technical and social organisation – and, as such, they can be used to problematise the ontological separation of technology and society.
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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.
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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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Duraković, Lada, and Marijana Kokanović Marković. "From the History of Military Music in the Austro-Hungarian Monarchy." Musicological Annual 57, no. 1 (July 5, 2021): 65–84. http://dx.doi.org/10.4312/mz.57.1.65-84.
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The subject of this paper is the work of Franz Jaksch (1851–1931), a versatile musician who served as the bandmaster of the Imperial and Royal Navy Orchestra in Pula, the main port of the Austro-Hungarian monarchy in the period between 1899 and 1917. It was in Pula that he composed most of his pieces tailored for military orchestras, opera stages and bourgeois salons. During his bandmaster term, the Navy Orchestra performed some of the most significant orchestral pieces from the symphonic repertoire.
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Volodymyr Fedorovych, CHERKASOV. "FORMATION OF CONDUCTING AND ORCHESTRAL COMPETENCE OF FUTURE TEACHERS MUSICAL ART." Academis notes. Series: Pedagogical sciences 5 (November 23, 2023): 50–55. http://dx.doi.org/10.59694/ped_sciences.2023.05.050.
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The article proves the formation of conducting and orchestral competence of future music teachers. The formula for the successful performance of an orchestra largely depends on the professional training of the leader of the group, the formation of his conducting and orchestral competence, which includes certain qualities, among which are communication skills, which perform many important functions in the development of the individual. It is proven that several types of communicative skills are distinguished in the scientific environment, namely: informationalcommunicative, regulatory-communicative and affective-communicative. It has been established that the conducting and orchestral competence of future music teachers is formed in the process of working on an orchestral score under the conditions of introducing certain qualities into the rehearsal and stage-performance process. In the process of working on an orchestral score, the conducting and orchestral competence of future music teachers is formed in the process: analysis of the orchestral score of a musical work; detailed analysis of a musical work; works on fragments of musical works; improvement of conducting technique skills; reading orchestral parts; fixation of musical material. It has been proven that the formation of conducting and orchestral competence of future music teachers is realized in the process of individual classes and independent work of students of higher education. At the same time, the following teaching methods are introduced, such as: practical classes, counseling, the method of reading from a letter, the method of artistic context, the method of emotional drama, the method of working in an orchestra, the interpretation of a musical piece, the method of working on the orchestral score of a musi
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Urniežius, Rytis. "Grieg and Violins." Musicological Annual 57, no. 2 (December 28, 2021): 83–103. http://dx.doi.org/10.4312/mz.57.2.83-103.
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Violin was Edvard Grieg’s favourite orchestral instrument. This affinity expanded to other string family instruments and a string orchestra. The article aims to characterise Grieg’s two-movement cycles of miniatures for string orchestra, emphasizing the features of their orchestration. The analysis revealed that these cycles should be considered as original and creative orchestral compositions where the composer efficiently employs the possibilities of string instruments.
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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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Kenny, Dianna T., Tim Driscoll, and Bronwen J. Ackermann. "Is Playing in the Pit Really the Pits? Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 1–7. http://dx.doi.org/10.21091/mppa.2016.1001.
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INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.
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van Rij, Inge. "Race, Gender, and the Colonial Orchestral Body at the New Zealand International Exhibition, 1906." Journal of the American Musicological Society 76, no. 2 (2023): 353–406. http://dx.doi.org/10.1525/jams.2023.76.2.353.
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Abstract The orchestra that participated in the opening ceremony of the New Zealand International Exhibition held in Christchurch in 1906 played a central role in signaling what officials described as “nationhood achieved,” as the country marked its move from British colony to dominion. This contribution to nationhood was negotiated through acts of exclusion as well as empowerment, particularly in relation to gender and race. Exhibition officials sought to ban women from participation in the orchestra, demonstrating the tenacious rhetoric of masculinity prevalent in orchestras of the period. Although women eventually overcame this ban, New Zealand’s Indigenous Māori population remained barred from self-representation on the exhibition stage, instead performing their culture as ethnological entertainment beyond the concert hall. At the exhibition’s opening ceremony, it was the orchestra that represented Māori; in the third movement of the Exhibition Ode composed for the event by the orchestra’s conductor, New Zealand composer Alfred Hill, the orchestra performed “in the time of a haka” (Māori war dance). Drawing on an examination of archival material pertaining to the exhibition and analysis of the haka movement, this article argues that the performance of Hill’s haka movement by both women and men in the exhibition orchestra was an act of “brownface” in which the empowerment of the white women of the orchestra was complicated by questions of appropriation and assimilation. Examining the haka movement as event and score illuminates both the role of women in colonial cultures and the colonizing practices of orchestras themselves.
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Ismail, Syahirah, Ahmad Munir Mahzair, and Juwairiyah Zakaria. "Participation Interest In Orchestra Class among Degree Students in UiTM Faculty of Music." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 347–52. http://dx.doi.org/10.21834/ebpj.v7isi9.4283.
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This paper aims to find the participation interest in orchestra class among music degree students in the UiTM Faculty of Music. The study's research objectives were to investigate students' perceptions towards orchestra class among music degree students and to determine the level of interest in orchestra class among music degree students. A questionnaire survey was distributed to 40 students doing their degree program and majoring in the orchestral instrument. Findings showed that the majority agreed that participating in orchestra class was very important in improving their performance skills, ensemble skills, communication skills in the ensemble, and developing orchestra repertoire knowledge.
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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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Kang, Yingzheng. "Jean Rémusat's Musical and Educational Activity in the Context of Forming European Orchestral Traditions in Shanghai." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(54) (March 21, 2022): 91–104. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255430.
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The author considered the main stages of creative formation and musical-educational as well as concert-performance activities of Jean Rémusat (J. Rémusat) in Europe and China. J. Rémusat's achievements as a flutist are examined in the context of his orchestral practice in Parisian and London theaters. Concert programs of J. Rémusat's performances as a soloist and member of ensemble groups on the basis of music-critical publications of Shanghai periodicals of 1860-1870 were analyzed. The main directions of his creative collaboration with other European musicians (G.B Fentum, J. C. H. Iburg) is highlighted in the cultural leisure of Shanghai in the western sector of the city. The author identified the role of the French musician in the founding of the Shanghai Philharmonic Society and the Wind Music Association to intensify the concert and performance activities of local amateur groups and professional musicians and hold their regular performances in front of citizens. It is emphasized that the organization of J. Rémusat's concerts is based on European experience, offering various forms of performances by artists with a repertoire available to the local public. The work of J. Rémusat, conductor and musician-educator, is described in view of his founding of private orchestral groups and his close cooperation with military musicians on the way to creating an amateur group "Shanghai Volunteer Brass Band". The process of professionalization of the amateur orchestra and the development of instrumental composition with the involvement of qualified musicians on the way to its transformation into a symphonic ensemble is highlighted. The orchestra repertoire based on works by classical and romantic composers is described. The representative functions of the orchestra in the celebration and participation in various citywide cultural events in Shanghai is clarified. The principle of formation of the instrumental composition of the municipal orchestra by professional musicians is revealed. It has been found that in the selection of orchestras, J. Rémusat preferred Filipino instrumentalists, who after a three-hundred-year period of Spanish colonial dependence were more familiar with Western orchestral culture than local Chinese musicians. The decisive role of Jean Rémusat as an active propagandist of European orchestral traditions in the creation of the official municipal "Shanghai Public Brass Band" (Shanghai Public Band) has been proved.
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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (July 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.
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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).
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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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Zieba, Marta, and John O’Hagan. "Audiences for Orchestral Music: Challenges New and Old. The Cases of Germany and Poland." Polish Journal of the Arts and Culture New Series, no. 18 (2/2023) (October 2023): 51–72. http://dx.doi.org/10.4467/24506249pj.23.014.19555.
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Technological change has impacted orchestral music for over a century, with the demise of orchestral concert audiences in their familiar form being considered by some at various times to be under threat. Access for classical music audiences however has increased over recent decades through radio, albums, and tapes/CDs/DVDs, thereby increasing the potential for large increases in classical music listener/viewer audiences. In the case of albums and tapes/CDs/DVDs, audiences have control over what and when they tune in, whereas in the case of radio, the schedule is fixed for them. Besides, in-hall audiences, adjusted for population, at orchestral concerts in Germany and Poland have been increasing, but a small number of orchestras in each country dominate. Technology has now made possible, through the live streaming of concerts, not just into cinemas and similar venues but also directly into homes, a potential substantial increase in live listening/viewing audiences; the Berliner Philharmoniker is leading the way in this regard.
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Yang, Jun. "SYMPHONY MUSIC OF MODERN CHINA: PERFORMANCE DIMENSION." Baltic Journal of Legal and Social Sciences, no. 2 (April 4, 2022): 191–97. http://dx.doi.org/10.30525/2592-8813-2021-2-25.
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The article is devoted to one of the important aspects of the functioning and development of symphonic music in the social and cultural environment of modern China. By the example of the activities of specific orchestral groups and conductors, the main trends in the development of modern China symphonic music in its performing dimension are highlighted. Positive changes guided by the policy of reforms and openness in the field of culture are described. It is emphasized that as a result of the transformations, symphony orchestras are now successfully operating in various regions of China. The importance of the role of conductors in achieving the required artistic level of orchestral teams is emphasized. The ways of interaction of Chinese and Western culture in the field of symphony, as well as the high professionalism of Chinese artists and the degree of integration of Chinese art into the world music and cultural process are demonstrated. Examples of the work of youth symphony orchestras are considered, where artistic and educational tasks are combined. The involvement of orchestras in the implementation of socially significant projects is considered, as well.
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McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.
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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmillan and the Royal Ballet. All these, and some impressive chamber works too, have come from a composer whose earlier reputation was based on a tiny scattering of compositions including a rarified solo soprano piece (based on a particularly obscure bit of Browning), a piece for solo violin, and the microscopic Five Piano Pieces for right hand alone.
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
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MacRitchie, Jennifer, and Sandra Garrido. "Ageing and the orchestra: Self-efficacy and engagement in community music-making." Psychology of Music 47, no. 6 (July 3, 2019): 902–16. http://dx.doi.org/10.1177/0305735619854531.
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This study examines the relationship between age, self-efficacy and intellectual, emotional and social engagement in a group of orchestral players who are a mixture of professional and amateur musicians. Using a concurrent triangulation design, quantitative survey data from 23 orchestral players is cross-validated with qualitative interview data from three of these respondents. Results confirm that intellectual stimulation is high for these orchestral players and is a balance between perceived challenge, effort and reward of the musical tasks. In this particular orchestra, it appears that emotional engagement increases with age for amateur players, yet decreases with age for professionals, which may be due to increasing pressures. Although social engagement is high, with players reporting feeling connected as a group whilst making music, new personal connections may be difficult to forge.
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Anderson, Robert. "Orchestral." Musical Times 126, no. 1714 (December 1985): 734. http://dx.doi.org/10.2307/965203.
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Regina Stefani, Sheren, Ance Juliet Panggabean, and Junita Batubara. "Penyajian Musik Dalam Acara Pernikahan Nasional oleh Shine Music di Kota Medan." Jurnal Sendratasik 11, no. 3 (October 10, 2022): 459. http://dx.doi.org/10.24036/js.v11i3.119543.
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This study aims to describe the presentation of music in the National wedding ceremony by Shine Music in Medan City. This type of research is descriptive qualitative. Data collection techniques were carried out by means of literature study, observation, interviews and documentation. The results of this study indicate that Shine Music has the advantage that it is able to develop in the industrial world in the city of Medan, especially in filling international wedding events in Medan. Shine Music has band and orchestra formats, but the term "orchestra" in the Shine Music format is not the same as the orchestral format used in academia. The term "orchestra" in Shine Music is used as a branding/promotion in the music industry business world in Medan to popularize the name Shine Music and has many fans. The author examines the Shine Music management system which is conceptualized and carries out its duties professionally. This is the advantage of Shine Music so that it can develop as a music organizer in the city of Medan.
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Hayden, Sam. "COMPLEXITY, CLARITY AND CONTEMPORARY BRITISH ORCHESTRAL MUSIC." Tempo 70, no. 277 (June 10, 2016): 63–78. http://dx.doi.org/10.1017/s004029821600019x.
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AbstractThis article discusses how normative perceptions of British contemporary orchestral music can be underpinned by a residual binary of ‘clarity’ versus ‘complexity’ as positive and negative value judgements respectively, informing public discourse around the orchestra by reviewers, audiences and performers alike. A post-war valorisation of ‘clarity’ is traceable to the transparent neo-tonal harmony, melodic invention and approaches to orchestration characteristic of the post-Britten tradition. The adoption of such a valorisation by ‘mainstream’ contemporary British composers, exemplified by Faber Music, has generalised an aesthetically specific compositional approach. Using the examples of Thomas Adès and George Benjamin, the article shows how certain residual normative approaches to material and notation are defined against the tendencies of ‘complexism’ as exemplified by Brian Ferneyhough. This binary has engendered conservatism towards traditions of radical new orchestral music that do not conform to normative expectations of ‘clarity’, as the immediately perceptible separation and identification of musical elements.
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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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Safran, Benjamin. "“The Hall Does Not Make the Space”: Disrupting Concert Hall Norms in Hannibal's One Land, One River, One People." Journal of the Society for American Music 15, no. 3 (August 2021): 287–304. http://dx.doi.org/10.1017/s1752196321000183.
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AbstractHannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White Supremacy, or MRWaSP, to contemporary orchestral classical music of the United States. Under late capitalism, MRWaSP helps to explain the potential appeal to an orchestra of commissioning Hannibal, who is known as a “genre-crossing” composer rooted in classical and jazz. Yet I argue that the way in which Hannibal performs his identity along with the piece's inclusion of audience participation allow the music to resist functioning as expected under MRWaSP. Rather than promoting a sense that—as one might expect from the title—we are all “one people,” I see the piece as revealing racial difference and as speaking truth to power.
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Stein, Robert. "BBC Proms 2016: Julian Anderson and Thomas Larcher." Tempo 71, no. 280 (March 3, 2017): 81–82. http://dx.doi.org/10.1017/s0040298217000109.
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Julian Anderson has been interestingly public about the genesis of his new orchestral piece Incantesimi, co-commissioned by the Royal Philharmonic Society, Berliner Philharmoniker Foundation and Boston Symphony Orchestra, writing about its genesis in The Guardian as a trailer to its UK Proms premiere. Premiered by the Berlin Philharmonic under Simon Rattle in June 2016, Incantesimi toured to Rotterdam and Lucerne before opening that orchestra's Prom (Rattle's last as their chief conductor) in September. Wanting not to write a ‘showpiece’ but instead ‘something slow and quiet’, Anderson described Incantesimi as a ‘nocturne’ which takes its musical inspiration from Mozart's Jupiter Symphony, in that five themes are deployed ‘in perpetual orbit’. He also spoke of his focus on the Berlin Philharmonic's beauty of sound as a prompt to write something that would unfold slowly.
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Curtin, Adrian. "Orchestral Theatre and the Concert as a Performance Laboratory." New Theatre Quarterly 35, no. 04 (October 8, 2019): 291–311. http://dx.doi.org/10.1017/s0266464x19000356.
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In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.
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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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Nelson-Strauss, Brenda, and David Daniels. "Orchestral Music: A Handbook." Notes 54, no. 3 (March 1998): 681. http://dx.doi.org/10.2307/899896.
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Babcock, David. "Cyril Scott's orchestral music." Tempo 59, no. 233 (June 21, 2005): 78–79. http://dx.doi.org/10.1017/s0040298205250258.
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Elliott, Robin. "Neglected Canadian Orchestral Music." Articles 33, no. 2 (August 19, 2015): 127–39. http://dx.doi.org/10.7202/1032699ar.
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This article examines neglected orchestral works by six Canadian composers: Rodolphe Mathieu, Colin McPhee, John Weinzweig, Harry Somers, Istvan Anhalt, and R. Murray Schafer. Despite the considerable professional accomplishments and career achievements of these composers, each has at least one orchestral work in his catalogue that failed to make a good impression with the musical public or has never been heard in live performance. The article attempts to find why these compositions did not win a place in the repertoire and also considers how these works illustrate broader issues relating to the Canadian orchestral repertoire.
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Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (July 27, 2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.
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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is thanks to their creative restlessness that today Bukovyna is proud of a significant number of highly professional ensembles and orchestras of instrumental music. Objectives, scientific novelty, and methods of the research. The purpose of the study is to highlight the process of developing the instrumental collectives, whose activities contributed to the shaping of the modern Bukovyna musical culture. The special task of the research and its innovative component is to consider the role of outstanding figures of the leaders of these collectives in the cultural development of Bukovina. Historical, biographical, musicological and cultural approaches were chosen to reveal the stated topic, analytical and generalizing methods were used in the processing of reference sources and scientific literature. Results of the research. Bukovyna is historically multinational region, where the Ukrainian, in particular Hutsul, Romanian, Polish, Hungarian influences is felt. So, the creative activity and repertoire of the folk groups and academic instrumental ensembles are very diverse. The music art of instrumental ensembles has been always gaining interest and respect from the listeners, due to its distinguished professionalism and ease of perception. The artistic and educational activities of such instrumental ensembles as «Triple musicians», «Plai», Chamber and Academic Symphonic orchestra of the Chernivtsi Regional Philharmonic hall, folk music ensemble «Bukovyna» and the Brass Orchestra «Dixie-Band» of the Central Palace of Culture, the orchestra group of the Honoured Academic Bukovynyan song and dance ensemble named after A. Kushnirenko was highlighted. The active educational position of the leaders of these groups as an outstanding extraordinary personalities, their importance in the formation and development of cultural and educational processes in Bukovyna, popularization of the folk music of the Bukovyna region were emphasized. Such leaders are: People’s Artists of Ukraine – Andrii Kushnirenko, Yurii Gina, Pavlo Chebotov; Honored Artists of Ukraine – Mykola Hakman, Yuriy Bleshchuk, Yevhen Tarnavskyi, Oleksandr Zhukov; Honored Art Workers of Ukraine – Viktor Kostryzh, Yosyp Sozanskyi; Honored Cultural Workers of Ukraine – Illia Miskyi, Heorhii Novakovskyi. A significant number of famous vocalists from Bukovyna have worked with the orchestras at different times, such as Honoured Artists of Ukraine Mariia Melnychuk, Nina Kapliienko, Vasyl Pyndyk, Oksana Savchuk, Iryna Styts-Kulikovska, Honoured Worker of Culture of Ukraine Vasyl Fedoriuk, a poet-songwriter Mykola Bakai and others. Instrumental ensembles are regular participants of regional art festivals “Bukovynska vesna” (“Bukovyna Spring”), “Vizerunky Bukovyny” (“Patterns of Bukovyna”), “Bukovynski zustritchi” (“Bukovyna meetings”), “Chervona Ruta” (“Red rue”), “Bukovyna Suvenir”, and others. In the best traditions of brass music, brass band marches and brass concerts are constantly held in Chernivtsi, which turn into real festivals of folk music art. Conclusion. In this context, we consider the active concerts and competition activities of these groups to be important, because the instrumental art of the Bukovyna musicians are known far beyond the borders of Ukraine. The orchestras are multiple time participants of AllUkrainian and International competitions, and showcased their art to the audience of Europe, Canada, Australia and other parts of the world contributing in the constant growth of authority and world recognition of Ukrainian music.
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Shulman, Laurie. "Christopher Rouse: An Overview." Tempo, no. 199 (January 1997): 2–8. http://dx.doi.org/10.1017/s0040298200005532.
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One of the brightest stars in contemporary music, the American Christopher Rouse remains comparatively little known in the UK. A Baltimore native who teaches at the Eastman School of Music in Rochester, New York, he had already served as composer-in-residence for two orchestras and his music was widely performed when his Trombone Concerto earned America's Pulitzer Prize for Music in 1993. Rouse has been particularly successful with orchestral works. He promises to be one of the next century's great composers in traditional forms, specifically symphony and concerto.
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Lister, Rodney. "Boston: Elliott Carter's ‘Micomicón’." Tempo 58, no. 229 (July 2004): 74–75. http://dx.doi.org/10.1017/s0040298204240244.
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Next season James Levine ceases to be Music Director Designate of the Boston Symphony, and becomes the orchestra's Music Director and Conductor. Due to previous commitments, Levine has conducted only one program in each of the three seasons since he was named to the post. Celebration of his ascendency to the directorship of the orchestra has already begun, though, with the commissioning of works from a number of composers, including Milton Babbitt, John Harbison, and Yehudi Wyner, for his first season, restoring one of the proudest traditions of the BSO – that of the music director's active and enthusiastic promotion of contemporary orchestral compositions. It is not insignificant that this first season of the directorship of this American orchestra by an American conductor features American composers at a time when classical concert music seems to be about the only area of American life resistant to overt jingoism. Levine's earliest plans for the season included performing Elliott Carter's Symphonia: Sum fluxae pretium spei, and, hoping to link the occasion and the BSO to the triptych, he commissioned from Carter a short introductory fantasy to that work, entitled Micomicón. This pendant received its première, preceding a performance of Partita, the first part of the Symphonia triptych, at Symphony Hall in January.
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Rakochi, Vadim. "Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto." Musicological Annual 57, no. 1 (July 5, 2021): 25–63. http://dx.doi.org/10.4312/mz.57.1.25-63.
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The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains.
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Banfield, Stephen. "Orchestral, Choral." Musical Times 127, no. 1726 (November 1986): 628. http://dx.doi.org/10.2307/964282.
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Pirie, Peter J. "Modern Orchestral." Musical Times 127, no. 1723 (October 1986): 567. http://dx.doi.org/10.2307/964401.
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Garden, Edward, and I. Petrov. "Russian Orchestral." Musical Times 128, no. 1728 (February 1987): 91. http://dx.doi.org/10.2307/964787.
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Griffiths, Paul. "New Orchestral." Musical Times 126, no. 1712 (October 1985): 608. http://dx.doi.org/10.2307/964925.
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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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Golovashych, E., V. Skakun, and Y. Kyrychenko. "«ORCHESTRA CLASS» IN THE EDUCATIONAL COMPONENTS SYSTEM OF THE PROFESSIONAL TRAINING OF SECOND-LEVEL HIGHER EDUCATION APPLICANTS MAJORING IN «MUSIC ART»." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 173–83. http://dx.doi.org/10.33989/2226-4051.2022.26.273175.
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The article deals with the peculiarities of ensemble playing in groups of orchestral instruments as part of an orchestra. The authors of the article show that there are a number of specialized educational institutions in Europe, where performers are divided into orchestral instrumentalists, chamber performers, and soloists. According to these rather specific specializations, there is a considerable list of highly specialized occupations, because not every orchestra player will be able to become a teacher or a performing soloist. Future artists of the orchestra in separate groups of instruments should realize that for the orchestra it is necessary to deeply study the timbre of the sound of their instrument and its capabilities, to be attentive to the timbre coloring of the performers with whom synchronization occurs directly during playing in the orchestra, and the ability to adapt to different groups of instruments during a joint solo. It should be noted that during auditions for European orchestras, the following skills are tested: playing smoothly in an orchestra, intoning; playing all the notes in time, with the correct duration and strokes; "reading" the notes immediately, performing the indicated nuances and agogics; be flexible in interpretation and be able to instantly depict the conductor's wishes in the game; not to have an opinion about the interpretation. These key points, unfortunately, are not often given enough attention by performers at the stages of training in institutions of secondary and higher education. The necessary skills for a symphony orchestra artist are: 1) the skill of pure intonation vertically and horizontally; 2) the ability to feel the dynamic balance of all participants in the ensemble playing of a flute group in a symphony orchestra; 3) the need for timbral fusion of the flute group and full sounding in different registers; 4) unity of understanding in performing strokes in groups of flutes; 5) expressiveness and brightness of phrasing of the ensemble playing of the flute group as part of the symphony orchestra; 6) metrorhythmic sense in ensemble playing; 7) collective understanding of style by a group of flautists in a symphony orchestra. All these skills in their unity will allow the group of flutes to sound like a single harmonious whole.
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Rapoport, Paul. "The Symphonies of Tālivaldis Ķeniņš." Tempo, no. 157 (June 1986): 13–20. http://dx.doi.org/10.1017/s0040298200022300.
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The economic and political issues which affect the composition, performance, and recording of new orchestral music (or, more precisely, which prevent these activities) operate as much in Canada as in any other western country. Even if works for orchestra do appear, they are more noticeable for their rarity than for their abundance. So it is surprising even to most people in Canada to learn that one Canadian composer has written 21 works for orchestra in the past 26 years, including eight symphonies. Like his other works, these symphonies contain a wide variety of music of impressive technical and formal control and substantial expressive power and depth.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.
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Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum1-49.14.
Full textAbstract:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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Xiao, Jie. "Chinese Flute in Orchestral Music." Университетский научный журнал, no. 68 (2022): 184–88. http://dx.doi.org/10.25807/22225064_2022_68_184.
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Glover, Jane. "Mozart's orchestral music on record." Early Music XX, no. 2 (May 1992): 267–74. http://dx.doi.org/10.1093/earlyj/xx.2.267.
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Boonin, Joseph M. "Orchestral Music: A Handbook (review)." Notes 62, no. 4 (2006): 949–50. http://dx.doi.org/10.1353/not.2006.0044.
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Long, Stephen. "Magnus Lindberg's Recent Orchestral Music." Tempo, no. 208 (April 1999): 2–8. http://dx.doi.org/10.1017/s0040298200006963.
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The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, in the process, to avoid imitating composers who had used them earlier. In countries not dominated by any particular compositional doctrine – most notably the United States, Great Britain and the Nordic countries – important composers emerged as consolidators who combined and synthesized these resources in a fresh and individual manner. One who has responded most successfully to this challenge is Finland's Magnus Lindberg.
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Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (January 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.
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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.