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Journal articles on the topic 'String orchestra'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

Pope, David A., and James P. Mick. "An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival." String Research Journal 11, no. 1 (July 2021): 67–82. http://dx.doi.org/10.1177/19484992211021012.

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The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances ( N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.

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3

Kleszynski, Kenneth. "Orchestra string warm-up." Music Educators Journal 73, no. 9 (May 1987): 50. http://dx.doi.org/10.2307/3400371.

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4

Katsman, Shira. "The Conductorless String Orchestra." American String Teacher 68, no. 2 (May 2018): 20–24. http://dx.doi.org/10.1177/0003131318759908.

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5

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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6

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (January 2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).

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7

Gembris, Heiner, Andreas Heye, and Andreas Seifert. "Health problems of orchestral musicians from a life-span perspective." Music & Science 1 (January 1, 2018): 205920431773980. http://dx.doi.org/10.1177/2059204317739801.

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The profession of orchestral musician is often linked to musculoskeletal problems, hearing disorders, and struggles with stage fright. However, data on the prevalence of physical problems are very divergent because of different research methods and sampling procedures. It is to be expected that physical problems generally increase with age, but the literature on medical issues that affect musicians contains very few studies on this aspect. In light of this, the data produced by a cross-sectional study of 2,536 musicians from 133 professional symphony orchestras in Germany were analyzed with regard to a number of health aspects. The data from 894 female (36%) and 1,607 male (64%) professional orchestral musicians aged between 20 and 69 ( M = 45.5, SD = 9.52) were used to study physical problems, their duration and intensity, and psychological difficulties (such as pressure to perform in the orchestra and stage fright) in conjunction with variables such as age, gender, instrument family, position in the orchestra, and category of orchestra. The various health problems were also examined in relation to health behaviors, including preventative actions taken (nutrition, sleep, etc.). The results showed that more than one in two (55%) of the orchestral musicians who took part in the survey were suffering at the time from physical problems that affected their playing. The prevalence increased significantly with advancing age, and string players and harpists had an above-average frequency of experiencing physical problems. Interestingly, there was no significant correlation between the severity of problems and different health behaviors (including preventative action). Around half (49%) of the orchestral musicians said they felt the pressure to perform was intensifying, something that they partly attributed to an increase in artistic demands. The findings are discussed with reference to existing empirical results, potential methods of prevention and treatment, social aspects, and health-care policies.

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8

Sousa, Cláudia Maria, Jorge Pereira Machado, Henry Johannes Greten, and Daniela Coimbra. "Playing-Related Musculoskeletal Disorders of Professional Orchestra Musicians from the North of Portugal: Comparing String and Wind Musicians." Acta Médica Portuguesa 30, no. 4 (April 28, 2017): 302. http://dx.doi.org/10.20344/amp.7568.

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Introduction: It is well known that musicians are a group prone to suffer from playing-related musculoskeletal disorders. Professional orchestra musicians play for several hours a week and have to fight against pain caused by their profession. The aim of this study was to explore and describe self-reported complaints among professional orchestra musicians and to compare its intensity and the prevalence between string and wind instruments.Material and Methods: Hundred and twelve professional orchestra musicians from the three main professional orchestras from the North of Portugal were individually interviewed about the prevalence and the intensity (measured by verbal numerical scale for pain) of their playing-related musculoskeletal disorders.Results: About two third (62.5%) of the interviewed musicians presented playing-related musculoskeletal disorders during the time of the interview. Despite there are no significant statistic values between groups, results suggested that playing-related musculoskeletal disorders are more common in string players and more intense in wind players.Discussion: Referring to the prevalence of playing-related musculoskeletal disorders, our data is in line with other studies from different countries. More than half of professional orchestra musicians in the North of Portugal are playing with a mild to moderate pain.Conclusion: Future studies focusing on working-related problems among professional orchestra musicians in Portugal would be useful to better describe the problem of occupational diseases among performing artist.

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9

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.

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10

Gillespie, Robert. "Producing String Teachers for Tomorrow's School String Orchestra Programs." American String Teacher 48, no. 1 (February 1998): 32–37. http://dx.doi.org/10.1177/000313139804800106.

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11

Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (October 2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.

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12

Drakeford, Richard, City of London Sinfonia, Richard Hickox, Andrew West, and Michael Collins. "Herbert Howells: Music for String Orchestra." Musical Times 134, no. 1807 (September 1993): 524. http://dx.doi.org/10.2307/1002754.

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13

Herkstroeter, Kristin. "Choosing Music for Your String Orchestra." American String Teacher 54, no. 3 (August 2004): 40–42. http://dx.doi.org/10.1177/000313130405400311.

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14

Ammerman, Angela, and Brian Wuttke. "Curbing Beginning String Attrition: Marketing Orchestra." American String Teacher 64, no. 3 (August 2014): 22–25. http://dx.doi.org/10.1177/000313131406400304.

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15

N.V.P. "Columbia River Suite (Double String Orchestra, Orchestra I gr. 3.5, Orchestra II gr. 1.5).Columbia River Suite (Double String Orchestra, Orchestra I gr. 3.5, Orchestra II gr. 1.5). Doris Gazda. Carl Fischer, 2003, $55." American String Teacher 53, no. 3 (August 2003): 116–17. http://dx.doi.org/10.1177/000313130305300333.

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16

Downs, Dennis, and Ellen Lindquist. "Harp Lessons by Telecommunication." American String Teacher 44, no. 2 (May 1994): 59–62. http://dx.doi.org/10.1177/000313139404400223.

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Dennis A. Downs, orchestra instructor at Cedar Falls High School and Peet Junior High School, has taught public school orchestras for 25 years. Past president of the Iowa String Teachers Association and Iowa School Orchestra Association, he is an MENC Certified Music Instructor with a BFAE from Wayne State College, MA from the University of Northern Colorado, and Ed Ad from the University of Nebraska. A cellist in the Waterloo-Cedar Falls Symphony, he also directs the Cedar Falls Municipal Band and performs professionally on guitar, bass, and trombone. Downs is the project facilitator for the distance education program he describes in this article.

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17

Milanese, Steven. "Provision of On-site Physiotherapy Services during the Performance of Wagner’s Ring Cycle by the Adelaide Symphony Orchestra: A Model of Early Intervention for Playing-related Musculoskeletal Disorders." Medical Problems of Performing Artists 15, no. 3 (September 1, 2000): 107–10. http://dx.doi.org/10.21091/mppa.2000.3021.

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This paper explores the concept of an early intervention management system for the treatment of playing-related musculoskeletal disorders (PRMDs) among orchestral musicians through the provision of on-site medical and rehabilitative services. This model of health care delivery, promoted in the occupational and sports rehabilitation literature, has been reported to significantly reduce costs and rehabilitation times. An on-site physiotherapy clinic was made available during the 1998 performance of Wagner’s Ring Cycle by the Adelaide Symphony Orchestra. Questionnaire assessment of orchestra members highlighted a high incidence of PRMDs among the 50 respondents (86% reported neck symptoms, 70% upper back symptoms, 76% shoulder symptoms). The questionnaire highlighted a number of ergonomic issues that the respondents felt aggravated symptom development. One hundred fifteen treatments were administered during the clinic, of which 72% were to the small string section members, reflecting the high demands on this section of the orchestra during Wagner’s Ring Cycle. The cost to the orchestral management over the six-week period was approximately $12.00 per treatment, representing a significant savings. Indirect cost savings include reduced time and travel costs, and potentially reduced lost time because of injuries. This model of health care delivery was shown in this case to be cost-effective for the management of PRMDs during a major orchestral production.

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18

Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.

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19

Kassel, Richard, and Roger Reynolds. "Whispers out of Time [For] String Orchestra." Notes 47, no. 2 (December 1990): 560. http://dx.doi.org/10.2307/942015.

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20

Maclin, Teresa. "Sight-Reading: Success for the String Orchestra." American String Teacher 64, no. 1 (February 2014): 22–25. http://dx.doi.org/10.1177/000313131406400104.

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21

Tsugawa, Samuel. "Fostering Harmonic Awareness in the String Orchestra." American String Teacher 69, no. 4 (October 23, 2019): 21–26. http://dx.doi.org/10.1177/0003131319871446.

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22

Zabanal, John Rine A. "Creating Student Rehearsal Guides for String Orchestra." American String Teacher 71, no. 3 (August 2021): 25–32. http://dx.doi.org/10.1177/00031313211024272.

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23

신지혜. "An Analysis of Orchestra Books for Beginning String Orchestra in the United States." Korean Journal of Culture and Arts Education Studies 12, no. 1 (February 2017): 99–120. http://dx.doi.org/10.15815/kjcaes.2017.12.1.99.

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24

Hammel, Alice M. "Strategies for Teaching Strings: Building a Successful String and Orchestra Program." Music Educators Journal 91, no. 1 (September 2004): 60. http://dx.doi.org/10.2307/3400108.

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25

Gillespie, Robert, and Donald L. Hamann. "Career Choice among String Music Education Students in American Colleges and Universities." Journal of Research in Music Education 47, no. 3 (October 1999): 266–78. http://dx.doi.org/10.2307/3345784.

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The objective of this study was to identify teacher strategies for attracting school orchestra students to string teaching. Full-time string music education professors at 17 universities surveyed their music education students who were principally string players. Students were asked to describe their background, reasons for choosing teaching, and recommendations of approaches for teachers to use to interest students in string teaching. Results of the 153 completed surveys revealed that the majority of string music education students are female undergraduates who previously participated in school orchestras. Students chose string education because they liked teaching, music, children, playing their instrument, and being a role model for children. To attract others to teaching, respondents suggested that teachers be teaching role models for their students by showing their love for music and teaching, relating positively to students, giving special teaching opportunities and support to students interested in teaching, discussing the rewards of string teaching, and challenging students musically.

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26

Gowar, Mick. "Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies." Book 2.0 11, no. 1 (August 1, 2021): 170–73. http://dx.doi.org/10.1386/btwo_00053_5.

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Review of: Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies London: NMC, D260, Audio CD, £12.99.

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27

Norgaard, Martin, and Skip Taylor. "Eclectic Styles and Improvisation in String Orchestra Performances." String Research Journal 7, no. 1 (July 2016): 45–61. http://dx.doi.org/10.1177/194849921600700102.

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28

Barnes, Gail. "A Validation of String and Orchestra Teachers' Skills." American String Teacher 52, no. 3 (August 2002): 70–74. http://dx.doi.org/10.1177/000313130205200313.

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29

Gage, Jeanene Berkley, and Kathy Bundock Moore. "Integrating the Harpist into the Beginning String Orchestra." American String Teacher 43, no. 1 (February 1993): 62–63. http://dx.doi.org/10.1177/000313139304300122.

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30

Smith, Bret P., James P. Mick, and Michael L. Alexander. "The Status of Strings and Orchestra Programs in U.S. Schools." String Research Journal 8, no. 1 (July 2018): 15–31. http://dx.doi.org/10.1177/1948499218769607.

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The purpose of this study was to monitor the status of school string and orchestra programs in the United States and to gather descriptive information in the areas of program characteristics, curriculum, support, and student/teacher demographics. A second purpose was to document trends observed when compared with results of previous studies. Based on the review of literature, specific variables were identified as potential for trends: string student enrollment, symphonic orchestra offerings, enhancement offerings, private lesson enrollment, string teacher shortages, and student/teacher demographic information. All members of the American String Teachers Association indicating K-12 string teaching as part of their duties were contacted to complete a web-based survey ( N = 2,232). After follow-up contact, 369 respondents participated (16.5%). Although teachers indicated growth in both number and size of programs, increased utilization of approved curricula, and representative racial demographics among students, analysis revealed the following concerns: a decline in the offering of symphonic orchestra and other enhancements, a decline in student participation in private instruction, unrepresentative gender and racial demographics of string teachers, and factors that indicate a continuing string teacher shortage.

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31

Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.

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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.

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32

Swift, Richard, and Arthur Berger. "Prelude, Aria and Waltz: Three Pieces for String Orchestra." Notes 44, no. 1 (September 1987): 153. http://dx.doi.org/10.2307/941001.

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33

Lesniaski, David, and Henryk Mikolaj Gorecki. "First Symphony "1959" for String Orchestra and Percussion (1959)." Notes 48, no. 4 (June 1992): 1449. http://dx.doi.org/10.2307/942166.

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34

Guberman, Daniel. "CYCLIC COHERENCE IN SCHOENBERG'S EARLY WALTZES FOR STRING ORCHESTRA." Tempo 67, no. 265 (July 2013): 57–68. http://dx.doi.org/10.1017/s0040298213000478.

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AbstractIn 1897 Schoenberg composed an apparently unfinished set of waltzes, which thus far has been dismissed as juvenilia. In this article I explore how the waltzes reflect many aspects of Schoenberg's mature thought about large-scale tonality, focusing on two interrelated concepts, the tonal problem and monotonality. Examination of the waltzes through Schoenberg's own analytical methods reveals a series of closely interrelated pieces that follow a carefully planned progression through key areas making use of frequent intertextual references between waltzes. After demonstrating the connexions and progression of the waltzes, I propose that the set is not in fact incomplete, but that the tenth waltz offers a functional conclusion to the set as a whole.

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35

Pätynen, Jukka, Sakari Tervo, and Tapio Lokki. "Temporal Differences in String Bowing of Symphony Orchestra Players." Journal of New Music Research 41, no. 3 (September 2012): 223–37. http://dx.doi.org/10.1080/09298215.2012.708048.

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36

Gillespie, Robert. "National Standards for Successful School String and Orchestra Teachers." American String Teacher 48, no. 3 (August 1998): 30–35. http://dx.doi.org/10.1177/000313139804800305.

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37

Vigeant, Michelle C., and Lily M. Wang. "Auralization of an orchestra with phase‐shifted string sections." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3568. http://dx.doi.org/10.1121/1.2934631.

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38

Wright, David, Manhattan Chamber Orchestra, and Richard Aulden Clark. "Henry Cowell: Persian set; Hymn and Fuguing Tune for String Orchestra; American Melting Pot; Air for Violin and Strings; Old American Countruy Set; Adagio for String Orchestra." Musical Times 135, no. 1811 (January 1994): 46. http://dx.doi.org/10.2307/1002846.

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39

Byo, James L., and Jane W. Cassidy. "The Role of the String Project in Teacher Training and Community Music Education." Journal of Research in Music Education 53, no. 4 (December 2005): 332–47. http://dx.doi.org/10.1177/002242940505300405.

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The National String Project Consortium was designed to encourage string education majors to become string teachers and to stimulate growth of new school orchestra programs. The purpose of this study was to evaluate the extent to which these goals were accomplished across 13 university sites in 2003-2004. Survey data were obtained from project directors, master teachers, student teachers, children, and parents (N = 1,458). Results indicated the majority of student teachers were music education majors who received professional and financial benefit from participation, and were engaged in authentic string teaching in productive and rewarding settings. Children studied string instruments under satisfying and affordable conditions. The String Project seems to have filled a void where school strings programs do not exist, or functioned to supplement strings instruction available in the schools.

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40

Smith, David W. E. "The Great Symphony Orchestra — A Relatively Good Place to Grow Old." International Journal of Aging and Human Development 27, no. 4 (December 1988): 233–47. http://dx.doi.org/10.2190/p701-1chj-u8by-1hxk.

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The retired musicians of one of America's great symphony orchestras were interviewed. Their careers, which began in the 1930s and 1940s, were long, with retirement sometimes occurring when they were well over seventy years old. Older players were valued for their excellence and experience and were difficult to replace. Obsolescence was not a problem, and the gradual deterioration of playing with age was generally not incompatible with working to an advanced age. Players of string instruments had longer careers than players of woodwind and brass instruments. The players liked their careers and usually cited artistic reasons and the current reputation of the orchestra for their satisfaction. Although the musicians continue to love music and listen to it after retirement, few continue to play seriously.

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41

Palmer, Peter. "Further reviews." Tempo 60, no. 238 (October 2006): 48–49. http://dx.doi.org/10.1017/s0040298206320311.

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FRITZ BRUN: Symphony No. 9; Aus dem Buch Hiob (Symphonische Dichtung). Moscow Symphony Orchestra c. Adriano. Guild GMCD 7306.SCHOECK: String Quartet No. 2 in C major. FRITZ BRUN: String Quartet No. 3 in F major. Amar Quartett. Musiques Suisses MGB CD 6238.HANS SCHAEUBLE: String Quartet op.19. MEINRAD SCHÜTTER: String Quartet. ERICH SCHMID: String Quartet op. 4. casalQUARTETT Zurich. Guild GMCD 7303.

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42

de Vries, Han, John Downey, Gary Karr, London Symphony Orchestra, and Geoffrey Simon. "John Downey: Declamations; Discourse for Oboe, Harpsichord and String Orchestra; Jingalodeon; Concerto for Double Bass and Orchestra." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002386.

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43

Rosenfeld, Marina. "The Sheer Frost Orchestra: A Nail Polish Bottle, A Guitar String and the Birth of an Orchestra." Leonardo Music Journal 12 (December 2002): 59–61. http://dx.doi.org/10.1162/096112102762295151.

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44

Clark, Walter Aaron, and Carlos Surinach. "Doppio Concertino, Flamenco Cyclothymia, Concerto for String Orchestra, Piano Quartet." American Music 13, no. 2 (1995): 254. http://dx.doi.org/10.2307/3052267.

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45

Berg, Margaret. "Creating WebQuest for Maximum Learning in the String/Orchestra Class." American String Teacher 53, no. 4 (November 2003): 74–77. http://dx.doi.org/10.1177/000313130305300410.

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46

Laycock, Mark. "Rehearsal and Performance Guide: Copland's Hoe down for String Orchestra." American String Teacher 66, no. 3 (August 2016): 26–29. http://dx.doi.org/10.1177/000313131606600305.

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47

Vallo, Victor. "Qualities of Success for String Teachers and Orchestra Conductor-Educators." American String Teacher 49, no. 3 (August 1999): 29–34. http://dx.doi.org/10.1177/000313139904900305.

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Gillespie, Robert, and Alan Mac Nair. "Jazz up Your Orchestra Life! Improvisation in the Heterogeneous String Class." American String Teacher 40, no. 4 (November 1990): 52–55. http://dx.doi.org/10.1177/000313139004000423.

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49

Davis, Krissi. "Recruiting and Retaining Black and Latinx Students in String Orchestra Programs." American String Teacher 71, no. 1 (January 28, 2021): 17–21. http://dx.doi.org/10.1177/0003131320976093.

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Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.

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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instruments, Sabat has developed a unique manner of orchestrating that is at once timbrally rich and uncompromising in pitch precision. After a brief introduction to the extended just intonation framework that Sabat employs, his concepts of ‘fixed microtonal pitches’ and ‘tuneable intervals’ are discussed and connected to orchestration in his scores. Drawing upon this analysis, connections are made between the microtonal system with orchestration and musical aesthetics broadly.

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