Готові списки джерел за темами / Digital Orchestra

Добірка наукової літератури з теми "Digital Orchestra"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Digital Orchestra"

1

Fisandra, Halida Bunga, and Aryo Danusiri. "Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 1–14. http://dx.doi.org/10.24821/resital.v23i1.6162.

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Анотація:
The Covid-19 virus has infiltrated the recesses of human life around the world. The phenomenon that arises from restrictions on movement in offline spaces is the massive effort by humans to adapt to online media. We can see many artists and musicians performing through various digital platforms, including the Jakarta City Philharmonic (JCP) orchestra. This article will describe the changing process of orchestral space-time in online media which has eliminated bodily interactions as an essential element in musical performances. Through contemporary anthropology, we argue that technology allows orchestras to exist as mediating events through their role as mediators; which reassembles the connections and negotiations between the body and the materiality of the orchestra. The virtual ethnographic method was used through online observations and in-depth interviews with artistic directors, assistant musicians, and orchestra musicians. The results showed that the JCP orchestra experienced an embodied experience arising from technological disassembly and reassembly as a connecting tissue. It can be seen from the relation between actants, and their implications for evaluating artistic values and performativity of orchestral performances.
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2

Fisandra, Halida Bunga, and Aryo Danusiri. "Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 1–14. http://dx.doi.org/10.24821/resital.v1i1.6162.

Повний текст джерела
Анотація:
The Covid-19 virus has infiltrated the recesses of human life around the world. The phenomenon that arises from restrictions on movement in offline spaces is the massive effort by humans to adapt to online media. We can see many artists and musicians performing through various digital platforms, including the Jakarta City Philharmonic (JCP) orchestra. This article will describe the changing process of orchestral space-time in online media which has eliminated bodily interactions as an essential element in musical performances. Through contemporary anthropology, we argue that technology allows orchestras to exist as mediating events through their role as mediators; which reassembles the connections and negotiations between the body and the materiality of the orchestra. The virtual ethnographic method was used through online observations and in-depth interviews with artistic directors, assistant musicians, and orchestra musicians. The results showed that the JCP orchestra experienced an embodied experience arising from technological disassembly and reassembly as a connecting tissue. It can be seen from the relation between actants, and their implications for evaluating artistic values and performativity of orchestral performances.
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3

GIBBS, LIAM E. "Synthesizers, Virtual Orchestras, and Ableton Live: Digitally Rendered Music on Broadway and Musicians’ Union Resistance." Journal of the Society for American Music 13, no. 03 (August 2019): 273–304. http://dx.doi.org/10.1017/s1752196319000208.

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Анотація:
AbstractAs Broadway musicals embrace contemporary popular music styles, orchestrators must incorporate the digital technologies necessary for producing convincing simulations of genres like hip hop and electronic music. At the same time, as production values soar, producers work to minimize their budgets, often putting downward pressure on the size of the orchestra. Although digital and electronic music technologies can expand the sonic register of the Broadway orchestra, they can also replace traditional acoustic instruments and save money. The Broadway musicians’ union, Local 802, has regularly sought to control the use of digital technologies and ensure that live musicians produce as much music as possible. Thus, Local 802's advocacy for the employment of their members can limit the sounds heard on Broadway.The following narrative considers three digital technologies—synthesizers, virtual orchestras, and Ableton Live—and examines case studies and controversies surrounding their use in Broadway orchestras and implications for liveness in performance. Informed by interviews with industry professionals, author observation of pit orchestras in rehearsal and performance, archival research, popular and industry media, and previous scholarship, I argue that the union's entrenched interests and antiquated regulations can stifle musical innovation on Broadway by resisting the use of digital music technologies.
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4

Olmos, Adriana, Nicolas Bouillot, Trevor Knight, Nordhal Mabire, Josh Redel, and Jeremy R. Cooperstock. "A High-Fidelity Orchestra Simulator for Individual Musicians’ Practice." Computer Music Journal 36, no. 2 (June 2012): 55–73. http://dx.doi.org/10.1162/comj_a_00119.

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Анотація:
We developed the Open Orchestra system to provide individual musicians with a high-fidelity experience of ensemble rehearsal or performance, combined with the convenience and flexibility of solo study. This builds on the theme of an immersive orchestral simulator that also supports the pedagogical objective of instructor feedback on individual recordings, as needed to improve one's performance. Unlike previous systems intended for musical rehearsal, Open Orchestra attempts to offer both an auditory and a visual representation of the rest of the orchestra, spatially rendered from the perspective of the practicing musician. We review the objectives and architecture of our system, describe the functions of our digital music stand, discuss the challenges of generating the media content needed for this system, and describe provisions for offering feedback during rehearsal.
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5

Rafika, Ageng Setiani, Deviana Ika Putri, and Siskawati Sanusi. "SISTEM PEMBAYARAN RINCIAN BIAYA KULIAH PADA PERGURUAN TINGGI RAHARJA MENGGUNAKAN GO+." Journal CERITA 3, no. 1 (February 1, 2017): 64–74. http://dx.doi.org/10.33050/cerita.v3i1.621.

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Анотація:
Along with the development of increasingly sophisticated digital technology, online payment system rife used both government and private agencies. Similarly, in Higher Education. Financial Accounting System on Higher Education Prog is called GO (Green orchesta) is said to be still using the method of effective and efficient because students are required to come to campus first to find out some of the bills that must be paid. Even to know RBR (details Registration Fees) and Yandex (details Tuition) still use the local network that can only be accessed on BoxSiS (Student iLearning Service Box). With the rapid development of existing technologies, systems GO (Green orchesta) need to be made updates to the onlineversions are able to be accessed anytime and anywhere by students. Hence comes the system that has been updated is GO + (Green Orchestra Plus). GO + (Green Orchestra Plus), enables all payment systems pekuliahan student as the student can check the details of tuition anywhere and anytime. Not hasrus come kekampus and queued at the box sis. GO + (Green Orchestra Plus) highly efficient and effective for use as it can support the process online payments.
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6

Milašinović, Jelena. "Digital presentation of the Belgrade Philharmonic in the period of concert bans." Kultura, no. 174-175 (2022): 151–62. http://dx.doi.org/10.5937/kultura2275151m.

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Анотація:
The paper focuses on the COVID-19 pandemic impact on performing arts, notably the emergence of new presentation forms devised while concert activities were suspended, referring to the example of philharmonic orchestras. Owing to totalizing digitalization, which has shifted the entire production and reception of the performing and listening experience to the online sphere, the role of the audience also undergoes a shift from a collective to a virtual entity. The text, firstly, maps the emerging practices and explores their impact on changing the very sensory perception of new media content consumed in virtual reality. The focus of the paper is on redefinition of the PR department from communications towards the roll of the curator of the online presentations and the digital content and overall activities of the orchestra. The case study examines the example of the Belgrade Philharmonic Orchestra by analysing its digital presentation and communication strategy between March and June 2020. The goal is to identify the contributions of new practices, whose combination with the traditional ones could result in long-term audience and public relations development and enhancement of musical performance presentation. By continuously producing new contents for different target groups, without a single concert held in this period, the Philharmonic successfully attracted new audience and turned a crisis into an opportunity for interaction with new users, thus generating growth on all platforms. The conclusion provides a predictive analysis of return to normality, after the digital transgression experiences. It is recognized that music institutions will strategically develop their digital concert halls as new entrepreneurial models. As competition in this sphere brings PR departments to the fore owing to the need to work with complex algorithms, the digital ethical dilemma will intensify as a burning issue in the context of demographic data collection.
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7

Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.

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Анотація:
In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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8

Andriyanto, R. M. Aditya. "PROSES PRODUKSI AUDIO PADA KONSER VIRTUAL "COLORCHESTRA" BATAVIA CHAMBER ORCHESTRA MENGGUNAKAN SOFTWARE DIGITAL AUDIO WORKSTATION LOGIC PRO." Imaji 19, no. 2 (December 26, 2021): 143–61. http://dx.doi.org/10.21831/imaji.v19i2.44854.

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Анотація:
Pandemi Covid-19 menyebabkan munculnya konsep pertunjukan konser musik secara virtual sebagai alternatif penyajian karya seni musik. Penelitian ini bertujuan untuk mengetahui proses produksi audio hasil rekam karya pada Konser Virtual "Colorchestra" Batavia Chamber Orchestra menggunakan software Digital Audio Workstation Logic Pro. Selain itu, penelitian ini diharapkan dapat menambah wawasan pendidik dan peserta didik (mahasiswa) mengenai penciptaan karya mengunakan software DAW sebagai kecakapan digital literasi pendidikan musik abad-21. Metode penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan eksploratif studi dokumentasi. Pada konser virtual "Colorchestra", audio dan video sudah diproduksi sebelum penayangannya. Tahapan produksi audio yang dilakukan diantaranya proses rekam audio, editing audio, mixing dan mastering yang dilakukan pada DAW Logic Pro. Proses rekam audio dilakukan pemain secara satu-persatu, kemudian digabungkan dan diedit pada DAW. Pada proses mixing dan mastering, audio digarap sesuai dengan interpretasi conductor terhadap karya melalui pengolahan estetis frekuensi, dinamika dan panorama menggunakan DAW dari masing-masing track instrumen. Hasil akhir audio selanjutnya digabungkan dengan produksi video untuk kemudian ditayangkan menjadi konser virtual "Colorchestra" Batavia Chamber Orchestra.Kata Kunci: Penciptaan Karya Musik, Konser Virtual, Digital Audio Workstation. AbstractThe Covid-19 Pandemic leads to virtual music concerts as an alternative for music performance. This study aims to understand the audio production process in Virtual Concert "Colourchestra" Batavia Chamber Orchestra using software Digital Audio Workstation (DAW) Logic Pro. This study will give more knowledge about producing music using DAW software as digital skills literacy in 21st-century music education. This study uses a qualitative descriptive method with an explorative approach and documentation study. For the virtual concert "Colourchestra", audio and video were pre-recorded before the premiere broadcast. The audio production process consists of recording, editing, mixing, and mastering using DAW Logic Pro. The audio recording session was done one by one before it was combined and edited. The mixing and Mastering process was done by the BCO conductor based on his interpretation of the song through the settings of frequency esthetic, dynamics, and panorama using DAW from each instrument track. The final audio was then combined with the video that was taken and edited separately. Then it is played in the premiere broadcast of Virtual "Colourchestra" Batavia Chamber Orchestra. Keywords: Music Production, Virtual Concert, Digital Audio Workstation.
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9

Raditya, Michael H. B. "Technology Negotiation in Dangdut Koplo’s Ecosystem and Practices." Jurnal Kawistara 12, no. 2 (October 5, 2022): 265. http://dx.doi.org/10.22146/kawistara.73176.

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Анотація:
This article deals with the negotiation between the subgenre of Dangdut and technology. In this article, I articulate how agents of Dangdut Koplo use digital technology and how digital technology affects Dangdut Koplo’s ecosystem, cultural, and social practices. It is necessary to discuss Dangdut Koplo because it has several practices that are impacted by technology. Their practices elaborate on how society negotiated the use of technology. Dangdut koplo is one of the regional dangdut (dangdut daerah) subgenres that has developed in Indonesia, particularly East Java. Dangdut koplo emerged in the 1990s in Jarak Street, Surabaya, East Java. Furthermore, I will refer to two moments that demonstrated the impact of technology on the subgenre: first, the local people's activation of the local recording industry, and second, the activation of the internet and digital platforms by local people. I will elaborate on these to show the negotiation pattern between technology and their music, Dangdut Koplo. At the first moment, technological advances made people develop their local industries. The existence of local industries changed their economic and cultural patterns. Furthermore, middlemen in the music industry that Jakarta previously monopolized shifted to their surroundings. As a result, they could activate and directly control their economy and society. Then, the first moment developed rapidly in the second moment, when the internet changed society's social, economic, and cultural patterns. The internet allowed everyone to distribute their work. They could directly access consumers without the role of the previous middleman. Melayu Orchestra does not need a local music label or distributor with a solid fan base. They could distribute their works on the internet and digital platforms. This technological impact meant the Melayu Orchestra could compete with the local recording industry and vice versa. This pattern also changed their production processes, where digital needs made daily impressions, the development of Melayu orchestra personas on gadget screens, etc. Based on these developments, I elaborated on these questions: How did the ecosystem changes and its relationships impact the dangdut community? How is the dangdut community negotiating with technology? Utilizing digital data and observation data (obtained in 2017), I articulate how technological developments changed society's ecosystem and practice; and how society deals with technology.
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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.

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Анотація:
The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
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Більше джерел

Дисертації з теми "Digital Orchestra"

1

Ledroit, Christien. "Streamlined : for chamber orchestra with electric guitar and digital audio." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79289.

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Анотація:
Streamlined is a musical composition for chamber orchestra. The entire piece was created from four basic musical fragments. These fragments are used melodically and as "roots" for chord progressions, eventually rendering melody and harmonic progression as one entity. These chord progressions move slowly from one chord to the other, through several intermediate chord progressions, metamorphosing into each other through carefully calculated and executed transformative processes.
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2

Frantz, Elizabeth Lorraine. "Is Technology the Way Forward for Classical Music? Exploring Audience Engagement in the Digital Era." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429625667.

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3

Hägglund, Anders. "Musikaliskt framförande i midibaserad musik : En undersökning om hur två olika metoder för att komponera mididata påverkar upplevelsen av digital orkestral musik." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15439.

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Анотація:
Med hjälp av digitala ljudbibliotek kan man få tillgång till ljudet av en orkester, men hur kan man återskapa känslan av en riktig orkester? Det finns flera metoder för att digitalt återskapa ett mänskligt framförande, två av de vanligaste är realtidsinspelning och datorsimulering. Båda metoderna kan användas för att efterlikna/återskapa mänskliga karaktärsdrag i musikaliska framföranden.I detta arbete jämfördes dessa metoder ur lyssnarens perspektiv, för att ta reda på vilken metod som bäst gynnar kompositörer av digital orkestral musik. Undersökningen utnyttjade en kvantitativ metod i form av en internetbaserad enkät där respondenterna fick svara på frågor och rangordna deras upplevelse av de olika metoderna.Resultatet visade bland annat att den generella upplevelsen av metoderna inte skiljde sig åt i genomsnitt, men att det fanns trender mellan olika lyssningsvanor och vilken metod som föredrogs. Mängden insamlad data var inte tillräcklig för att dra konkreta slutsatser, arbetet visar dock tendenser och kan användas som underlag till vidare forskning.
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4

Stanhope, David. "Bringing Unheard Orchestral Works to Life: testing the digital orchestra." Thesis, 2020. http://hdl.handle.net/2440/130438.

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Анотація:
Part A: Scores: Portfolio of Compostions -- Part B: Recordings [Permanent restriction on all sound recordings] -- Part C: Exegesis
This submission for the degree of Doctor of Philosophy at the Elder Conservatorium of Music, University of Adelaide, comprises a portfolio of compositions supported by commercially-released sound recordings and an explanatory exegesis. The submission comes from a composer who is also an experienced conductor and pianist, with a background as an orchestral musician (french hornist and bass trombonist). These multiple musical identities have had a significant bearing on the approach to the submitted works. The focus of the portfolio is on the use of digital orchestras for providing convincing realizations of compositions by the author and compositions by other Australian or Australiabased composers that highlight particular aspects of orchestration and digital realization. The most important element of research is the testing of orchestral sound libraries in bringing to life forgotten or neglected orchestral music that deserves recognition. This is especially relevant at a time when concert and operatic repertoire is shrinking due to the increased costs of maintaining orchestras and opera companies. Where opera is concerned, the inclusion of the author’s most significant work, Dracula, shows how live soloists can combine with a digital orchestra to make a successful recording. The increasingly sophisticated digital sound samples that are now widely available, but often used without expertise, have the potential to offer a viable alternative to orchestral or operatic performance when none is forthcoming or practical.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2020
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5

WU, PEI-HUA, and 吳珮華. "A Study of Exploring Application of Digital Music in a Symphony Orchestra Management-A Case Study of National Taiwan Symphony Orchestra." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/p6fjzh.

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Анотація:
碩士
朝陽科技大學
資訊管理系
104
As information technology rapid development, digital music for business management has become the most important issue within arts association around the world. The management team must consider how to combine the arts and information technology for the marketing business management and the necessary methods. In this study, it explores the overview and experience of digital music application in the symphony orchestra’s website promoting and overall business management as a case of National Taiwan Symphony Orchestra. It tries to find out the solution with a case study, a secondary qualitative study and an interview with experts. It observes and compares the overview situation of the digital music application and online platform for Taipei National Symphony, National symphony orchestra and Berlin Philharmonie Digital Concert Hall. The result of this study proposes three implementation guidelines of digital music application in the symphony orchestra, being completed the procedure of copyright authorization, more using the online streaming platforms, and establishing exclusive digital music database. The three implementation guidelines also are as the necessary methods of digital music application in the symphony orchestra’s website promoting and overall business management. It offers a reference for the future operations management and development to the symphony orchestra.
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Книги з теми "Digital Orchestra"

1

Pejrolo, Andrea, and Richard DeRosa. Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra. Taylor & Francis Group, 2016.

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2

Pejrolo, Andrea, and Richard DeRosa. Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra. Taylor & Francis Group, 2016.

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3

author, DeRosa Rich, ed. Acoustic and MIDI orchestration for the contemporary composer: A practical guide to writing and sequencing for the studio orchestra. 2017.

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4

Pejrolo, Andrea, and Richard DeRosa. Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra. Taylor & Francis Group, 2016.

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5

Pejrolo, Andrea, and Richard DeRosa. Acoustic and MIDI Orchestration for the Contemporary Composer: A Practical Guide to Writing and Sequencing for the Studio Orchestra. Taylor & Francis Group, 2016.

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6

Dwinal, Catherine. Interactive Visual Ideas for Musical Classroom Activities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190929855.001.0001.

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Анотація:
This book is a resource on projection systems for any music teacher’s treasure chest of tools. Educators, from brand new to seasoned veterans, can discover new lessons, activities, and resources involving the projection systems already in their classrooms. From conventional projectors to streaming media players, beginners to the digital world will find tips and tricks to start using new systems. More experienced users will discover new resources and activities, from learning how to create VR worlds to demonstrate knowledge of music venues from around the world, to going on an outside safari to find missing instruments of the orchestra. This book also includes a resource index with app and website recommendations for going further and appendices that make it easier to find the activities and resources to fit any type of instruction. This book is a toolbox for teachers to keep on their desks to use every day to incorporate their digital tools in a meaningful way.
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7

Théberge, Paul. The Sound of Nowhere. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0015.

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Анотація:
This chapter traces the development of reverb in music production. Reverberation implicates acoustic space with musical and social places; thus, genres can come to be associated with different locations (e.g., Gregorian chant with cathedrals, orchestras with large concert halls). Sound recordings relocate music to other locales, however, superimposing the reverberant characteristics of one space upon another. Since the 1930s, audio-recording engineers increasingly disengaged recorded sounds from their acoustic environments and replaced them with artificial reverb: through the use of chambers, plates and digital devices, popular recording practices create a complex, multilayered musical space. The chapter traces these developments and links them to contemporary listening practices associated with headphone use, arguing that reverb serves to create an imaginary sonic space for the mobile listener.
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Частини книг з теми "Digital Orchestra"

1

Soto-Setzke, D., P. Hoberg, A. Murgoci, S. Franzbonenkamp, J. Gaß, T. Wolff, and H. Krcmar. "Digitale Transformation bei den Berliner Philharmonikern." In Digitale Transformation, 407–32. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-37571-3_14.

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Анотація:
ZusammenfassungNeue technologische Entwicklungen haben das Konsumentenverhalten auf grundlegende und vielfältige Weise verändert. Inzwischen haben diese Veränderungen auch die Kulturbranche erreicht. Vielen Organisationen aus diesem Sektor fehlen jedoch die nötigen Erfahrungen und Expertise, um sich auf eine neue Generation von Kunden in der digitalen Welt einzustellen. Die Berliner Philharmoniker entwickelten sich auf ihrer Reise der digitalen Transformation von einem traditionellen, klassischen Musikorchester zu einem digitalen Pionier. Dabei stellte sich das Orchester den Herausforderungen des digitalen Zeitalters durch die Einführung nachhaltiger organisatorischer Änderungen und durch den Erwerb neuer digitaler Kompetenzen und Fähigkeiten.
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2

Berthaut, Florent, and Luke Dahl. "BOEUF: A Unified Framework for Modeling and Designing Digital Orchestras." In Music, Mind, and Embodiment, 153–66. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_10.

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3

Dahl, Luke, Florent Berthaut, Antoine Nau, and Patricia Plenacoste. "bf-pd: Enabling Mediated Communication and Cooperation in Improvised Digital Orchestras." In Music Technology with Swing, 454–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_30.

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Ng Kea Chye, Gerald. "Re-inventing and Re-shaping the Symphony Orchestra for Sustainability." In Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz, 113–24. Logos Verlag Berlin, 2021. http://dx.doi.org/10.30819/5319.08.

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The performing arts industry has always been an ever-evolving industry due to the creative nature of this industry. Although the symphony orchestra has not seen much physical dramatic changes since perhaps the late 1800’s, current events worldwide such as the outbreak of the Covid-19 pandemic, the economic uncertainty as well as technological advancements has seen the operations of many symphony orchestras hitting the pause button, many unsure if the orchestra might resume their operations. Symphony orchestras worldwide are forced to come out with various ideas to re-invent and re-shape itself. This paper aims to examine the possibilities of how a symphony orchestra, an institution that is heavily dependent on audiences filling up their concerts is re-inventing itself in order to sustain their very existence. Ongoing efforts such as digitalising ‘live’ concerts through digital platforms and other arising issues such as choice of technological equipment, cost and revenue as well as the perception of orchestral musicians and audiences of such re-invention and re-shaping of the symphony orchestra will be discussed. The findings from this paper may be used to further develop the ideas of re-invention and re-shaping symphony orchestras based on the demands and needs of each individual orchestra.
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Newton, Travis. "Marketing and Public Relations." In Orchestra Management Handbook, 139–59. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197550670.003.0009.

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This chapter highlights well-established marketing theory and practice, including the “four P’s” of marketing, and explores the application of those concepts within orchestras. Additional concepts include the target marketing process, the importance of positioning, and the utilization of a variety of channels. New modes of distribution, including digital platforms, are also discussed, as are examples of success. Shifting patron buying habits away from subscriptions and toward single ticket purchases is explored in-depth. Finally, the various forms of public relations and their utility for orchestras in a constrained budgetary position are explored.
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"Digital Hub 《数码之源》." In The TENG Guide to the Chinese Orchestra, 425–36. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813233652_0021.

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Kirschenbaum, Matthew. "ELO and the Electric Light Orchestra: Electronic Literature Lessons from Prog Rock." In Post-Digital. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781474286787-061.

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Furu, Patrick, and Jörg Reckhenrich. "Digital Transformation at the Berlin Philharmonic Orchestra: Creating the Digital Concert Hall." In Strategic Management in the Age of Digital Transformation. Proud Pen, 2021. http://dx.doi.org/10.51432/978-1-8381524-3-7_3.

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"Transitioning From Traditional to Digital: A Knowledge and Skills Needs Assessment for a Community Orchestra Context." In Case Studies in Needs Assessment, 29–47. 2455 Teller Road, Thousand Oaks California 91320: SAGE Publications, Inc., 2020. http://dx.doi.org/10.4135/9781544342351.n7.

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Naughtin, Matthew. "Digital Music Preparation in the Modern Orchestral Library." In The End of Wisdom?, 87–103. Elsevier, 2017. http://dx.doi.org/10.1016/b978-0-08-100142-4.00009-9.

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Тези доповідей конференцій з теми "Digital Orchestra"

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Le, Dinh-Viet-Toan, Mathieu Giraud, Florence Levé, and Francesco Maccarini. "A Corpus Describing Orchestral Texture in First Movements of Classical and Early-Romantic Symphonies." In DLfM '22: 9th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3543882.3543884.

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Weigl, David M., Chanda VanderHart, Matthäus Pescoller, Delilah Rammler, Markus Grassl, Fritz Trümpi, and Werner Goebl. "The Vienna Philharmonic Orchestra’s New Year’s Concerts: Building a FAIR Data Corpus for Musicology." In DLfM '22: 9th International Conference on Digital Libraries for Musicology. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3543882.3543892.

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Öman, Anne. "Design and Redesign of a Multimodal Classroom Task – Implications for Teaching and Learning." In InSITE 2015: Informing Science + IT Education Conferences: USA. Informing Science Institute, 2015. http://dx.doi.org/10.28945/2242.

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Digital technologies are increasingly implemented in Swedish schools, which impact on educa-tion in the contemporary classroom. Screen-based practice opens up for new forms and multi-plicity of representations, taking into account that language in a globalized society is more than reading and writing skills. This paper presents a case study of technology-mediated instruction at the primary-school level including an analysis of the designed task and how the teacher orchestrated the digital resources during three introductory classes. The aim was also to explore the pupils’ redesigning of advertis-ing films based on teacher’s instructions and available digital resources. Sequences of a learning trajectory were video recorded and analysed from a multimodal perspective with a focus on the designed task and the processes of how pupils orchestrate meaning through their selection and configuration of available designs. The findings show a distinction between the selection of design elements in the teacher’s orches-tration of the laptop resources during instruction and the pupils’ redesigning of the task. Pupils’ work developed from the linguistic design provided by the teacher towards visual design and the use of images as the central mode of expression in the process of creating advertising films. The findings also indicate a lack of orientation towards subject content due to the teacher’s primary focus on introducing the software. This paper that was presented at the conference was previously published in the Journal of IT Education: Research
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