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Relevant bibliographies by topics / Orchestral Auditions

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Journal articles

Academic literature on the topic 'Orchestral Auditions'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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Journal articles on the topic "Orchestral Auditions"

1

Goldin, Claudia, and Cecilia Rouse. "Orchestrating Impartiality: The Impact of “Blind” Auditions on Female Musicians." American Economic Review 90, no. 4 (2000): 715–41. http://dx.doi.org/10.1257/aer.90.4.715.

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A change in the audition procedures of symphony orchestras—adoption of “blind” auditions with a “screen” to conceal the candidate's identity from the jury—provides a test for sex-biased hiring. Using data from actual auditions, in an individual fixed-effects framework, we find that the screen increases the probability a woman will be advanced and hired. Although some of our estimates have large standard errors and there is one persistent effect in the opposite direction, the weight of the evidence suggests that the blind audition procedure fostered impartiality in hiring and increased the proportion women in symphony orchestras. (JEL J7, J16)

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2

Brandolino, L. Tony. "Winnings an Orchestral Audition: Advice from the PROS." American String Teacher 49, no. 2 (1999): 29–31. http://dx.doi.org/10.1177/000313139904900203.

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3

Brandolino, L. Tony. "A Survey of Orchestral Audition Excerpts for Violin." American String Teacher 49, no. 4 (1999): 42–46. http://dx.doi.org/10.1177/000313139904900407.

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4

Brandolino, L. Tony. "Let's Formalize Orchestral Audition Preparation at the University Level." American String Teacher 49, no. 4 (1999): 124. http://dx.doi.org/10.1177/000313139904900420.

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5

Rickels, David A., Wesley D. Brewer, Kimberly H. Councill, et al. "Career Influences of Music Education Audition Candidates." Journal of Research in Music Education 61, no. 1 (2013): 115–34. http://dx.doi.org/10.1177/0022429412474896.

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In this descriptive study, we examined the influences and experiences motivating students to enter college-level music schools as reported by a population of precollegiate students auditioning (but not yet accepted) to music education degree programs. As a follow-up to a published pilot study, this research was designed to quantify the various experiences respondents had as part of their precollege school and community programs that related to teaching and music. Results indicate a strong connection between respondents’ primary musical background and future teaching interest. The top three influential experiences were related to high school ensemble membership (band, choir, orchestra), and the most influential group of individuals in the decision to become a music educator were high school ensemble directors. Respondents from all four primary background groups (band, choir, orchestra, and general or other) rated private lesson teaching as their second strongest future teaching interest, just behind teaching at the high school level in their primary background. Respondents rated parents as moderately influential on their desire to become a music teacher.

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6

Lehkun, Oksana. "PERSON OFJERZY GACHE THROUGH THE PERIODICALS IN THE 20-30TH YEARS OF THE XX CENTURY." Scientific bulletin of KRHPA, no. 12 (2020): 42–48. http://dx.doi.org/10.37835/2410-2075-2020-12-5.

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The article is based on the analysis of publications of periodicals in the 20-30th of the XX century the character and musical and creative activity of Jerzy Gache, one of the most active figures in the cultural life of Kremenets’ region of this period is characterized. The pedagogical activity of Jerzy Gache, who for 20 years worked as a music teacher, leader of the symphony orchestra and choir of the Kremenets’ Lyceum of the interwar period, was investigated. The geography of the concert performances and the repertoire of the musical groups of the educational institution is considered. It was found that being a head of the department of the Lviv Music Institute, which operated at the Kremenets’ Lyceum, and a teacher of the Musyczne ognisko wakacyjne, contributed to the deepening of music education in Kremenets’ region. Publications in periodicals of the 20-30s of the XX century. reveal the importance of musical auditions that took place on the initiative of Jerzy Gache, in deepening the musical culture and artistic and aesthetic education of the students of the Kremenets’ Lyceum. Based on the publication in «Życie Liceum Krzemienieckiego», the role of Jerzy Gache as the organizer and leader of the Volyn Symphony Orchestra was determined, the repertoire and concert performances of the collective were traced. It has been found out that the artist's participation in public and cultural and educational events is evidence of his active position in the music and educational life of the region. Key words: Kremenets’ Lyceum, Jerzy Gache, Volyn Symphony Orchestra, pedagogical and concert activities.

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7

Bray, Wade R. "The Detroit Orchestra Hall “Centennial Sound Lab” multi-location binaural acoustic measurement and audition project." Journal of the Acoustical Society of America 150, no. 4 (2021): A323. http://dx.doi.org/10.1121/10.0008442.

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8

Butler, Jeffrey G., and Linda Lydiard. "Preparing for an Orchestra Audition: How to Maximize Your Chances for a Major Symphony Job." American String Teacher 39, no. 1 (1989): 11–16. http://dx.doi.org/10.1177/000313138903900104.

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9

Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.

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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the history of the horn and a legend in the art of horn performance.

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10

Cohen, Michael. "Exclude and Include for Audio Sources and Sinks: Analogs of Mute & Solo Are Deafen & Attend." Presence: Teleoperators and Virtual Environments 9, no. 1 (2000): 84–96. http://dx.doi.org/10.1162/105474600566637.

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Non-immersive perspectives in virtual environments enable flexible paradigms of perception, especially in the context of frames of reference for conferencing and musical audition. Traditional mixing idioms for enabling and disabling various audio sources employ mute and solo functions, that, along with cue, selectively disable or focus on respective channels. Exocentric interfaces which explicitly model not only sources but also sinks, motivate the generalization of mute and solo (or cue) to exclude and include, manifested for sinks as deafen and attend (confide and harken). Such functions, which narrow stimuli by explicitly blocking out and/or concentrating on selected entities, can be applied not only to other users' sinks for privacy, but also to one's own sinks for selective attendance or presence. Multiple sinks are useful in groupware, where a common environment implies social inhibitions to rearranging shared sources like musical voices or conferees, as well as individual sessions in which spatial arrangement of sources, like the configuration of a concert orchestra, has mnemonic value. A taxonomy of modal narrowcasting functions is proposed, and an audibility protocol is described, comprising revoke, renounce, grant, and claim methods, invocable by these narrowcasting commands to control superposition of soundscapes.

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