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Journal articles on the topic 'Orchestral Auditions'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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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 prop

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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 inf

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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 wa

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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

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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, wh

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11

MOTEN, FRED. "The phonographic mise-en-scène." Cambridge Opera Journal 16, no. 3 (2004): 269–81. http://dx.doi.org/10.1017/s0954586704001867.

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For Adorno, the graphic reproduction of operatic performance means that the primary scene of audition has shifted as well: from the theatre – and the telic determinations towards which the natural history of the theatre tends – to the living room, where people gather to listen to what they no longer concern themselves to perform. The phonograph allows the vagaries and vulgarities of the visuality of (operatic) performance to be held off or back by an auditory experience whose condition of possibility and whose end is the illusory recovery of something literary – and thus essentially visual. Wh

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12

ÜZÜLMEZ, Huseyin Onur. "TECHNICAL REVIEW OF SELECTED ORCHESTRA SOLOS AND PRACTICING RECOMMENDATIONS FOR BASSOON." Pamukkale University Journal of Social Sciences Institute, June 30, 2022. http://dx.doi.org/10.30794/pausbed.1117092.

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During their education, an artist receives soloist training on many concertos and sonatas. However, people whose goal is to become an orchestra artist should be prepared for a possible exam by studying orchestral materials. In this study, four selections that are most likely to be encountered in orchestra auditions and that consist of works from different periods were determined and examined in terms of playing techniques. These works are Scheherazade by Rimsky Korsakov, Ludwig van Beethoven's 4th Symphony, The Rite of Spring by Igor Stravinsky and Maurice Ravel's Piano Concerto in G Major.

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13

Kegelaers, Jolan, Frank Bakker, Jan Kouwenhoven, and Raôul Oudejans. "“Don’t forget Shakespeare”: A qualitative pilot study into the performance evaluations of orchestra audition panelists." Psychology of Music, April 27, 2022, 030573562210874. http://dx.doi.org/10.1177/03057356221087443.

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Auditions form the gold standard for hiring practices in symphonic orchestras around the world. Nevertheless, research examining how auditions are evaluated by panel members remains sparse. The purpose of this brief research note is to present findings from a pilot project examining the feedback content of audition panelists during a realistic mock audition. Feedback received by 16 academy members of an internationally renowned orchestra was analyzed using inductive content analysis. A key finding of this study was that panelists tended to provide much more feedback related to improving expres

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14

Escamilla, Craig, and Enrique Henry R. Venta. "The Symphony Of Southeast Texas In 2010: Managing A Regional Orchestra In Modern Times." Journal of Business Case Studies (JBCS) 6, no. 6 (2010). http://dx.doi.org/10.19030/jbcs.v6i6.262.

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The Symphony of Southeast Texas is a regional, professional symphony orchestra based in Beaumont, TX. The orchestra operates on an annual budget of approximately $550,000, and employs musicians on a per-service basis. In 2009, the orchestra hired a new Music Director following two years of searching and auditions. Chelsea Tipton, II, ignited a fire amongst all of the organizations constituents from his first visit to Beaumont for his audition in March 2009. Following his appointment as Music Director, the organization’s members realized what a remarkable opportunity was at hand for the orchest

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15

Droege, Jasmin. "First impression biases in the performing arts: taste-based discrimination and the value of blind auditioning." Journal of Cultural Economics, September 8, 2021. http://dx.doi.org/10.1007/s10824-021-09428-1.

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AbstractI develop a game-theoretic framework to study the repercussions of an evaluator’s bias against a specific group of applicants. The evaluator decides upfront between holding an informed or a blind audition. In the latter, the evaluator learns neither the applicant’s ability nor the gender. I show that, above a threshold bias, the evaluator prefers a blind audition to provide high effort incentives exclusively for high-ability applicants. Consequently, committing to no information can be beneficial for the evaluator. I also show that a highly biased evaluator’s preferences align with tho

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16

Kegelaers, Jolan, Lotte Hoogkamer, and Raôul RD Oudejans. "Practice and performance management strategies of emerging professional musicians in preparation for orchestra auditions." Research Studies in Music Education, January 10, 2022, 1321103X2110546. http://dx.doi.org/10.1177/1321103x211054659.

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Orchestra auditions form a critical career challenge for many aspiring classical musicians. Hence, emerging professional musicians—defined as promising musicians entering the professional circuit without having yet established full-time employment—require effective practice and performance strategies to manage the demands of auditions. The purpose of this collective case study was to gain an in-depth and contextualized understanding of such practice and performance management strategies in relation to mock orchestra auditions. Data were collected using an intensive qualitative approach, combin

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