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1

Daring to excel: The story of the National Youth Orchestra of Great Britain. Secker & Warburg, 1992.

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2

International, Festival of Youth Orchestras (1988 Brisbane Qld ). The Queensland Youth Orchestra's International Festival of Youth Orchestras: Australia, 17 July-18 August 1988. Queensland Youth Orchestra, 1988.

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3

Massey, Michael. Canadian repertoire manual for youth & community orchestras. Association of Canadian Orchestras, 1996.

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4

Massey, Michael. Canadian repertoire manual for youth orchestras. Canadian Association of Youth Orchestras, 1985.

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5

Massey, Michael. Canadian repertoire manual for youth orchestras. Canadian Association of Youth Orchestras, 1985.

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6

Wong, Sher Maine. Rehearsal for life: Singapore Youth Orchestra, 1980-1990. Focus Publishing, 2015.

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7

Chambers, Pam. Sixty years of music making: The Vancouver Youth Symphony Orchestra, 1930-1990. Pam Chambers Studio Services, 1990.

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8

James, Beryl Bowen. First in the world: The story of the National Youth Orchestra of Wales. University of Wales Press, 1995.

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9

Burton, Gregory Joseph. A selective guide to orchestral music of Atlantic Canada for professional and youth orchestras. s.n.], 2000.

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10

La musica salva la vita: Il "sistema" delle orchestre giovanili dal Venezuela all'Italia. G. Feltrinelli, 2012.

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11

The youth orchestra handbook.--. American symphony Orchestra League, 1989, 1989.

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12

Youth orchestra profile, 1991-92 season. American Symphony Orchestra League, 1991.

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13

Boston Youth Symphony Orchestras. Arcadia Publishing, 2007.

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14

The Nzso National Youth Orchestra Fifty Years And Beyond. Victoria University Press, 2011.

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15

Railton, Ruth. Daring to Excel: The Story of the National Youth Orchestra of Great Britain. Trafalgar Square Publishing, 1993.

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16

Welsh, Mary Sue. A Silent Exit. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037368.003.0013.

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This chapter describes Stoki's All-American Youth Orchestra. As the war began to overtake Europe in 1939, and German and Italian influence threatened to take hold in South America, the Berlin Philharmonic Orchestra and performers from La Scala made tours through South America, winning friends for their respective countries. Alarmed, the Roosevelt administration wanted to counter those successes by sending U.S. cultural emissaries to Latin America. However, little government money was available to finance such projects. Stokowski stepped up to offer one solution to the dilemma. What better way
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17

Claudio, Abbado, ed. Gianni Berengo Gardin: L'altro sguardo : Gustav Mahler Jugendorchester : European union youth orchestra : Bolzano = mit anderen Augen : Gustav Mahler ... : European union ... : Bozen = a distinct regard. Peliti, 2005.

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18

Dudley, Shannon. Musical ambition and community-building in Trinidad and Tobago’s steel orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0004.

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The steelband emerged in Trinidad in the 1940s as a musical expression of disadvantaged urban youths who made ingenious use of discarded metal containers to accompany carnival dancing and singing. Within a few short years, however, steelpans moved from the social margins to a privileged placed in Trinidad and Tobago’s national culture, and from road to stage. Today, the government of Trinidad and Tobago funds a professional National Steel Symphony Orchestra, and steelpans are also incorporated into Trinidad and Tobago’s National Sinfonia. In this chapter, I reflect on this transformation throu
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19

National Association of Youth Orchestras., ed. Directory of youth and student orchestras. NAYO, 2000.

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20

National Association of Youth Orchestras. and National Foundation for Youth Music., eds. Directory of youth and student orchestras. NAYO, 2002.

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21

de Oliveira Andrade, José Sergio. NEOJIBA: art as a bridge to human development. Translated by Ana Raquel Vasconcelos Maia and Ana Carolina Bastos De Oliveira e Oliveira. Navida Editora, 2021. http://dx.doi.org/10.51968/navida.neojiba.

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An amazing story told through the details of the creation and implementation process of Program NEOJIBA – State Centers for Children and Youth Orchestras of Bahia. It takes the reader on a journey of individual and collective resilience with the purpose of fulfilling a dream: opening opportunities for social development and the common good through the teaching of classical music to less privileged communities.
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22

Hans, Timm, and Deutscher Musikrat, eds. So wächst Musik: 25 Jahre Bundesjugendorchester. ConBrio, 1993.

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23

El Sistema: Orchestrating Venezuela's youth. 2014.

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24

Merchant, Tanya. Ancient Treasures, Modernized. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0003.

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This chapter examines the role of women in the arranged folk music in Uzbekistan in the post-Soviet era. It looks at the rhetoric of Ro'za opa and her students, which focuses much more on musical literacy, virtuosity, and international standards. These priorities stem from the emancipatory impetus, during the Soviet period, to include women in the ethnonational project of creating folk orchestras. The chapter begins with a discussion of the assumptions of youth and femininity associated with certain dutar ensembles. It then traces the origins of dutar ensembles as they share history with simil
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25

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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26

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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27

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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28

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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29

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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30

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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31

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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32

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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33

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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34

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2004.

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35

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2007.

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36

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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37

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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38

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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