Thesis (D.M.A.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains xv, 336 p.; also includes graphics (some col.) Includes bibliographical references (p. 327-336). Available online via OhioLINK's ETD Center

Goal of this diploma thesis is to create a marketing strategy of the Prague Youth Philharmonic symphony orchestra including marketing concept definition, audience research and marketing communication project. The marketing strategy proceeds from internal and external SWOT analysis of the subject. Theoretical part of the thesis deals with classical marketing theory and its use in arts management praxis. It focuses on strategic marketing and its instruments.

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This thesis explores the subject of playing either a high or low horn in a symphony orchestra, looking at the roles, repertoire, and pedagogical methods connected with each. The purpose of the study is to shed light on the phenomenon of horn players categorizing themselves as either high or low horn players and to examine the debate between a balanced approach and specialization in horn playing. The study focuses on excerpts that are frequently used in auditions around the world and offers a thorough analysis of repertoire examples that are necessary for both high and low horn playing. A number of common exercises and studies are included in the examination of historical and modern teaching methods and approaches used in conservatories. Interviews with Björn Olsson and Benedikt Scholtes, two professional horn players and teachers, yield their perspectives on the subject, providing insightful information. The thesis acknowledges the individuality of each horn student and seeks to answer the question of whether categorizing oneself as a high or low horn player and concentrating solely on one register is wise or whether a balanced approach is preferable. In the current competitive orchestral employment landscape, the author discusses the potential advantages and disadvantages of such specialization. The study emphasizes the significance of versatility in horn playing and the need for a larger repertoire beyond the typical audition pieces. This thesis offers insightful information and viewpoints for horn players who are faced with questions and decisions regarding high and low horn playing by examining traditional high and low horn repertoire in addition to pertinent studies and exercises.

A symphony in three movements with parts for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns(?), 3 trumpets, 3 trombones, 1 tuba, 1 timpanist, 1 cymbal, 1 triangle, 1 xylophone, 1 piano, 1 harp, violins one and two, viola, cello, and standing bass(?)

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[ES] Alrededor de la década de los 90, se produjo en España el surgimiento de numerosas orquestas sinfónicas en las comunidades autónomas y, con ello, un cambio en la fisonomía cultural de su entorno. En Galicia, la Orquesta Sinfónica de Galicia (OSG) fue la pionera. Veinticinco años después, la OSG ha visto surgir otras numerosas agrupaciones, muchas formadas por sus propios integrantes. Estas agrupaciones abarcan desde ensambles y grupos de cámara hasta otras formaciones orquestales de diverso tamaño, que incluyen orquestas de cámara y orquestas sinfónicas. Asimismo, la OSG creó una Escuela de Práctica Orquestal (EPO) en 1994 que, posteriormente, ya en 2002, tomó forma en la que actualmente se conoce como Orquesta Joven de la Sinfónica de Galicia (OJSG). En esta joven orquesta, cada año, nuevos estudiantes completan su formación instrumental con la práctica orquestal y tienen la oportunidad de recibir clases individuales de los músicos de la orquesta. A lo largo de su trayectoria la OSG ha estrenado e incluso encargado obras de compositores gallegos contemporáneos, en colaboración con la Asociación Galega de Compositores. Además, ha llevado a cabo labores de recuperación y puesta en valor de las obras de muchos otros como Xan Viaño, Andrés Gaos, Gregorio Baudot, etc. Con la perspectiva que dan los años es posible trazar una panorámica del impacto que la OSG ha tenido en su entorno en todos estos aspectos y qué papel ha jugado en la transformación del panorama musical en Galicia. / [CA] Al voltant de la década dels 90 es va produir a Espanya el surgiment de nombroses orquestres simfòniques en les comunitats autònomes i, amb això, un canvi de la fisonomia cultural del seu voltant. En Galícia, l'Orquestra Simfònica de Galícia (OSG) va ser la pionera. Vint-i-cinc anys després, la OSG ha vist sorgir altres nombroses agrupacions, moltes formades pels seus propis integrants. Aquestes agrupacions abasten des d'assembles i grups de cambra fins a altres formacions orquestrals de diversa grandària, que inclouen orquestres de cambra i orquestres simfòniques. Així mateix, l'OSG va crear una Escola de Pràctica Orquestral (EPO) a 1994 que posteriorment, ja a 2002, va prendre forma en la qual actualment es coneix com Orquestra Jove de la Simfònica de Galícia. En aquesta jove orquestra, cada any, joves estudiants completen la seua formació instrumental amb la pràctica orquestral i tenen l'oportunitat de rebre classes individuals dels músics de l'orquestra. Al llarg de la seua trajectòria l'OSG ha estrenat i fins i tot encarregat obres de compositor gallecs contemporanis en col·laboració amb l'Associació Galega de Compositors. A més a més, ha dut a terme tasques de recuperació i posada en valor de les obres de molts altres com Xan Viaño, Andrés Gaos, Gregorio Baudot, etc. Amb la perspectiva que donen els anys és possible traçar una panoràmica de l'impacte que l'OSG ha tingut en el seu entorn en tots els seus aspectes i quin paper ha jugat en la transformació del panorama musical a Galícia. / [EN] Around the 90s, there was in Spain an emergence of numerous symphony orchestras in the autonomous communities and, with it, a change in the cultural environment. In Galicia, the Symphony Orchestra of Galicia (OSG) was the pioneer. Twenty-five years later, GSO has seen the emergence of numerous other groups, many formed by its own members. These groupings range from ensembles and chamber groups to other orchestral formations of different sizes, including chamber orchestras and symphony orchestras. Likewise, the OSG created a School of Orchestral Practice (EPO) in 1994, which subsequently, in 2002, took shape in what is now known as the Young Orchestra of the Symphony Orchestra of Galicia. In this young orchestra, each year, young students complete their instrumental training with the orchestral practice and have the opportunity to receive individual lessons from the musicians of the orchestra. Throughout its career, OSG has premiered and even commissioned works by contemporary Galician composers in collaboration with the Galician Association of Composers. In addition, it has carried out recovery and value work of the works of many others such as Xan Viaño, Andrés Gaos, Gregorio Baudot, etc. With the perspective that the years give, it is possible to outline the impact that the OSG has had on its environment in all these aspects and what role it has played in the transformation of the musical panorama in Galicia. / García Escuredo, A. (2022). Historia e impacto de la Orquesta Sinfónica de Galicia en su área de influencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/181690 / TESIS

A produção orquestral de Villa-Lobos é indubitavelmente grandiosa e exuberante, confrontando a nós músicos, desafios de ordem técnica e interpretativa. Este trabalho discutirá sobre algumas das partes destinadas aos metais graves e suas possíveis soluções técnicas. Escolheram-se oito peças sinfônicas de palco na intenção de se tabular uma amostra razoável dessa faceta composicional de Villa-Lobos. As sugestões interpretativas serão embasadas em análises de autógrafos e suas edições, visualizadas por meio de trechos das partes orquestrais e corroboradas por uma revisão atualizada da literatura, propondo que se busque uma compreensão maior sobre as ferramentas expressivas oferecidas ao intérprete de metal grave, inserindo-o dentro da dialética villalobiana. / The orchestral production of Villa-Lobos is certainly grand and lush. It is confronting us musicians in a technical and interpretive challenges order. This doctoral essay will discuss some of the parts composed for low brass and their possible technical solutions. It was chose eight symphonic pieces in order to major measure a reasonable sample of the compositional facet of Villa-Lobos. Interpretation suggestions are based on solid analysis from autograph and their issues, visualized by means of excerpts from the orchestral and supported by an updated literature review parts, proposing to seek a greater understanding of the expressive tools offered to low brass musician and inserting them inside of the villalobiana´s dialectic.

Made available in DSpace on 2016-04-28T14:16:22Z (GMT). No. of bitstreams: 1 Arcadio Minczuk.pdf: 11258815 bytes, checksum: 05ab36e9e5d0bf9757d42544e61cf9c6 (MD5) Previous issue date: 2015-03-16 / This thesis entitled "The historical, political and economic context of symphony orchestras in Brazil" is based on research which presumes that "political, economic and cultural changes occurring in both national and international scenes are fueling the transformation of orchestral practices in Brazil." The research focused on political and economical changes that occurred during the defined period for this investigation - the last 30 years and, thus, allowed and enabled qualitative changes to occur in the context of symphonic ensembles in Brazil. This investigation focused on orchestral ensembles and sought to analyze groups prioritizing symphonic repertoire, which also included concertante works among other selections using choir and/ or vocal soloist. It was observed that: the connection between influential figures and entrepreneurs with ideas and consistent projects is at the heart of creation and success of quality orchestras; that changes in the international and national scene, in the late twentieth century, were crucial in the transformation of symphony orchestras in Brazil not to mention major developments in the country from 1990 to 2000.Based on this study, ranking of the five important Brazilian orchestras, some of them often referred to as world-class ensembles,include the Orquestra Sinfônica do Estado de São Paulo (Osesp), the Orquestra Sinfônica Brasileira (OSB), the Filarmônica de Minas Gerais , the Orquestra Sinfônica de Porto Alegre (Ospa) and the Orquestra Sinfônica do Teatro Nacional Claudio Santoro (OSTNCS), de Brasília. The research reveals that Osesp is unique as the most important orchestra and, coincidentally, its administration also serves as a model of excellence / Esta tese intitulada O contexto histórico, político e econômico de orquestras sinfônicas do Brasil está sustentada em investigação que tem como hipótese que a mudança econômica, política e cultural que ocorre no cenário nacional e internacional constitui o solo que sustenta a transformação da prática orquestral sinfônica no Brasil . A pesquisa realizada focou as mudanças políticas e econômicas havidas no período delimitado para esta investigação, ou seja, os últimos 30 anos, que permitiram e possibilitaram as mudanças qualitativas ocorridas no âmbito das orquestras sinfônicas do Brasil. No movimento de investigação, focou-se o cenário das orquestras sinfônicas e se buscou a análise dos grupos que têm como prioritário o repertório sinfônico, onde se incluiu, também, obras concertantes e que utilizavam coro e solista vocal. Observou-se que: a conexão entre o poder estabelecido e empreendedores com ideias e projetos consistentes constitui o cerne da criação e manutenção de orquestras de qualidade; que mudanças ocorridas no cenário internacional e nacional, no final do século XX, foram cruciais para a transformação de orquestras sinfônicas no Brasil, dando-se destaque, no Brasil às mudanças havidas de 1990 a 2000. Efetuou-se investigação sobre a qualificação de orquestras sinfônicas que podem ser consideradas como sendo de nível internacional ou, como denominado em inglês, uma orquestra world class. Com base nesse estudo, apresentou uma classificação de cinco importantes orquestras sinfônicas brasileiras, quais sejam, a Orquestra Sinfônica do Estado de São Paulo (Osesp), a Orquestra Sinfônica Brasileira (OSB), a Orquestra Filarmônica de Minas Gerais, a Orquestra Sinfônica de Porto Alegre e a Orquestra Sinfônica do Teatro Nacional Claudio Santoro (OSTNCS), de Brasília. Mostrou-se que a Osesp ocupa isoladamente o lugar de destaque na classificação efetuada e que se transformou em modelo de gestão de orquestra dentro do Brasil