This internship with the Louisiana Philharmonic Orchestra, a nonprofit arts organization, was from June 25, 2001 through September 25 ,2001, and is required in partial fulfillment of a Masters Degree in Arts Administration from the University of New Orleans. My internship involved work with the Development, Accounting, Marketing/PR, and Grants and Special Projects departments. This report details the tasks for which I was responsible. The Louisiana Philharmonic Orchestra has a unique governance structure, as this organization is the only musician owned and operated symphony orchestra organization in North America. This report also outlines the organizations' structure and discusses issues and prescriptions as they relate to this unprecedented governance framework.

This report provides an analysis of an internship with the Louisiana Philharmonic Orchestra during the Summer and Fall of 1996. The report highlights the history and management style of the Louisiana Philharmonic Orchestra plus the numerous assignments of the intern. Additionally, suggestions are made for improvements in the functioning of the organization. Appendices are found at the conclusion of thepaper. All information is based on the 1995-1996 and 1996-1997 seasons unless otherwise noted.

This thesis is a description of my graduate internship with the Louisiana Philharmonic Orchestra. The internship occurred during the University of New Orleans Spring Semester 1998.

This thesis describes a graduate student's internship an analysis of the offices of the Louisiana Philharmonic Orchestra. The internship took place during the University of New Orleans' 1994 fall semester. The Louisiana Philhannonic is a pioneering arts organization that is owned and operated by its own orchestra players. The organization's primary goal is to introduce the highest possible quality music to the Gulf Coast region. The information in this document primarily discusses the Departments of Marketing and Audience Development and Advertising. The information in this document is based on personal experiences during the time of the internship.

Design of Moravian Slesian Philharmonic in Ostrava. The concept of vertical foyer to make this institution more open to the city and society. The visual connection between people inside of foyer and people on the square.

Ostrava as a minig town, Ostrava as a black city. The Moravian Philharmonic Orchestra Ostrava as Black Pearl. Object Philharmonic has a raw lump of coal situated at Black Meadow site, the former heap. The building is a single mass laceration and shaped by the action of time, relative motion and contact materials are to each other and breaking moves. Tectonics of the facade symbolize brutality material, the piece of coal. On its surface has many different faces, edges, ridges and grooves. It is divided into layers of solid material, opaque and transparent gloss of the opening to the surroundings, providing visual contact with the interior and its interaction with the exterior. Inside, as the energy in coal is burning up, tuned in warm orange tones. It has the power to evoke heat of building, especially at night when during concert. Urban solving a broader relationship Philharmonic building is situated in the area of Black Meadow. The site is in close contact with cents and direct linkage to Masaryk Square. Philharmonic with its position linking a group of cultural objects, which are oriented in Theatre Street. The line begins at the Music Gallery Square, Philharmonic continues to object, bandstand, puppet shows to the theater of Antonin Dvorak. The building is oriented with its longitudinal axis in the direction northeast - southwest. The orientation of the main facade of the north side and is oriented to the Music of the square.

Thesis (Ph.D.)--Tufts University, 1972. / Submitted to the Dept. of Drama. Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Volume of philharmonic is opened to the square. The volume is devided to three parts.

Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2008.

During the time of Nazism, arts and music were severely curtailed by the Nazi machinery. Two of the Reich’s foremost orchestras, the Berlin and the Vienna Philharmonics, were both part of the cultural Gleichschaltung that occurred within the German Reich. Dealing differently with their new patrons, the orchestras developed a mixture of political cooperation, opportunism and opposition. While at times the orchestras attempted to bypass Nazi ideology and policies, such as in the case of the forced layoff of their Jewish members, the high party membership in Vienna in particular underlines how ambivalent reactions and attitudes towards the Hitler regime could be. While both orchestras underwent significant internal structural changes, the history of both philharmonic orchestras resembles one of privileged status and preferential treatment during the Third Reich.