Made available in DSpace on 2016-04-29T14:17:59Z (GMT). No. of bitstreams: 1 Vera Nubia Santos.pdf: 54491098 bytes, checksum: eb4a424060e5dd7cc469b923ca2188a7 (MD5) Previous issue date: 2009-11-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The reflection in this work aims to remember the Youth s Symphonic Orchestra Project from Sergipe, developed in 2005 and 2006 in the cities from Aracaju and Itabaiana, as a privileged activity of an art expression, shown as a form of social inclusion for children and young people. It used as a theoretical-methodological orientation Georg Lukács and Ernst Fisher s reflections in the sense of the appropriation of the art as a reality reflection and a need of the social being. This indication s objective was to understand the art as a mediation possibility in the Social Work, with a special attention to the development of a project that, maintained by the State s support, can only be continued with the help of a civil society entity. The relation between the State and the Society represents, in this sense, one of the central elements to understand the appearing and the decadence of this project. The documental research, the use of printed report and the project s coordinator and conductor s interview could make this thesis possible. The subtleties, that were not always in evidence while the project was being developed, were scrutinized and the mediation possibility between involved people and the social reality was elucidated / A reflexão contida neste trabalho visa a rememorar o Projeto Orquestra Sinfônica Jovens de Sergipe, desenvolvido nos anos de 2005 e 2006 nas cidades de Aracaju e Itabaiana, como uma atividade privilegiada de expressão da arte, apontada como uma forma de inclusão social para crianças e jovens. Traz como orientação teóricometodológica as reflexões de Georg Lukács e Ernst Fisher no tocante à apropriação da arte como reflexo da realidade e como uma necessidade do ser social. Objetivase com essa indicação, compreender a arte como uma possibilidade de mediação no Serviço Social, com especial atenção ao desenvolvimento de um projeto que, mantido com apoio do Estado, só pode ser continuado sob o amparo de uma entidade da sociedade civil. A relação entre Estado e Sociedade representa, neste sentido, um dos elementos centrais para entender o alvorecer e o ocaso desse projeto. A pesquisa documental, o uso de reportagens impressas e a entrevista com o coordenador do projeto e maestro da orquestra possibilitou à tese Projeto Orquestra Sinfônica Jovens de Sergipe. Arte e História perscrutar as sutilezas nem sempre evidenciadas quando do seu desenvolvimento e elucidar nesse projeto a possibilidade de mediação entre os sujeitos envolvidos e a realidade social

[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

The present diploma thesis deals with the specifics of employment relationships of symphonic orchestra players in the Czech Republic. Individual chapters outline many aspects of this activity from historical view of orchestral tradition on the territory of the present Czech Republic, up to individual internal mechanisms of the functioning of symphonic orchestras, like the establishing of employment relationship on the competitive basis, the position of functional players within the system of orchestra work, the schedule of working hours and job description of an orchestra player, care for employees, health hazards of that profession etc. The basic activity of symphonic orchestras is their concert activity, where concerts take place on a domestic stage of each orchestra, but very often also as concert tours for economic, educative and comparative purposes. The author of this thesis elucidates the role of a conductor as the main manager, who is responsible for the artistic result of the whole orchestra. This part of the thesis is complemented by an exclusive interview with maestro Jiří Bělohlávek, the Music Director and Chief Conductor of the Czech Philharmonic Orchestra. The author also deals with the role of the artistic board, the main advisory body of the orchestra management on artistic issues. Other...

De 1913 à 1947, entre la première prestation de ses choeurs jusqu’au décès de sa fondatrice, Marguerite Le Meignen, la Schola Cantorum de Nantes connaît une activité ininterrompue malgré deux guerres mondiales et un contexte politique agité. Le groupement naît dans une ville prospère avant la Première Guerre mondiale où la vie musicale est fort diversifiée, le théâtre lyrique occupant cependant la première place. Grâce à Marguerite Le Meignen, une femme à la très forte personnalité, une société de concerts voit le jour. Très solidement organisée, sachant communiquer avec brio, elle propose des programmes variés tant l’hiver que l’été. Le lien avec la Schola Cantorum de Paris fondée par Vincent d’Indy, affirmé avec conviction au début de l’apparition de la Schola de Nantes, se relâche très rapidement pour laisser place à une réalisation originale. La place hégémonique de Marguerite Le Meignen qui domine la vie musicale nantaise pendant trente-quatre ans, empêche la pluralité, même si elle finit par être en concurrence avec d’autres groupements symphoniques dont le principal, l’Association des Concerts Symphoniques du Conservatoire de Nantes préfigure l’actuel Orchestre National des Pays de la Loire. / From 1913 to 1947, since the first choirs performance to the death of her founder, Marguerite Le Meignen, Nantes Schola Cantorum experienced an uninterrupted activity, despite two world wars and a disturbed political context. The group is born in Nantes, a flourishing town before WWI where musical life is greatly diversified, despite the predominance of lyric theater. Thanks to Marguerite Le Meignen, a very strong personality, a concert company comes. With a great sense of organization, knowing how to communicate with brio, she suggests various programs both winter and summer. The link with Paris Schola Cantorum founded by Vincent d’Indy, assured with conviction at the creation of Nantes Schola, soon vanished very quickly. Marguerite Le Meignen’s hegemonic place, dominating Nantes musical life during thirty-four years, prevented plurality, evenif she ends up competing with other symphonic bands, particulary the famoust « Association des Concerts Symphoniques du Conservatoire de Nantes » who prefigures the actuel « Orchestre National des Pays de la Loire ».