scholarly journals ORKES SIMFONI DALAM PERSPEKTIF HABITUS BOURDIEU

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Y. Edhi Susilo
Keyword(s):  
Middle Class ◽  
Symphony Orchestra ◽  
Symphony Orchestras ◽  
Orchestra Music

Symphony orchestra in Indonesia according to the perspective of “habitus Bourdieu” has managed tocreate a middle-class symphony orchestra music. Habitus is in the process of producing and reproducingthe group, and when the group was awakened, finally realizing that he is a group. The existence ofa symphony orchestra in Indonesia was pioneered by Radio Orchestra and Orchestra Studio in RRIJakarta in 1950. In 1966 on the initiative of Ali Sadikin, both the orchestra and being joins with nameOrkes Simfoni Jakarta (OSJ). OSJ as outset of symphony orchestra in Indonesia, further influencingthe emergence of various symphony orchestras such as: University of Indonesia Symphony Orchestra(1983), Twilite Orchestra (1991), Surabaya Symphony Orchestra (1996), Nusantara Symphony Orchestra(2000), Gita Bahana Nusantara (2003 ), and others.

Musical ambition and community-building in Trinidad and Tobago’s steel orchestras

2018 ◽  
Author(s):  
Shannon Dudley
Keyword(s):  
Trinidad And Tobago ◽  
National Culture ◽  
Community Building ◽  
Symphony Orchestra ◽  
Ethnographic Research ◽  
Musical Expression ◽  
Symphony Orchestras ◽  
The Social ◽  
The Government

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 through the lens of ethnographic research, published scholarship, and my own experience playing in both steelbands and symphony orchestras. I examine some ways in which steelbands have adopted, and adapted, the model of the symphony orchestra, and consider the implications of these changes for community building, focusing especially on the repertoire and procedures of the annual Panorama steelband competition.

Re-inventing and Re-shaping the Symphony Orchestra for Sustainability

2021 ◽  
pp. 113-124
Author(s):  
Gerald Ng Kea Chye
Keyword(s):  
Performing Arts ◽  
Symphony Orchestra ◽  
Technological Equipment ◽  
Economic Uncertainty ◽  
Symphony Orchestras ◽  
Digital Platforms ◽  
Equipment Cost ◽  
Current Events ◽  
To Come ◽  
Orchestral Musicians

The performing arts industry has always been an ever-evolving industry due to the creative nature of this industry. Although the symphony orchestra has not seen much physical dramatic changes since perhaps the late 1800’s, current events worldwide such as the outbreak of the Covid-19 pandemic, the economic uncertainty as well as technological advancements has seen the operations of many symphony orchestras hitting the pause button, many unsure if the orchestra might resume their operations. Symphony orchestras worldwide are forced to come out with various ideas to re-invent and re-shape itself. This paper aims to examine the possibilities of how a symphony orchestra, an institution that is heavily dependent on audiences filling up their concerts is re-inventing itself in order to sustain their very existence. Ongoing efforts such as digitalising ‘live’ concerts through digital platforms and other arising issues such as choice of technological equipment, cost and revenue as well as the perception of orchestral musicians and audiences of such re-invention and re-shaping of the symphony orchestra will be discussed. The findings from this paper may be used to further develop the ideas of re-invention and re-shaping symphony orchestras based on the demands and needs of each individual orchestra.

scholarly journals An Orchestral Audience: Classical Music and Continued Patterns of Distinction

2014 ◽  
Vol 8 (4) ◽  
pp. 483-500 ◽  
Author(s):  
Garry Crawford ◽  
Victoria Gosling ◽  
Gaynor Bagnall ◽  
Ben Light
Keyword(s):  
Middle Class ◽  
Focus Groups ◽  
Mixed Method ◽  
Collaborative Research ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Mobile Telephone ◽  
Sample Group ◽  
System A ◽  
Method Approach

This paper considers the key findings of a year-long collaborative research project focusing on the audience of the London Symphony Orchestra and their introduction of a new mobile telephone (‘app’) ticketing system. A mixed-method approach was employed, utilizing focus groups and questionnaires with over 80 participants, to research a sample group of university students. This research develops our understanding of classical music audiences, and highlights the continued individualistic, middle-class, and exclusionary culture of classical music attendance and patterns of behaviours. The research also suggests that a mobile phone app does prove a useful mechanism for selling discounted tickets, but shows little indication of being a useful means of expanding this audience beyond its traditional demographic.

scholarly journals AN ANALYSIS ON THE PROCESS OF BECOMING AN “ORCHESTRAL MUSICIAN” IN ISTANBUL STATE SYMPHONY ORCHESTRA

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Private Sector ◽  
Classical Music ◽  
Descriptive Analysis ◽  
Symphony Orchestra ◽  
The State ◽  
Ethnographic Research ◽  
Affecting Factors ◽  
Symphony Orchestras ◽  
Important Place ◽  
History Of

Symphony orchestras are institutions that have been serving in the field of classical music for centuries. The history of the symphony orchestras in Turkey is not as old as the Europe orchestras. These orchestras have been supported both by the state and the private sector. The symphony orchestras which continue to work under state auspices have gained an important place in the field of art by giving concerts regularly since their establishment. The structure and works of the symphony orchestras have been studied by researchers who are in the fields of management, organisational studies and psychology. The subjects of these researches, largely conducted with the participation of orchestra members, have been determined to be as leadership, interaction between the conductor and orchestra members, or interaction between orchestra and audience. For this reason, this study focuses on explaining the concept of orchestral musician (“orkestracı”) as the result of the ethnographic research conducted with members of the Istanbul State Symphony Orchestra. Becoming an orchestral musician has been considered here as a particular process and its affecting factors have been explained in a descriptive analysis. Keywords: Classical music, symphony orchestra, becoming an orchestral musician, interaction, etnomusicology

The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene

2021 ◽  
Vol 61 (1-2) ◽  
pp. 149-159
Author(s):  
Georgia Petroudi
Keyword(s):  
Twentieth Century ◽  
Chamber Music ◽  
Cultural Context ◽  
Symphony Orchestra ◽  
Cultural Institutions ◽  
Symphony Orchestras ◽  
Music Festivals ◽  
Music Scene ◽  
Concert Programming ◽  
Concert Programs

The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.

Book Reviews

2012 ◽  
Vol 50 (3) ◽  
pp. 825-828
Keyword(s):  
Public Management ◽  
Symphony Orchestra ◽  
The United States ◽  
Management Program ◽  
Government Support ◽  
Symphony Orchestras ◽  
The Public ◽  
International Labor ◽  
Private Support ◽  
Economic Future

Joshua Rosett of Claremont McKenna College reviews “The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges” by Robert J. Flanagan. The EconLit abstract of the reviewed work begins: Analyzes the economic challenges facing U.S. symphony orchestras and contrasts the experiences of orchestras in the United States and abroad. Discusses surpluses, deficits, and symphony orchestras; why surpluses are so difficult to maintain; cost disease or business cycles; snapshots of symphony orchestra finances; the search for symphony audiences; artistic and nonartistic costs; government support of orchestras; private support of orchestras; symphony orchestra endowments and governance; how other countries support their orchestras; and the economic future of symphony orchestras. Flanagan is Konosuke Matsushita Professor of International Labor Economics and Policy Analysis, Emeritus, and Director of the Public Management Program at the Stanford Graduate School of Business. Index.

The Great Symphony Orchestra — A Relatively Good Place to Grow Old

1988 ◽  
Vol 27 (4) ◽  
pp. 233-247 ◽  
Author(s):  
David W. E. Smith
Keyword(s):  
Symphony Orchestra ◽  
Advanced Age ◽  
String Instruments ◽  
Symphony Orchestras ◽  
Good Place ◽  
Brass Instruments

The retired musicians of one of America's great symphony orchestras were interviewed. Their careers, which began in the 1930s and 1940s, were long, with retirement sometimes occurring when they were well over seventy years old. Older players were valued for their excellence and experience and were difficult to replace. Obsolescence was not a problem, and the gradual deterioration of playing with age was generally not incompatible with working to an advanced age. Players of string instruments had longer careers than players of woodwind and brass instruments. The players liked their careers and usually cited artistic reasons and the current reputation of the orchestra for their satisfaction. Although the musicians continue to love music and listen to it after retirement, few continue to play seriously.

The British symphony orchestra and the Arts Council of Great Britain

2018 ◽  
Author(s):  
Benjamin Wolf
Keyword(s):  
Great Britain ◽  
Fine Arts ◽  
Symphony Orchestra ◽  
Cultural Economics ◽  
Symphony Orchestras ◽  
Artistic Value ◽  
The Arts ◽  
Limited Support ◽  
Successful Execution ◽  
The Relationship

This chapter explores the relationship between British symphony orchestras and the Arts Council of Great Britain. Combining archival research with institutional sociology and cultural economics, it describes how the Arts Council’s demands changed between 1946 and 2000, and how financial and ideological constraints prevented the successful execution of some of these demands. Between 1946 and 1980, symphony orchestras were encouraged to focus on professional performances of the ‘fine arts’ and the performance of music by living composers. Subsequently the 1980s and 1990s witnessed a collapse in traditional ideas of artistic value and a growth in bureaucratized management, with symphony orchestras undergoing time-consuming appraisal procedures, expanding their educational activities and demonstrating limited support for the arts of ethnic minorities. Overall, the chapter suggests that the ideologies of subsidised support were in tension with each other, leading to only partial achievement of the goals that were set out by the Arts Council.

Sir Thomas Beecham—Some Personal Memories

Tempo ◽  
1961 ◽  
pp. 2-3
Author(s):  
Richard Arnell
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Symphony Orchestra ◽  
New Age ◽  
Symphony Orchestras ◽  
New York Philharmonic ◽  
Virgil Thomson ◽  
Carnegie Hall

I first met Sir Thomas Beecham in New York and in the Green Room at Carnegie Hall after a concert. Although I cannot remember which orchestra he was conducting, it was possibly the Rochester Symphony Orchestra. Due, I was told, to various feuds with important managements, Sir Thomas never conducted either the New York Philharmonic or the Boston Symphony Orchestras, at least not during the period I knew him there, from 1941 until his return to London in 1944. I had been introduced by his assistant John Barnett and was also armed with the encouragement of critic-composer Virgil Thomson, a friend and admirer of Sir Thomas, who had heard John rehearsing my overture, The New Age. This work was later rejected by the committee of the New York City Symphony, a group of unemployed musicians working under the W.P.A., a kind of dole. Partly from anger at what he thought an unjust decision, Barnett arranged my introduction to Sir Thomas.

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