becoming-an-orchestral-musician

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Becoming an Orchestral Musician covers such crucial topics as music colleges versus universities; auditioning; the secrets of ensemble playing and intonation; conductors; the orchestra; performing philosophies; and strategies for success. The matter of how to explore and adapt one’s musical psyche, the pitfalls of a career in music, and the highs and lows of performing are also discussed, in addition to the history, mythology, and science of music-making. It is invaluable reading for all practicing and aspiring orchestral musicians as well as parents of budding instrumentalists. Richard Davis is Principal Flute of the BBC Philharmonic and Senior Lecturer and orchestral coach at the Royal Northern College of Music.

This guide to the orchestra and orchestral life is unique in its breadth of coverage. It combinesorchestral history and repertory with a practical bias offering critical thought about the past, present and future of the orchestra. Including topics such as the art of orchestration, scorereading, conducting, international orchestras, recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener, it will be of interest to a wideranging readership of music historians and professional or amateur performers.

For 26 years I had the best seat in the house - often in the center of the stage, frequently in the spotlight, always in the clear view of conductors and the audience and constantly amid the passions that come with making good music. This is the story of how I got that seat, of many of the highs and a few of the lows that come with sitting there and of some of the wonderful people who shared my journey. Here are the details behind the creation of William Kraft's Timpani Concerto Number One, the mystery of being honored with a titled chair, the fun of playing on the ISO's softball team and the benefits of studying timpani with Freddie, Eddie and Dan. Carnegie Hall became a special place, conductors from Richard Lert to Henry Mancini earned my respect, and I had an insider's view of the major leagues of orchestral music. Away from music, I led another life as a sportscaster, broadcasting games and interviewing many of America's finest athletes. A little of that slips into these pages, too. There was never a dull moment Behind The Copper Fence. keywords: Music, Percussion, Timpani, Memoir, Orchestra, Indianapolis Symphony Orchestra, Roanoke, CCM, Auditions, William Kraft

Activating Diverse Musical Creativities analyses the ways in which music programmes in higher education can activate and foster diverse musical creativities. It also demonstrates the relationship between musical creativities and entrepreneurship in higher education teaching and learning. These issues are of vital significance to contemporary educational practice and training in both university and conservatoire contexts, particularly when considered alongside the growing importance of entrepreneurship, defined here as a type of creativity, for successful musicians working in the 21st century creative and cultural industries. International contributors address a broad spectrum of musical creativities in higher education, such as improvisational creativity, empathic creativity and leadership creativity, demonstrating the transformative possibilities of embedding these within higher music education teaching and learning. The chapters explore the active practice of musical creativities in teaching and learning and recognize their mutual dependency. The contributors consider philosophical and practical concerns in their work on teaching for creativity in higher music education and focus on practices using imaginative approaches in order to make learning more interesting, effective and relevant.

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