Opening Doors: Orchestras, Opera Companies and Community Engagement investigates the ways in which the classical music industry is reinventing its sense of purpose, never a more important or urgent pursuit than in the present decade.
Opening Doors: Orchestras, Opera Companies and Community Engagement investigates the ways in which the classical music industry is reinventing its sense of purpose, never a more important or urgent pursuit than in the present decade.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Emily Dollman is the Head of Music Education and Pedagogy at the Elder Conservatorium of Music, University of Adelaide, and founding Artistic Director of the Open Music Academy. Emily's background combines extensive experience as an international professional violinist with a long-standing commitment to music education and instrumental pedagogy.
Inhaltsangabe
Introduction; 1. Musicians Offstage: an overview of the aims and activities of orchestral and opera education and community engagement programmes; 2. Origins and Development: understanding the early history of orchestral and opera education and community engagement programmes; 3. Working Together: models of partnership delivery of music education; 4. Leading the Way: Case studies of orchestral and opera education and community engagement programmes; 5. Orchestras Building Communities: the El Sistema model and its global influence; 6. Creative Music Making: the new role of animateurs and teaching artists; 7. New Roles, New Skills: implications for the tertiary training of classical musicians; 8. Virtual Music Making: Classical music engagement utilising digital and online technology; 9. Music, Health, and Wellbeing: benefits for both musicians and participants; 10. A Second Pillar, or Working on the Fringe? A summary of the current situation and examination of future developments; Conclusion; Index
Introduction; 1. Musicians Offstage: an overview of the aims and activities of orchestral and opera education and community engagement programmes; 2. Origins and Development: understanding the early history of orchestral and opera education and community engagement programmes; 3. Working Together: models of partnership delivery of music education; 4. Leading the Way: Case studies of orchestral and opera education and community engagement programmes; 5. Orchestras Building Communities: the El Sistema model and its global influence; 6. Creative Music Making: the new role of animateurs and teaching artists; 7. New Roles, New Skills: implications for the tertiary training of classical musicians; 8. Virtual Music Making: Classical music engagement utilising digital and online technology; 9. Music, Health, and Wellbeing: benefits for both musicians and participants; 10. A Second Pillar, or Working on the Fringe? A summary of the current situation and examination of future developments; Conclusion; Index
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