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Why are the violins the biggest section in the orchestra?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/laura-case-1449631">Laura Case</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> As the largest section of the orchestra, sitting front and centre of the stage performing memorable melodies, it’s easy for violinists to steal the limelight. Ask any violinist why there are so many in an orchestra, and we’ll often reply, tongue-in-cheek: “obviously it’s because we’re the best”. The real answer is a bit more complex, and combines reasons both logistical and historical. <h2>How we got the modern orchestra</h2> During the Baroque period between around 1600 and 1750, the composition of the orchestra was not standardised, and often used instruments based on availability. Monteverdi’s opera L'Orfeo, which premiered in 1607, is one of the earliest examples of a composer specifying the desired <a href="https://en.wikipedia.org/wiki/L%27Orfeo">instrumentation</a>. The size of the orchestra also varied. Johann Sebastian Bach wrote for and worked with ensembles of up to 18 players in Germany. At Palazzo Pamphili in Rome, Corelli directed ensembles of 50–80 musicians – and, on one notable occasion to celebrate the coronation of Pope Innocent XII, <a href="https://www.britannica.com/biography/Arcangelo-Corelli">an ensemble of 150 string players</a>. The modern-day violin was also developed around this time, and eventually replaced the instruments of the <a href="https://en.wikipedia.org/wiki/Viol">viol</a> family. The violin has remained a staple member of the orchestra ever since. Music of this period was created on a smaller scale than much of the repertoire we hear today, and often placed a strong focus on string instruments. As the orchestra became more standardised, members of the woodwind family appeared, including the oboe, bassoon, recorder and transverse flute. During the classical period from around 1730 to 1820, orchestral performances moved from the royal courts into the public domain, and their size continued to grow. Instruments were organised into sections, and bowed strings formed the majority. Composers began to use a wider range of instruments and techniques. Beethoven wrote parts for the early double bassoon, piccolo flute, trombone (which was largely confined to church music beforehand), and individual double bass parts (where previously they had often doubled the cello part). During the romantic period of the 19th century, composer Hector Berlioz, author of a <a href="https://en.wikipedia.org/wiki/Treatise_on_Instrumentation">Treatise on Instrumentation and Modern Orchestration</a> (1841), further developed the symphony orchestra by adding instruments such as the tuba, cor anglais and bass clarinet. By the end of the 19th century, many orchestras reached the size and proportions we recognise today, with works that require more than 100 musicians, such as Wagner’s <a href="https://www.youtube.com/watch?v=3zMi2ncdrF4">Ring Cycle</a>. <h2>What’s size got to do with it?</h2> As increasing numbers of performers and instruments became standard in orchestral repertoire, ensembles became louder, and more string players were needed to balance the sound. The violin is a comparatively quiet instrument, and a solo player cannot be heard over the power of the brass. Having violinists at the front of the stage also helps the sound reach the audience’s ears without competing to be heard over the louder instruments. The typical layout of the orchestra has not always been standard. First violinists (who often carry the melody) and second violinists (who typically play a supportive role) used to sit opposite each other on stage. US conductor <a href="https://en.wikipedia.org/wiki/Leopold_Stokowski">Leopold Stokowski</a> rearranged the position of the first and second violinists during the 1920s so they sat next to each other on the left of the stage. This change meant the voices of each string section were arranged from high to low across the stage. <figure><iframe src="https://www.youtube.com/embed/mohRnauSkdY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> This change was widely adopted and has become a standard setup for the modern orchestra. Stokowski is known for experimenting with the layout of the orchestra. He once placed the entire woodwind section at the front of the orchestra ahead of the strings, receiving widespread criticism from the audience and musicians. The board of the Philadelphia Orchestra <a href="https://www.courtneylewis.com/blog/2017/04/musical-chairs-why-orchestras-sit-the-way-they-do/">allegedly said</a> the winds “weren’t busy enough to put on a good show”. <h2>Sound, texture and timbre</h2> String players do not need to worry about lung capacity or breaking for air. As such, violinists can perform long melodic passages with fast finger work, and our bows allow for seemingly endless sustain. Melodies written for strings are innumerable, and often memorable. Having several violinists play together creates a specific sound and texture that is distinct from a solo string player and the other sections of the orchestra. Not only is the sound of every violin slightly different, the rate of each string’s vibration and the movement of each player’s bow varies. The result is a rich and full texture that creates a lush effect. <figure><iframe src="https://www.youtube.com/embed/3u-unvYedx8?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Today, symphony orchestras are expected to perform an incredibly diverse range of repertoire from classical to romantic, film scores to newly commissioned works. Determining the number of violinists who will appear in any given piece is a question of balance that will change depending on the repertoire. A Mozart symphony might require fewer than ten wind or brass players, who would be drowned out by a full string section. However, a Mahler symphony requires more than 30 non-string players – meaning far more string players are needed to balance out this sound. <figure><iframe src="https://www.youtube.com/embed/vOvXhyldUko?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Room for experimentation</h2> Notable exceptions to the orchestra’s standard setup include Charles Ives’ 1908 <a href="https://www.youtube.com/watch?v=u-d8JSZE2Bc">The Unanswered Question</a> for string orchestra, solo trumpet and wind quartet spread around the room; Stockhausen’s 1958 <a href="https://www.youtube.com/watch?v=34_SfP7ZCXA">Gruppen, pour trois orchestres</a>, in which three separate orchestras perform in a horseshoe shape around the audience; and Pierre Boulz’s 1981 <a href="https://www.youtube.com/watch?v=OQE5TYnD58k">Répons</a> featuring 24 performers on a stage surrounded by the audience, who are in turn surrounded by six soloists. Despite experimentation, the placement and number of instruments in an orchestra has remained relatively standard since the 19th century. <figure><iframe src="https://www.youtube.com/embed/u-d8JSZE2Bc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Many aspects of the traditional orchestra’s setup make sense. However, many of the orchestra’s habits come down to tradition and perhaps unconscious alignment with “just the way things are done”.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/236596/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/laura-case-1449631">Laura Case</a>, Lecturer in Musicology, Sydney Conservatorium of Music, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-are-the-violins-the-biggest-section-in-the-orchestra-236596">original article</a>. </div>

Music

What does a conductor actually do? A surprising amount

At the age of three, I remember jumping on my parent’s sofa, waving my arms in the air conducting a record of <a href="https://www.britannica.com/topic/The-Pirates-of-Penzance">Gilbert and Sullivans Pirates of Penzance</a>. Last week, my four-year-old son was doing the same thing, only to the soundtrack of Disney’s Frozen. “What are you doing?” I said. “I am being you, Daddy,” he replied as he continued directing his imaginary orchestra. I felt a heartstring pluck and I remembered as a child getting excited at the music and just letting my arms wave and wiggle. Fifty years later I do it for real. But what conductors actually do can be a bit of a mystery. It’s a misconception that the sole purpose of a conductor is to wave their arms around <a href="https://www.youtube.com/watch?v=z_yIn8V3UcU">while the musicians follow</a>. Yes, the animation signifies the speed and placement of a beat of music, but have you seen any two conductors wave their arms around in the same way? In most cases, their work takes place well before an audience sees them on the concert platform. <h2>Physical communication</h2> A conductor is a translator visualising their interpretation of little black dots on a page into an audible delight. Yes, they hold their musicians together on the day, but their primary importance is to feed an interpretation to the musicians, encouraging them to communicate a melodic and rhythmic message to the best of their capabilities. A conductor works at different levels ranging from educational, amateur and professional situations with different genres such as choral, orchestral, opera and musical. In all categories standards, styles and techniques vary, so the job is challenging, often requiring a unique and <a href="https://www.youtube.com/watch?v=diwV2HGKerE">eccentric approach</a>. A good conductor has a bag of tricks (developed through experience) to call upon for any musical situation. For example, the proximity between my hands influences volume. The closer my hands are together, the softer I want the choir to be, the larger the distance, the louder the sound. Primarily we are communicators, both verbal and physical. Conductors need to form a relationship with their musicians: trust, skill and leadership are essential. The physical becomes important when verbal is not possible (when the audience is present and in earshot). This is when the arm waving comes into play. The movement in the left hand signifies dynamics, emotion and expression while the right hand is mainly used to signify speed and beat. Conductors have unique styles and skills. Watch <a href="https://www.youtube.com/watch?v=Qo45uRKIA8w">Igor Stravinsky</a>conduct and you will see how he keeps an exact beat, very rigid and solid with no emotion. He allows the musicians emotional control but leads the very difficult rhythmic timing, speeds and beat. He is a human metronome. <h2>Unique styles</h2> A conductor is also an educator. It is our job to coach musicians in the accuracy of music. You would think it’s an easier job when working with professionals than youngsters, but interpretation can lead to disagreements. Sometimes the music is incredibly difficult, sometimes musicians might not be prepared, so a degree of diplomacy is required to get the effect the conductor is after. Or, if you are Bernstein – arguably one of the greatest composers and conductors of the 20th century – nothing less than excellence is good enough and no diplomatic communication is possible. There is a famous excerpt that demonstrates the tension between Bernstein and the young tenor soloist Jose Carreras through rehearsals for the recording of Westside Story. It’s awkward and at times cringe worthy. They are both trying to create perfection. You can see communication and passion expressed through Bernstein’s face and then Carreras’ frustration at not being able to deliver the level of precision required. Conductors can seem to be the most <a href="https://www.youtube.com/watch?v=SkMEK7u0fAI">stubborn of breeds</a>. The late Romanian conductor <a href="https://theviolinchannel.com/sergiu-celibidache-played-by-actor-in-upcoming-film/">Sergiu Celibidache</a> is well known for his refusal to have his music recorded, believing it should only be heard in the concert hall. His determined attitude towards the orchestras he worked with was infamous, displaying strong views on and off the concert platform. However, his techniques worked and he is now seen as one of the greatest conductors of the 20th century. Conductors’ interpretations are different, every performance is unique. Each has developed a unique style to get the desired effect. The American conductor <a href="https://www.proscenium.at/kuenstler/joseph_olefirowicz_en.php">Joseph R. Olefirowicz</a> is known for his genius abilities and methods to deliver his interpretations. There’s an awful lot more going on than just arm waving, as <a href="https://www.youtube.com/watch?v=SJU0lC3iHaY">demonstrated in the beautiful clip above</a> of him conducting Candide. His unique and comic personality combined with his facial expressions convey his interpretation of the music to the orchestra who can’t help being infected by his charisma. You can see he keeps time with his body, not just his arms. Unfortunately, the audience rarely sees what he is doing as his back is to the auditorium. In comparison, British-German conductor <a href="https://www.youtube.com/watch?v=JbPmED_Xwn0">Simon Rattle</a> takes a much more relaxed body style to Candide, but the emotion he wants to convey is translated through facial expression and flowing arm movements. So, if you’re thinking about taking up the baton and waving those arms around, reflect on the weeks of rehearsals that get to the point of performance. Consider the months of planning to organise such a mass of people to perform and fill an auditorium. Finally, contemplate the years of practice undertaken by singers, musicians and the figure at the front, flapping their arms around, and that’s what a conductor does. Image credits: Getty Images This article originally appeared in <a href="https://theconversation.com/what-does-a-conductor-actually-do-a-surprising-amount-195988" target="_blank" rel="noopener">The Conversation</a>.

Music

Trailblazing musician and composer Ryuichi Sakamoto dies at 71

Composer and activist Ryuichi Sakamoto, the creative force behind The Last Emperor’s award-winning score and trailblazing member of Yellow Magic Orchestra, has passed away at the age of 71 following a second cancer diagnosis. Sakamoto died on March 28, as a statement released by his management team to his official website confirmed. “We are deeply saddened to announce the passing of artist and musician, Ryuichi Sakamoto,” it read. "While undergoing treatment for cancer discovered in June 2020, Sakamoto continued to create works in his home studio whenever his health would allow. "He lived with music until the very end.” “We would like to extend our deepest gratitude to his fans and all those who have supported his activities, as well as the medical professionals in Japan and the US who did everything in their power to cure him,” it continued, before going on to explain that his funeral service was “held among close family members” as per his wishes, and that they would be unable to accept “calls of condolences, offerings of incense or flowers, and the like.” To conclude the statement, the team shared one of Sakamoto’s favourite quotes, “‘Ars longa, vita brevis’. “Art is long, life is short.” Sakamoto’s art is perhaps what he will be remembered best for - by many, for his widely-renowned soundtracks, including those for Merry Christmas Mr Lawrence, the same film in which he starred alongside his friend, David Bowie. The team managing the late Bowie’s official Twitter account posted a tribute to Sakamoto in the wake of the news, writing, “REST IN PEACE RYUICHI SAKAMOTO … ‘Here am I, a lifetime away from you’” alongside a picture of the two, taken in Japan in 1983. <blockquote class="twitter-tweet"> REST IN PEACE RYUICHI SAKAMOTO “Here am I, a lifetime away from you...” Sad to learn of the passing of actor, composer, and producer <a href="https://twitter.com/ryuichisakamoto?ref_src=twsrc%5Etfw">@ryuichisakamoto</a>. The renowned Japanese artist passed on Tuesday 28th March aged 71. He won awards - including an Oscar, a Grammy and Bafta -… <a href="https://t.co/OZdRVnQyYW">pic.twitter.com/OZdRVnQyYW</a> — David Bowie Official (@DavidBowieReal) <a href="https://twitter.com/DavidBowieReal/status/1642598977785741318?ref_src=twsrc%5Etfw">April 2, 2023</a></blockquote> Sakamoto’s contribution to numerous music genres - including the likes of synth-pop, house music, and hip-hop - won’t be forgotten either. In the 1970s, he rose to fame as a member of the Japanese group Yellow Magic Orchestra, helping to lay the foundations for generations to come with their innovative electronic approach. In the 1980s, Sakamoto even joined forces with Iggy Pop for the 1987 hit ‘Risky’. “One of the greatest, most influential composers of our times,” tweeted one fan of his music mastery. “And I mean like really truly foundational levels of influence. Do you like electro? Hip hop? Video game music? Modern film scores? Jpop? Jrock? "Experimental music"? He was a pioneer of it all!" <blockquote class="twitter-tweet"> RIP to Ryuichi Sakamoto, one of the greatest, most influential composers of our times. And I mean like really truly foundational levels of influence. Do you like electro? Hip hop? Videogame music? Modern film scores? Jpop? Jrock? "Experimental music"? He was a pioneer of it all! <a href="https://t.co/IoFlJwL9OL">https://t.co/IoFlJwL9OL</a> <a href="https://t.co/HP1Jdfltkg">pic.twitter.com/HP1Jdfltkg</a> — Art-Eater ➡️⬇️↘️🐲👊 (@Richmond_Lee) <a href="https://twitter.com/Richmond_Lee/status/1642537126834339840?ref_src=twsrc%5Etfw">April 2, 2023</a></blockquote> And his success from 1987 wasn’t to stop there, with Sakamoto taking home the Academy Award for his score on the period epic The Last Emperor. While the award was presented at the 1988 ceremony, the film - directed by Bernardo Bertolucci, and telling the story of China’s last emperor, Puyi - was released the previous year. The score also saw him take home a Grammy and a Golden Globe for his work. As the Japan Film Society wrote on Twitter, Sakamoto was “a singular artist whose contributions to music and film remain unparalleled.” <blockquote class="twitter-tweet"> R.I.P. Ryuichi Sakamoto (1952-2023), a singular artist whose contributions to music and film remain unparalleled. <a href="https://t.co/FUKyvHWRf9">pic.twitter.com/FUKyvHWRf9</a> — Japan Society Film (@js_film_nyc) <a href="https://twitter.com/js_film_nyc/status/1642515647388176385?ref_src=twsrc%5Etfw">April 2, 2023</a></blockquote> In 2007, Sakamoto branched out again, founding a conservation organisation known as More Trees, with the goal of promoting sustainable forestry in Japan, Indonesia, and the Philippines. Reportedly, Sakamoto even contacted the Tokyo governor shortly before his passing, continuing his mission to protect Japan’s tree cover. And in 2011, Sakamoto turned his influence into activism yet again in the wake of the Fukushima meltdown when he organised a concert against nuclear power. <blockquote class="twitter-tweet"> <a href="https://t.co/mYLMEN6HrZ">pic.twitter.com/mYLMEN6HrZ</a> — ryuichi sakamoto (@ryuichisakamoto) <a href="https://twitter.com/ryuichisakamoto/status/1642507238467309568?ref_src=twsrc%5Etfw">April 2, 2023</a></blockquote> Images: Getty

Caring

I’m going to a classical music concert for the first time. What should I know?

Classical music is surprisingly controversial. For some, it’s a pinnacle of cultural achievement. For others it perpetuates class inequality and <a href="https://global.oup.com/academic/product/class-control-and-classical-music-9780190844356?cc=au&lang=en&">upholds</a> “white middle class social domination”. To controversy, we can add contradiction! We love to hear the instruments and idioms of classical music in film and television (think of the theme from The Crown or the music from the Harry Potter films), but experience has shown classical music is most effective at <a href="https://www.wqxr.org/story/classical-music-actually-effective-fighting-crime/">repelling loiterers</a> from public spaces. Engaging with the controversy and contradiction of this music requires more than streaming a minute or two of Mozart. <a href="https://pubmed.ncbi.nlm.nih.gov/23959902/%5D">Research shows</a> we make better judgements about music when hearing and seeing it, and classical music was designed to be experienced live. So are you considering giving classical music a go? Here are some tips for first-time concert goers. <h2>Where should I start?</h2> Concerts range from intimate performances by solo players to major works for choir and orchestra featuring hundreds of musicians. Terms like “chamber” (small ensembles like string quartets), “choral” (choirs large and small), “orchestral” (ranging from larger string ensembles to giant collections of strings, winds, brass and percussion) and “opera” (companies of musicians that include orchestral players, solo singers and sometimes a chorus) describe different groups of musicians. Each has its own repertoire and a dizzying array of terms (such as <a href="https://en.wikipedia.org/wiki/Aria">aria</a>, <a href="https://en.wikipedia.org/wiki/Concerto">concerto</a>, <a href="https://en.wikipedia.org/wiki/Sinfonia">sinfonia</a>, <a href="https://en.wikipedia.org/wiki/Oratorio">oratorio</a> and <a href="https://en.wikipedia.org/wiki/Cantata">cantata</a>) help describe the pieces these ensembles perform. The more you get to know classical music, the more you’ll understand and appreciate the terminology. One of the most common types of classical music you’ll come across is a symphony. A symphony is a substantial orchestral work with different sections or “movements”, each with a different character and tempo. Though the term “symphony” became popular in the 18th century, composers are still writing symphonies today. Symphonies differ in purpose and duration. They can be as short as ten minutes and as long as two hours. Sammartini’s Symphony in F from 1740, for example, has three movements and lasts about ten minutes. Its movements have simple, direct structures that aren’t too far removed from pop songs in terms of complexity and scope. Mahler’s third symphony from 1896, on the other hand, has six movements and lasts for 90 minutes. Its breadth and complexity are astounding. I would suggest a first timer selects an orchestral concert with multiple pieces on the program. You will get to enjoy the spectacle of many musicians and many different instruments. You’re also likely to be exposed to the work of composers from different times and places. If money is a concern, many orchestras put on <a href="https://concreteplayground.com/melbourne/event/the-msos-2023-sidney-myer-free-concerts">free concerts</a>. <h2>What should I expect?</h2> Classical music is pretty diverse. Just as rock ’n’ roll traverses anything from Buddy Holly to Thundermother, what we colloquially know as “classical music” spans many cultures and many centuries. Terms like “Baroque” (composed between 1600 and 1750), “Classical” (this time with a capital C, composed between 1730 and 1820), “Romantic” (around 1820 to 1900) and “Modern” (1890 to 1950) help us keep track of when the music was written. These eras also operate with regional descriptors such as French, German, Italian or Russian. Overlay this with subtleties of style and the distinct personalities of individual composers and you get a sense of the vast breadth of classical music. But it is also important to know classical music isn’t only a celebration of dead Europeans. It is a living tradition whose boundaries aren’t fixed. Classical music readily interacts with other types of music and crosses cultural boundaries to generate new styles and new sounds. Consider the Australian work <a href="https://www.abc.net.au/classic/read-and-watch/classic-australia/barton-hindson-kalkadungu-2007/11268328">Kalkadungu</a> by William Barton and Matthew Hindson, a work “designed to explore the transition of traditional song-lines between the past, present and future”. Though sometimes far removed from contemporary culture, every piece of classical music has something to say about the human experience. So, what to expect in the program? Expect to be surprised. <h2>What should I wear?</h2> Wear what makes you comfortable. While it’s not unusual for people to dress up for a concert, it isn’t compulsory, and ordinary casual clothes are fine. In the same way people dress up for the Melbourne Cup, some people wear black tie to the opera. Don’t let it faze you. <h2>When should I clap?</h2> While you might be moved to clap right after hearing an incredible feat of musicianship, modern audiences generally don’t clap whenever there is a pause in the music, such as between movements of a symphony. This reflects the idea that a symphony is a “complete” musical statement – including the pauses between sections. If you’re uncertain when to clap, wait until others do. <h2>What else should I keep in mind?</h2> Going to classical music should be about enjoying the concert! Here are some final tips on how to enjoy yourself. Enjoy the spectacle. There’s much to see at classical concerts. The interactions between the conductor and the orchestra can be particularly interesting. Watch as the conductor, with a flick of the baton, unleashes awesome sonic power. Appreciate the skill of the musicians. Classical performers are the elite in their field. It takes decades of training to do what they do. Learn something about the composer and the work. Some classical composers are saints (<a href="https://en.wikipedia.org/wiki/Hildegard_of_Bingen">Hildegard of Bingen</a>) and some may have been psychopaths (<a href="https://www.theguardian.com/music/tomserviceblog/2010/mar/18/carlo-gesualdo-composer-psychopath">Gesualdo</a>). Knowing who the composer is and what they were trying to achieve in their music will add to your appreciation. Keep in mind that your musical taste expands as you expose yourself to new and unfamiliar sounds. The more you listen, the more you are likely to enjoy. Oh, and sometimes, if the audience is adequately enthusiastic, there’ll be a short additional piece at the end. Encore! Image credits: Shutterstock This article originally appeared on <a href="https://theconversation.com/im-going-to-a-classical-music-concert-for-the-first-time-what-should-i-know-195290" target="_blank" rel="noopener">The Conversation</a>.

Music

If you want your child to be more resilient, get them to join a choir, orchestra or band

One of the most important qualities for a young person to develop is resilience. This involves their ability to overcome adversity. Resilience is perhaps more important now than ever. Today’s young people have been <a href="https://www.aihw.gov.au/reports/children-youth/australias-youth-in-brief/contents/summary">facing adversity on a mass-scale</a>, thanks to COVID and all the disruptions to their education and social, home and working lives. The good news is, resilience is not just something you are born with. It <a href="https://www.oecd-ilibrary.org/sites/ca34a20a-en/index.html?itemId=/content/component/ca34a20a-en#chapter-d1e10348">can be learned</a> from our experiences and interactions with others. Parents may not be aware that one way to develop resilience is through group music making, such as in a school or community choir, orchestra or band. <h2>Our research</h2> We wanted to investigate how group music making can develop skills beyond just learning to play an instrument or sing. Our <a href="https://www.utas.edu.au/research/projects/music-resilience-project">study</a> is based on the Tasmanian Youth Orchestras, which include accomplished musicians aged from 14 to 25. This includes the state youth orchestra as well as two other orchestras, specialist ensembles and two choirs. For our project, we collected comments from players, managers and conductors/teachers on a closed Facebook site and then did eight follow-up interviews. Our findings show how qualities like teamwork, empathy and grit – all components of resilience – can be developed through group music making. <h2>Teamwork</h2> In order for a group of players to make a piece of music work, they have to work together. People have to listen to each other, understand what is happening around them, and be prepared to change how they play something (slow or fast, loud or soft) depending on how the group is performing. You need to be able to value the contributions of other people, not just your own. So, <a href="https://www.utas.edu.au/research/projects/music-resilience-project/teamwork">we found</a> if you are playing in a band, you are learning team work skills. As David*, a conductor told us: "After a while, players realised that they were ultimately responsible to the other players not to the conductor." <h2>Empathy</h2> Players also need to be able to understand others in a group and share their feelings. In a choir or orchestra, the music making is a shared creative experience – that involves the whole body. And this is where <a href="https://www.utas.edu.au/research/projects/music-resilience-project/empathy">empathy</a> comes in. Empathy, like teamwork, can be cumulative, growing over time through rehearsals and performances, as players and teachers support one another. As brass player Tom said, "I have to understand that I am not always going to be the main focus of a piece." Another player, Simon, told us about his realisation that other people were also having to work hard (and it wasn’t just about him). "You certainly aren’t the only person having to practise your doubles [playing two notes at once] for that piece." <h2>Grit</h2> It is important for young people to develop a “<a href="https://www.mindsetworks.com/science/">growth mindset</a>”, where they understand effort makes them stronger and learning is a long-term commitment. This is where <a href="https://www.utas.edu.au/research/projects/music-resilience-project/grit">grit</a> also comes in: pursing a goal and sticking with it even if it takes a lot of work or gets difficult. It can take many months to learn a piece of music up to performance standard. And learning an instrument requires practice every day. So commitment is a key part of learning music. Lawrence, a player, told us about participating in his school musical, "There were many points throughout the year which I felt like giving up […] but it was something I had committed to […]. I kept working on playing the music to the best of my ability, even if it felt like I couldn’t do it." Tory, a choir conductor, described performance as both “safe and unsafe”. Young people in a choir learn to deal with the unexpected as part of performance. And this takes a kind a bravery. "You’ve got safety in numbers, to some extent, but you are still stepping into the unknown every time you walk on stage to do a thing. You can rely on each other, because you’ve rehearsed, but stuff does go pear shaped. Stuff happens […] It’s an incredibly useful life skill to be able to go, ‘well, that sucked’ […] and go, all right ‘let’s [go again]’." <h2>Why music?</h2> But what is so special about music in fostering resilience? Young people also work in sporting teams or academic assignments. They can also work together while playing games. Playing music provokes activity in many different parts of the brain at the same time. Listening to music that we like triggers the pleasure/reward centre of the brain. Dopamine and serotonin are released, resulting in that “feel good” sensation, and <a href="https://www.booktopia.com.au/this-is-your-brain-on-music-daniel-levitin/book/9780241987353.html?source=pla&gclid=Cj0KCQjw48OaBhDWARIsAMd966B_bnNSq0206FOdSKqjfAEbrRWPkyKsh1tlY4v7eD1JGqZMB5qYGmoaAgmKEALw_wcB">providing an incentive</a> to keep engaging with music. Learning a musical instrument also <a href="https://www.jneurosci.org/content/early/2021/01/14/JNEUROSCI.1985-20.2020/tab-article-info?versioned=true">strengthens connections</a> in the brain, linking the auditory cortex to parts of the brain involved in the processing of complex information. This link has <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2015.02023/full">been shown</a> to improve memory, motor functions and learning in other subject areas. Making music with others also <a href="https://www.sciencedirect.com/science/article/pii/S1364661313000491">affects levels</a> of the bonding hormone oxytocin, supporting a sense of togetherness, while reducing levels of the stress hormone cortisol, and boosting immune function. For young people, music can provide valuable respite from study and daily life, and <a href="https://journals.sagepub.com/doi/10.1177/1049732320944142">help</a> manage and express their emotions. So, if you want your child to be a team player who is empathetic and shows grit, our research suggests that joining a music group could be the answer. *names have been changed Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/if-you-want-your-child-to-be-more-resilient-get-them-to-join-a-choir-orchestra-or-band-190657" target="_blank" rel="noopener">The Conversation</a>.

Music

Orchestra of Ukrainian refugees to “honour the dead” at UK BBC Proms

The BBC Proms is welcoming a special act this year, as an orchestra of Ukrainian refugees and Ukrainian musicians are expected to take centre stage. The newly-formed Ukrainian Freedom Orchestra was added to the programme of classical music “at the 11th hour”, Proms director David Pickard said, per the <a href="https://www.bbc.com/news/entertainment-arts-61215906" target="_blank" rel="noopener">BBC</a>. “I think sometimes you can feel rather powerless if you’re involved in the cultural world when a huge event like this war is going on, and this is a marvellous way to support the country and celebrate the power of music to cross divides,” he said. The Ukrainian government has even granted an exemption to military-age male musicians so they can leave the country and play in the orchestra. <blockquote class="twitter-tweet"> I’m so proud that the formation of the <a href="https://twitter.com/hashtag/UkrainianFreedomOrchestra?src=hash&ref_src=twsrc%5Etfw">#UkrainianFreedomOrchestra</a> has been announced. Formed with leading Ukrainian musicians from inside and outside of Ukraine, we will assemble in Warsaw in July for 10 days of intensive rehearsals, before embarking on an 11 city tour. <a href="https://t.co/2Y7gc83DG3">pic.twitter.com/2Y7gc83DG3</a> — Keri-Lynn Wilson (@kerilynnwilson) <a href="https://twitter.com/kerilynnwilson/status/1518934836249088002?ref_src=twsrc%5Etfw">April 26, 2022</a></blockquote> Canadian-Ukrainian conductor Keri-Lyn Wilson said the orchestra - which has been her brainchild - would “honour those who have died” in the ongoing Russian invasion of Ukraine. “I wanted to bring the best orchestral musicians of Ukraine together, from both inside and outside of their country, in a proud display of artistic unity,” she said in a statement announcing their tour, which will take them across Europe and on to the United States. “The tour is an expression of love for their homeland and to honour those who have died and have suffered so much.” Their inclusion comes as the Proms returns to the Royal Albert Hall for its first full-scale season since the start of the COVID-19 pandemic, with 3,000 musicians expected to perform across 84 concerts over eight weeks. With a programme including Ukrainian composer Valentin Silvestrov’s Seventh Symphony and aria Abscheulicher! from Beethoven’s Fidelio which calls for humanity and peace in the face of violence, it’s easy to see why Mr Pickard predicts it will be a powerful and cathartic performance. Funds raised from the tour, which runs from July 28 until August 20, will be used to support Ukrainian artists according to a <a href="https://www.metopera.org/about/press-releases/ukrainian-freedom-orchestra-formed-to-tour-europe-and-u.s.-this-summer-in-artistic-defense-of-their-country/" target="_blank" rel="noopener">statement</a> from the Metropolitan Opera. “Music can be a powerful weapon against oppression,” Peter Gelb, the Metropolitan Opera’s general manager, and Waldemar Dabrowski, the director of the Teatr Wielki-Polish National Opera, said in a joint statement. “This tour is meant to defend Ukrainian art and its brave artists as they fight for their freedom of their country.” Image: @kerilynnwilsonmaestro (Instagram)

Caring

Child's unfinished "secret song" performed at his funeral by orchestra

Kyan Pennell's unfinished composition has been given a new life at the young boy's funeral, thanks to the Queensland Symphony Orchestra. When the 12-year-old died suddenly at the end of January after a devastating accident, his mum Amanda Brierley discovered Kyan was writing his own music. After playing piano for just seven months, Kyan had started to write his own composition, that remained unfinished after his untimely death. Amanda sent out <a href="https://oversixty.com.au/entertainment/music/grieving-mother-s-plea-to-finish-son-s-composition-answered" target="_blank" rel="noopener">an emotional plea</a> to musicians worldwide to help Kyan's music finally be completed. Thanks to the kind strangers of the Queensland Symphony Orchestra, the piece of music was finished in time to be played at Kyan's funeral. Kyan's mum said it was humbling to have the support of so many people during such a difficult time."The kindness of strangers has really changed me over this period of time," she said."We played the first submission and a selection of all the submissions we got on the Facebook thread through the eulogies.""By the time it was over I really hoped that tune was in everyone's head, and I think Kyan would have had a bit of a giggle knowing that he'd forced everyone to listen to this beautiful music through other people."Amanda said five different orchestral renditions of Kyan's music were played at his funeral service, but she hoped to continue collecting versions of his music that were not recorded in time."Even just having that very first piece — it was one person playing a piano — was going to be enough for me," she said.You can hear the Queensland Symphony Orchestra's rendition of Kyan's Piece below. Image credits: Facebook - Amanda Brierley

Music

Orchestra brings joy to people with dementia

An orchestra in Manchester is offering free music therapy workshops to people with dementia based in an unusual location - a monastery. Manchester Camerata have delivered a program called Music in Mind since 2012, with its nine musicians and two music therapists delivering weekly music therapy sessions to 20 local aged care homes. <img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7845044/music-dementia1.jpg" alt="" data-udi="umb://media/5dad496ff0bc4f3da69545d44a34b053" /> Manchester Camerata have been providing music therapy to those with dementia for the last nine years. Image: Manchester Camerata After COVID-19 saw the team pivot to an online offering, they returned to in-person sessions inside the 149-year-old Gorton Monastery as the UK eased health restrictions. During the weekly sessions, the musicians share their knowledge, techniques, and resources with those caring for people with dementia so they can continue to use music therapeutically at home. “Our new music cafe offers such a fantastic and vital opportunity for all at-home carers to make new friends and learn new life-enhancing skills,” Lizzie Hoskin, Head of Camerata in the Community, <a rel="noopener" href="https://www.itv.com/news/granada/2021-09-15/manchester-camerata-runs-weekly-music-sessions-for-people-with-dementia" target="_blank">said</a>. “We are very proud to be able to make this service possible, especially for those who’ve been isolating because of the pandemic and have spent so much time apart with little or no support.” David Tollington, a french horn player in the orchestra, <a rel="noopener" href="https://www.bbc.com/news/av/uk-england-manchester-58595926" target="_blank">said</a> the sessions show “the power of music” for those with dementia. He said some people taking part don’t “remember what they have had for breakfast but they remember the entire lyrics to a song”. When it comes to music and memory, it can have a range of <a rel="noopener" href="https://practicalneurology.com/articles/2017-june/music-and-dementia-an-overview" target="_blank">positive effects</a> on those diagnosed with dementia. <a rel="noopener" href="https://pubmed.ncbi.nlm.nih.gov/24009169/" target="_blank">Some studies</a> have shown that listening to music or singing in music therapy sessions can improve an individual’s general cognition, and their ability to pay attention. Singing has also been shown to evoke remote memories, resulting in people being better able to recall short stories as well as the names of children and friends. Image: Manchester Camerata

Mind

Why classical music is better than melancholy music every time

Many fans of classical music believe that access to the music of classical composers, such as Beethoven, Mozart and Bach, should be a fundamental human right. It makes sense then that they would turn to classical music when they’re experiencing emotional upheaval, as Ian Warden found out. Warden was most distressed that Robert Mueller found nothing impeachable about Donald Trump’s election campaign and turned to Beethoven to calm him down. He told <a href="https://www.smh.com.au/national/why-classical-music-trumps-melancholy-every-time-20190327-p5189u.html">The Daily Telegraph</a>: “Classical-music-besotted I routinely listen to fine music and after listening to Beethoven's 7th Symphony (unless you are clinically dead, it is music that makes you break into a dance) my spirits were restored.” In the online Canadian magazine called The Walrus, there is a heartfelt and passionate piece written by orchestral conductor Kent Nagano. The piece is called <a href="https://thewalrus.ca/in-times-of-crisis-we-need-classical-music/">In Times of Crisis, We Need Classical Music.</a> The essay outlines that those who live in western industrial societies are living in dreadful times of increasing materialism, consumerism, angst and alienation. However, through the darkness, there is a light. "I want to show that, because of its powerful impact, classical music can play a significant role right now," Nagano explains. "Composers address topics that are relevant to everyone. Their music highlights our worries and fears, our pain and joy. It can help us think more clearly, feel more profoundly, and live fuller lives than we could without it. “It can alter the way we treat our fellow humans and even our perceptions of ourselves. I want the music my orchestra performs to become a permanent, indispensable dimension of an audience's life. "[There] are timeless compositions that address all the uncertainties and insecurities of this epochal period, and they can support us in our search for meaning. Beethoven, for example, was convinced that man had the capacity to change for the better and to grow throughout life. “This is why there is so much hope in his music. His symphonies were meant to drive people forward. Can we hear this even today? I certainly think so." Do you think classical music can inspire hope? Let us know in the comments.

Music

Inside the new “acoustically perfect” $400 million concert hall in London

The first designs have been unveiled to provide a “world class concert hall” in the centre of London. The current site is a London roundabout, but there are plans to turn it into the Centre for Music. The Centre of Music will have a road running beneath it, as to not impact the flow of traffic. It’s being entirely funded by commercial backers and philanthropists and is looking to cost around £228 million (AUD$414 million). The London Symphony Orchestra couldn’t be more thrilled with the new designs and plans, as they have high hopes for the space. According to the London Symphony Orchestra website, the Centre includes a state-of-the-art concert hall as well as spaces for performance, education and rehearsal. The website goes onto explain: “It [the Centre] aims, above all, to be a place for people of all ages and backgrounds to experience the joy of music-making first hand. Aiming to create a new civic space that draws the public from all directions, and which hosts a mix of outdoor programmes and social spaces, the approach ensures the Centre would be a beehive of activity both day and night – creating a place where people want to spend time, even without a concert ticket.” Check out the gallery above to see the first designs. It’s set to be a stunner.

Music

You have to hear this orchestra using vegetables as instruments

Carrot, capsicum, zucchini, pumpkin… No, we’re not listing stir-fry ingredients, but rather instruments! Yes, there’s an actual orchestra whose members sell out shows performing music with humble veg. Das erste Wiener Gemüseorchester, or The First Vienna Vegetable Orchestra to us non-German speakers, is an Austrian group of musicians, artists, writers and sound poets founded in 1998. They use everything from artichoke to zucchini to create some of the most unique instruments you’ll ever hear – and you might be surprised to find out just how good they sound. “A pumpkin works very well on its own as a bass drum, and you can make all sorts of instruments – like flutes, recorders and xylophones – from carrots,” orchestra member Jörg Piringer told <a href="https://www.citylab.com/life/2016/09/vegetable-orchestra/502256/" target="_blank">CityLab</a>. “Rub two leeks together like they were a violin and a bow, and you get a sort of squeak that can be really very loud. Onion skins rubbed together also make a nice maraca-like rustle.” See how they find the right veggies and have a listen to the final product below! <iframe width="560" height="315" src="https://www.youtube.com/embed/hpfYt7vRHuY" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen=""></iframe> Image credit: The Vegetable Orchestra/Facebook.

Music

The Brandenburg at its baroque best

The Australian Brandenburg Orchestra is set to bring baroque back with a stunning new concert series. Coming to Sydney, Melbourne and Brisbane next month and in August, <a href="https://www.brandenburg.com.au/concerts/2016/blazing-baroque/" target="_blank">Blazing Baroque</a> is a festive, exciting and unique celebration of everything the incredible Australian Brandenburg Orchestra has to offer. <iframe width="500" height="281" src="https://www.youtube.com/embed/3XKA187krt0?feature=oembed" frameborder="0" allowfullscreen=""></iframe> Artistic Director Paul Dyer believes it will be “one of the concert highlights of 2016.” “Sometimes our audiences just want the Brandenburg. They are devoted to the players and they love pure baroque music with a passion. This is the perfect program for both new and loyal and cherished fans alike,” he adds. With pieces from some of the most iconic baroque composers, such as Telemann, Vivaldi, Sammartini and Fasch, you’ll be transported back to the 18th century with this stunning performance by Australia’s best musicians. For more information and to purchase tickets, <a href="https://www.brandenburg.com.au/concerts/2016/blazing-baroque/" target="_blank">click here</a>. Dates City Recital Hall, Sydney <ul> <li>Wednesday 27 July, 7pm</li> <li>Friday 29 July, 7pm</li> <li>Wednesday 3 August, 7pm</li> <li>Friday 5 August, 7pm</li> <li>Saturday 6 August, 2pm and 7pm</li> </ul> Melbourne Recital Centre <ul> <li>Saturday 30 July, 7pm</li> <li>Sunday 31 July, 5pm</li> </ul> Queensland Performing Arts Centre, Brisbane <ul> <li>Monday 8 August, 7.30pm</li> </ul> THIS IS SPONSORED CONTENT

Music

Musician sisters rock the National Youth Orchestra

Auckland musician sisters Joella and Joanna Pinto are often mistaken for twins. The Mt Roskill siblings are members of the National Youth Orchestra, run by the New Zealand Symphony Orchestra. Joella, 21, plays first violin, while 19-year-old Joanna plays the cello. The sisters have been playing music since age 7. Music is a family affair for the Pinto sisters. Their father, Joseph, plays violin and both girls picked up the instrument at age 7. Piano was a staple instrument for both, and Joanna moved on to the cello at age 12. Older sister Joella actually does have a twin - 21-year-old Joshua, who also plays music. The siblings formed a piano trio in their high school years. All three also played together in a combined school orchestra while attending St Mary's and St Peter's Colleges. Joella has been with the NYO for five years. She is also pursuing a bachelor of music with honours and is looking ahead to a career in music. Joella has already done a fellowship programme with the NZSO, and has achieved the rank of concertmaster with the NYO. "In my first year [with the NYO] I was quite lucky to have toured three times," she says, recalling an opportunity to play in a fundraising concert with Placido Domingo in Christchurch in 2011. Joanna on the other hand, plays music as a hobby, although it's a hobby she intends to pursue. This is the second-year medical student's introductory year with the youth orchestra and she already plans to re-audition for the next intake. "I definitely want to keep playing," she says. The NYO is an opportunity for instrumentalists under 25 years to experience working with world-class conductors and soloists. It is made up of 60 talented individuals from across the country. They meet up twice a year for a week-long training camp. "It's great to be around people who love music like we do," Joanna says. "We get to do professional programmes and repertoire. And it's a really cool way of getting to know people," Joella says. This summer's NYO camp in the Waikato, led by acclaimed Australian conductor Richard Gill, culminates with shows in Hamilton on February 5 and Tauranga on February 6. First appeared on <a href="http://www.stuff.co.nz/" target="_blank">Stuff.co.nz</a>. Related links: <a href="http://www.oversixty.co.nz/lifestyle/family-pets/2016/01/best-advice-ever-received-video/">People aged 5 to 105 reveal the best advice they’ve ever received</a> <a href="http://www.oversixty.co.nz/lifestyle/family-pets/2016/01/photos-of-animals-hitchhiking/">Hilarious photos of animals hitchhiking</a> <a href="http://www.oversixty.co.nz/lifestyle/family-pets/2015/12/cheap-school-holiday-activities/">30 cheap – or free – holiday activities to do with grandkids</a>

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Why are the violins the biggest section in the orchestra?

What does a conductor actually do? A surprising amount

Trailblazing musician and composer Ryuichi Sakamoto dies at 71

I’m going to a classical music concert for the first time. What should I know?

If you want your child to be more resilient, get them to join a choir, orchestra or band

Orchestra of Ukrainian refugees to “honour the dead” at UK BBC Proms

Child's unfinished "secret song" performed at his funeral by orchestra

Orchestra brings joy to people with dementia

Why classical music is better than melancholy music every time

Inside the new “acoustically perfect” $400 million concert hall in London

You have to hear this orchestra using vegetables as instruments

The Brandenburg at its baroque best

Musician sisters rock the National Youth Orchestra

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