Orchestra Music

ABSTRACTÂ This article explains the result of Saâ€™Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Saâ€™Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Saâ€™Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Saâ€™Unine String Or- chestra to be an Indonesian String Orchestra.Â Keywords: String Orchestra, Music, Popular Culture.Â

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Orchestra Music for Public Schools

Music Supervisors Journal ◽

10.2307/3383039 ◽

1916 ◽

Vol 3 (1) ◽

pp. 30-30

Keyword(s):

Public Schools ◽

Orchestra Music

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Mitterer, Wolfgang (1958--)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem582-1 ◽

2018 ◽

Author(s):

Aaron Cassidy

Keyword(s):

Chamber Music ◽

Performing Arts ◽

Electroacoustic Music ◽

Live Electronics ◽

Performance Events ◽

And Performance ◽

Orchestra Music ◽

And Function ◽

Granular Layers ◽

The University

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

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