Abstract
The purpose of this study was to investigate ensemble members’ perceptions of their studio orchestra experiences. Survey data were collected from participants (
Symphony orchestra repertoire typically includes an “orchestral canon” of works established through the organizations’ programming of music. In the United States, social, political, and financial issues often influence the programming choices by directors of major professional symphonies (Gienow-Hecht, 2012; Kremp, 2010; Pompe et al., 2011; Tamburri et al., 2015). Although some orchestra directors and leadership boards follow more mainstream trends, others have expressed a desire to diversify repertoire selections (Heilbrun, 2004; Jenkins-Russ, 2006). One part of this diversification in the orchestral repertoire has come in the form of music from popular culture.
Some professional symphony orchestras have adapted their musical offerings to include music from popular culture, including music from video games, television, and film (Okazaki, 2020). This expansion of repertoire not only affects what music is being played, but often how concerts are presented, with visual enhancements in the way of lighting and screen projection that impact the overall experience (Bergstrom & Lotto, 2016; Turner et al., 1996). As a result of this expansion of styles, orchestras often collaborate with other performance mediums such as film and visual arts (Burns & Watson, 2013; Kanga, 2016; McGill, 2014). Video game music, also known as ludomusic, has gradually been adopted into symphonic orchestra repertoire to promote audience engagement and programming diversity (Hardwick, 2021). Academics specializing in ludomusicology have tracked the evolution of video game music from its 8-bit beginnings to its adoption into the classical music scene (Gibbons, 2018; Grasso, 2019; Heron, 2015; Kamp et al., 2016). Alongside these developments in music performance and research, collegiate ensemble directors are striving to balance traditional and contemporary programming in their own repertoire (Tedford, 2015; Ting, 2019; Zabanal, 2021).
Many music institutions in higher education have mission statements with explicit goals to prepare graduates for careers in music. These goals reflect the guiding vision of organizations such as the National Association for Music Education, which calls for music educators to recognize that “all music has a place in the curriculum” and to “provide a leadership role in coordinating music activities” (Madsen, 2020, p. 206). Music unit directors often evaluate and adjust course offerings to ensure the education they provide aids student success postgraduation. For example, there is a concerted effort to expand course offerings to include “popular music” as a stand-alone category of study (Cremata, 2017; May et al., 2020). These popular music courses are designed to provide graduates with a multiskill set so that they can adapt and thrive in the music industry (Lebler & Weston, 2015; Smith, 2014). Researchers have also suggested that music educators recognize popular music as an effective tool in the classroom, although there may be a lack of pedagogical training in those genres (Springer, 2016). Expanding music programs to increase popular music offerings may also increase intrinsic motivation among students (Diaz, 2010). Therefore, music educators and administrators are examining the merits of including music from popular culture in their curriculum and discussing how to balance an education that respects tradition while still equipping students for career success.
Most college music major instrumentalists follow a prescribed set of courses that include performing with traditional band and orchestra ensembles. Directors of these ensembles have the challenging task of choosing literature and may prefer genres they are more familiar with such as traditional forms of classical music (Kruse, 2015). Still, many teachers may fall short of goals to introduce new music to the curriculum (Tedford, 2015; Ting, 2019). One solution may be to create separate band or orchestra ensembles with the express purpose to study and perform music from outside genres (Rodriguez, 2018).
Although there is evidence of a growing number of music institutions offering programs of study specializing in popular music, it is not clear how many institutions have official band or orchestra ensembles created with the express purpose to engage in popular music from film and video games (Powell et al., 2015). Furthermore, perceptions of the repertoire, creative activities, and experiences of musicians participating in ensembles dedicated to film and video game music have not been fully explored. As the landscape of music education expands, it may be beneficial to develop frameworks centered on ensembles specializing in these genres.
The purpose of this study was to investigate ensemble members’ perceptions of their studio orchestra experiences. To gain insight from the members of a collegiate studio orchestra, I designed a survey to answer four research questions: (1) What were the participants’ rates of satisfaction with the studio orchestra experience? (2) What were the participants’ perceptions of future repertoire and creative activities of the ensemble? (3) What were participants’ preferences for studio orchestras structured within academic settings? And (4) How relevant was the experience to participants’ future career goals? Music educators may use this research to make informed decisions on how ensembles specializing in music from popular culture can be incorporated into their programs.
Method
I collected survey data from participants (
Studio Orchestra Ensemble—Structure and Operation
For the purposes of this study, a studio orchestra was defined as an ensemble where musicians collaborate, compose, arrange, record, and perform original compositions designed for film, video games, and other works from popular culture. The studio orchestra in this study was a student-led endeavor, begun by two music graduate students who wanted to start an orchestra that specialized in music from film and video games. A leadership board was formed that was comprised of graduate students, undergraduate students, and a music faculty. Eight leadership positions were nominated and voted on by ensemble members, allowing the ensemble to be self-directed when making decisions on repertoire and activities. By the start of 2022, the ensemble was a recognized student organization in the university and established a constitution with by-laws and procedures for operation. Due to scheduling conflicts with other school events, the leadership decided to provide a 5-week summer season of studio orchestra activities beginning on May 9, 2022, and finishing with a concert on June 11, 2022.
Recruitment for the orchestra began in early March 2022 and consisted of posting flyers on campus, making announcements in music classes, and sending invitation emails through a student mailing list. Membership was “open,” meaning current students, faculty, and staff of the institution could join regardless of major or department. When the 2022 summer season began, the orchestra had 90 players comprised of undergraduates, graduates, and staff. (No faculty played in the ensemble in 2022). No prerequisites or auditions were required of new or returning members. However, the leadership team relied on audition results from band and orchestra ensembles that took place the previous academic semester to inform seating assignments.
The activities of the studio orchestra were scheduled over the course of 5 weeks, where the group generally met twice a week for between 2 and 3 hr. The ensemble had an appointed music director and two assistant conductors who shared responsibility in selecting music and leading rehearsals, recording sessions, and performances. The first 2 weeks had a welcome meeting and three “reading sessions” where student arrangements from popular film and video games were played, along with official arrangements from publishers borrowed through the institution’s music library. Two recording sessions were scheduled during the third week, where the orchestra used a studio space and equipment to record original student compositions. The final 2 weeks consisted of four rehearsals and a final concert performance. Music for the final performance included student arrangements with copyright approval, official arrangements, and original compositions. Two of the original compositions were soundtracks that were played alongside short films as a partnership with the university’s film department. The combination of organizational structure, activities, and membership of the studio orchestra served as the basis of this study.
Survey Procedures
Ensemble members were initially invited to participate in the study at a dress rehearsal before the final concert. Articles with quick response (QR) codes linking to the questionnaire were placed on stands, and the researcher made an announcement inviting members to fill out the questionnaire to help improve the orchestra experience and contribute to research in the field of music education. It was announced that the only requirement to participate in the study was for participants to be members of the studio orchestra and attend two or more rehearsals during the 2022 summer season. There were no other stipulations; however, participants could only respond to the questionnaire one time. Members were assured that their responses would be anonymous, and they could decline to participate at any time. In addition, an email with information regarding the purpose of the study, who was eligible, and a link to the questionnaire was distributed via the studio orchestra’s membership mailing list. Personnel records also confirmed that ensemble members listed on the mailing list met the attendance requirement. The email was sent at the conclusion of the final concert of the season, with reminder emails sent 2 days and 1 week later. The questionnaire remained active until it was closed on June 24, 2022. In all, 90 members of the studio orchestra were invited to participate. Of these, 50 completed the questionnaire for a response rate of 55%.
Although no pilot test was completed, the questionnaire was crafted with input from members of the studio orchestra’s leadership board. The leadership board had a series of discussions on how the questionnaire should be structured to find ways to improve member satisfaction and direct focus for future activities. As a result of these discussions, the questionnaire questions, categories, and scales were designed to provide recommendations to the organization while still contributing to research in music education. Members of the leadership board did not participate in the survey.
The first portion of the questionnaire contained demographic questions about participants’ class standing and instrument. Participants were asked their class standing during the 2022 Spring semester: freshman, sophomore, junior, senior, graduate student, or faculty/staff. There was also an optional free response question that allowed participants to indicate their primary instrument.
The second portion of the questionnaire contained a series of 5-point Likert-type scales that were designed to allow participants to respond to questions regarding satisfaction with their studio orchestra experience and the likelihood they would recommend the ensemble to others. The scales were anchored by
The third portion of the questionnaire focused on members’ preferences of future repertoire and creative activities of the ensemble. One question appeared that was followed by a list of suggested creative activities. The question and activities were as follows: “How would you like to see the studio orchestra spend its time and focus in the future?” (1) Playing student arrangements of popular film/video games, (2) Playing official arrangements of popular film/video games, (3) Working with student filmmakers and composers to create original soundtracks, (4) Reading larger-scale original student compositions, (5) Reading traditional repertoire for experience, (6) Playing along with live film for short features or select scenes, and (7) Performing full-length soundtracks with film for the public. With each activity, participants were directed to select a category best reflecting their preference:
The fourth portion of the questionnaire was designed to explore the ensemble’s relevance to the participants’ career goals. The question was asked: “How relevant has this studio orchestra experience been to your future career goals?” Participants responded to a 5-point Likert-type scale anchored by (1)
The questionnaire concluded with a free response prompt inviting optional comments from the participants: “Please share any overall thoughts or ideas for the studio orchestra. Tell us how it went and what you want to see moving forward. This is your chance to dream big!”
Results
Most of the participants who filled out the questionnaire were undergraduates, combined at 88% (
Satisfaction With Studio Orchestra Experience
Results indicated that participants had high levels of satisfaction with their overall studio orchestra experiences (
Satisfaction With Studio Orchestra Experience: Participant Responses.
Suggestions of Future Repertoire and Creative Activities
When asked about their studio orchestra repertoire suggestions, participants expressed a
Preferences of Future Repertoire and Creative Activities: Participant Responses.
There were two creative activities that participants indicated little to no interest in pursuing in the future. The first was reading original student compositions not related to video game or movie soundtracks, with 10 indicating
Preferences of Future Ensemble Format
Questionnaire results indicated that almost half of participants (46%) had no preference when it came to how the studio orchestra ensemble should be structured in a future academic setting. For those participants who did have a preference, 42% preferred an open and self-directed student organization (as it currently operates), whereas 10% preferred an ensemble class that is worth credit and adopted into the music curricula. See Table 3 for complete results.
Perceptions of Future Ensemble Format: Participant Responses.
Relevance to Future Career Goals
The question on relevance to career goals resulted in a more moderate average while also having the widest dispersion of scores (
In the free response section regarding career goals, many participants provided extra information explaining why they gave a particular score. Common responses included participants finding direct relevance to their future career goals (9), not having defined career goals (2), participating in the ensemble purely for fun (6), relating the experience to their program of study (5), and broadening their musical experiences (6).
Discussion
The purpose of this study was to investigate ensemble members’ perceptions of a studio orchestra experience. Results indicated that participants had an overall positive satisfaction level with the ensemble and would recommend the experience to their peers. In addition, participants had specific preferences regarding what future repertoire and creative activities should be included in a studio orchestra. Finally, when asked about how they envision a studio ensemble being incorporated into their academic careers, a slight majority of participants expressed “no preference” (55%) on whether the group should operate as a self-directed student organization or count as an official ensemble course worth credit toward a degree program. Taken together, these results provide a framework for where a studio orchestra-type ensemble may fit in the ever-expanding landscape of music education.
Satisfaction With Studio Orchestra Experience
Participants indicated a very high overall satisfaction with creating, performing, and recording music from popular culture within the contexts of a studio orchestra. The relatively low standard deviation in responses shows a broad consensus around satisfaction. Written responses from participants were also positive, with one participant reflecting on their experience with this comment:
By playing in the studio orchestra, I am exposed to music that I am not normally able to play during the normal school year. As a future music educator, I want my students to be able to have access to as much music genres and skills as they possibly can. Creating normalcy of a studio orchestra at a collegiate level is sure to melt down into high school and feeder programs setting an amazing precedent to follow. Orchestra as a whole is now, more than ever, in a transitionary state and creating and maintaining this new ensemble is essential to progression as far as music education goes. (survey response, Participant 1)
When the experience was broken down into its component parts, participants again had overall positive ratings. The category with the highest score was “Venues, including rehearsal and concert” (
Although many directors wishing to implement studio orchestras in their programs may not have the same access to venues or equipment, it is recommended to make every effort to utilize the best resources available to improve the student experience. For example, having a studio orchestra use the same rehearsal and performance spaces that are reserved for traditional band and orchestra ensembles will elevate the status of the ensemble and show equal support for those creative activities.
When asked about their studio orchestra experiences, participants rated “Communication on part assignments and seating” the lowest (
There were efforts to mitigate the effect of rotations on ensemble members’ satisfaction. One method was to encourage members to tell personnel leaders what pieces and parts they had special interest in performing. The music director also allowed multiple parts to be doubled or even tripled during informal reading sessions early in the season. However, when it came to recording sessions and rehearsals for live performance, wind players were limited to the parts listed on the score and were rotated in and out of the ensemble by assignment. Music educators looking to start a studio orchestra should take part assignments and rotations into consideration when recruiting and organizing ensemble members.
The impact of participant satisfaction on ensemble operations reflects research results centered around the intrinsic and extrinsic motivation of collegiate instrumentalists (Diaz, 2010). When an ensemble specializing in music from film, video games, and popular culture is run well, student satisfaction levels should increase. One participant noted the ensemble organization in their written feedback:
Every one of the leaders of this organization should be tickled pink with the success of this summer! As [a] former officer of student organizations, I know how hard it is to organize and stay on top of all the details. I think the conductors did a good job with rehearsing the orchestra, balancing the need for musical improvement while also recognizing that this is a volunteer group. . .All the admin work appeared to run smoothly. The comradery was my favorite part of the experience. (survey response, Participant 2)
Starting and operating a new musical ensemble like a studio orchestra can be difficult. One area where practitioners might find success is forming a leadership team to distribute workload and responsibility. Leadership members can be recruited from the student body, faculty, and administration. A benefit of starting a group specializing in music from popular culture is that others in positions of influence will likely share the same motivations as the students to bring these creative projects to life.
Suggestions of Future Repertoire and Creative Activities
With this survey data, some conclusions can be drawn around member preferences of future repertoire and creative activities that a studio orchestra ensemble could pursue. Most participants indicated that future repertoire should be centered around popular music found in film and video games, including formally published arrangements and student-created arrangements. These findings support other calls for college orchestras to engage with alternative repertoire in their musical training (Ting, 2019). In contrast, members were not as interested in using the ensemble to play traditional orchestral repertoire, or music from the “orchestral canon.” Higher education music programs are often designed to expose students to standard repertoire throughout the academic year, which may explain the lower interest scores. The desire for a more diverse array of music being performed in higher education is reflected in other studies around repertoire selection (Jenkins-Russ, 2006; Ting, 2019) and was a common theme in respondents’ written feedback. One participant wrote, “I think it is very important for musicians to be well-versed in a multitude of styles. Pops music and film score music is one of those important genres” (survey response, Participant 3). Another written response from a participant indicated how they were challenged by the repertoire:
I have loved performing in the studio orchestra. I made friends with people who have common interests with me, I was challenged by the rep we performed as it’s not normally taught during the school year, and I truly believe I have grown as a musician participating in this ensemble. This music adds a new connection between people and the music they listen to. It does not make the connection to classical music any less, but creates an opening for those who don’t know how to get involved in an orchestra to introduce even greater things to them. (survey response, Participant 4)
Another topic of interest was the presentation of film with live orchestra. This is an area where the live performing studio orchestra in the present study differs from traditional studio orchestras that play in recording studios (Davis, 2010). Involving an element of live music performance broadens the scope of the ensemble while still maintaining a tie to previous explorations on musical performances with congruent visual effects (Burns & Watson, 2013; Okazaki, 2020). In summary, members’ perceptions of what studio orchestra directors could pursue in the future primarily included activities and repertoire that centered on film, video games, and other sources of popular culture. Educators interested in creating a similar style of ensemble should appeal to those factors that make the experience unique.
Preferences of Future Ensemble Format
Another research question asked about how participants perceived a studio orchestra’s structure in a future academic setting. Nearly half of the participants had no preference on whether the ensemble should be run by only students verses adopted into an academic music program for credit. This may be because an ensemble focused on popular music is less common in higher education, despite arguments in favor of broader incorporation (May et al., 2020). When and if such ensembles are more widely adopted, students and faculty engaging with those ensembles may develop stronger preferences. For those members who did have a preference, the results indicated keeping the ensemble as a self-directed, student-run organization. These participants may have chosen the self-directed organizational model because (1) the ensemble has a previous track record of success being self-directed, and/or (2) concerns that by adopting the ensemble into the academic music program the participants would give up some level of control. Practitioners looking to adopt a studio orchestra ensemble into their programs should consider involving as much student input and direction as possible.
Relevance to Career Goals
When asked about the relevance to their career goals, participants gave the studio orchestra experience the lowest average with the widest spread of scores ( As a wannabe film scorer, it was a fantastic experience to work with the orchestra and hear it played back live and have it recorded! I’m so grateful for these kinds of opportunities because I know how valuable they are for young musicians like myself. (survey response, Participant 5)
Other students who had career goals aimed toward commercial music and composition also expressed high satisfaction with the ensemble’s structure because they were given opportunities to engage in those creative activities.
A factor that may have influenced relevance scores on future careers was the major degree program of the students. A few written statements indicated that some participants were not music majors and, therefore, saw less relevance to their career goals. For instance, one participant wrote, “It doesn’t really relate to my major but it was a great experience and I’d like to keep playing in ensembles in my life” (survey response, Participant 6). In another written response, one participant indicated that their goals were not yet defined, but having the experience helped shape their interests:
I did this purely for fun. I have not defined my career goals, so it is hard to know what experiences will benefit my future career and not. However, after spending time in recording sessions, I definitely want to do that again. (survey response, Participant 7)
Although some participants gave lower scores on career relevance, they often still gave high scores to overall satisfaction with the ensemble experience. A common theme in written responses was an appreciation of how the studio orchestra broadened their musical experiences, regardless of the relevance to their current studies or career goals.
Future Research and Limitations
The results of this study provide many opportunities for future research, specifically around the current standing of higher education music ensembles specializing in music from popular culture, and the possibilities for expansion. There is currently little to no research focused on students’ experiences in university studio orchestras as described in this study. A survey that collects data on what music institutions directly support or host a studio orchestra-type ensemble could provide detail on how far the practice has grown. In addition to discovering how many institutions have a studio orchestra-type ensemble, further research could be done on the repertoire selection of these ensembles to determine the range of diversity in the music they are selecting and performing.
There were several limitations that prevented further conclusions to be drawn. The first involves the limited sample size found in this studio orchestra ensemble located in the Southeastern United States. Other ensembles that are similar in makeup may have differing preferences to the questions posed. A variety of factors (e.g., rehearsal efficiency, repertoire selection, and seating assignments) could influence the satisfaction of participants. Another limiting factor is the tendency of selection bias, where participants who were most motivated by the experience may have been more likely to provide feedback via the questionnaire. Furthermore, I was directly involved in the ensemble in a director capacity, which may have introduced unintentional bias despite efforts of maintaining impartiality in the survey procedures. These limitations are not uncommon when studying traditional musical ensembles and could be mitigated by replicating the study with similar ensembles found in other geographic areas.
Conclusion
The results of this study highlight what could be an underlying trend of collegiate students seeking to engage with music from films, video games, and popular culture. Although professional organizations around the world are adapting their programming to accommodate these trends, music educators also have an opportunity to shape curriculum to provide similar kinds of practical experience. For this study, members who participated in the studio orchestra ensemble expressed high satisfaction levels, gave specific preferences on how the ensemble should spend its focus in the future, and found relevance in their future careers.
Although every music program is different in its makeup, there are general implications for music teaching and learning that can be applied from this study. Practitioners seeking to model an ensemble after the studio orchestra should consider involving student participation and leadership to guide what repertoire and activities to pursue. This student-led effort could build intrinsic motivations in the ensemble and give direction on what will bring the most satisfaction to the experience. The results of this study suggest that the activities members of a studio orchestra prefer will most likely center on performing and recording repertoire from popular films and video games, but there may also be a desire to create original works in those genres as well. These findings should encourage practitioners to explore music outside of the traditional orchestral canon and motivate students to premiere new works created for and by their peers.
Music educators are able to utilize unique ensembles like a studio orchestra to promote a more diverse set of repertoire and enhance student satisfaction with their musical activities. With this study as a resource, music educators can make informed decisions on how ensembles specializing in music from popular culture (e.g., film and video games) can be incorporated into their programs.
Supplemental Material
sj-docx-1-upd-10.1177_87551233221145684 – Supplemental material for Engaging With Film and Video Game Music: Perceptions of a Studio Orchestra Experience
Supplemental material, sj-docx-1-upd-10.1177_87551233221145684 for Engaging With Film and Video Game Music: Perceptions of a Studio Orchestra Experience by Nathan D. Haines in Update: Applications of Research in Music Education
Footnotes
Declaration of Conflicting Interests
Funding
ORCID iD
