BARD COLLEGE

THE ORCHESTRA NOW

Masters in Curatorial, Critical,
and Performance Studies

ORCHESTRA AND PROGRAM

HANDBOOK

2017-2018
 ACCREDIDATION

Bard College is accredited by the Commission on Higher Education of

the Middle States Association of Colleges and Schools. The courses of
study leading to the bachelor of arts, bachelor of music, and bachelor of
science degrees at Bard are registered by the New York State Education
Department. The programs of study leading to the master of arts, master
of arts in teaching, master of fine arts, master of business administration in
sustainability, master of music, master of science in environmental policy,
master of science in climate science and policy, and master of science
in economic theory and policy degrees and the master and doctor of
philosophy degrees in decorative arts, design history, and material
culture at Bard are registered by the New York State Education
Department, Office of Higher Education, Education Building Annex,
Room 977, Albany, NY 12234; phone 518-486-3633.

Bard is also a member of the American Council on Education, American

Council of Learned Societies, Association of American Colleges and
Universities, College Entrance Examination Board, Commission on
Independent Colleges and Universities, Education Records Bureau, and
Environmental Consortium of Hudson Valley Colleges and Universities.

Be advised that the provisions of this handbook are not to be regarded as

an irrevocable contract between the student and Bard College, The
Orchestra Now, or its officers and faculty. The College reserves the right
to make changes affecting admission procedures, tuition, fees, courses
of instruction, programs of study, faculty listings, academic grading
policies, and general regulations. The information in this handbook is
subject to change without notice.
 PURPOSE OF THE HANDBOOK

This handbook is a reference tool and guide for you as a TN Bard

student. It provides information about academic requirements and
community life at TN and Bard College. TN adheres to Bards campus-
wide policies and procedures. It also has its own policies that
accommodate the specific demands of the TN graduate program.
You are responsible for abiding by the regulations and procedures
contained within this handbook, so please read it carefully and keep it
for future reference.

A LETTER FROM THE EXECUTIVE DIRECTOR

Congratulations on becoming a part of one of the most original

orchestras and orchestral masters program in existence: The Orchestra
Now. For the next three years, you can expect to acquire the kind of
experience you will need as a professional orchestral musician, and
something extra: knowledge to help you shake up that professionif you
want to. The Orchestra Now was developed not only by leading music
academicians, but by music professionals. It is guided by the principle
that musicians of the 21st century must be more than outstanding players.
They must be advocates for music, and therefore they must be cognizant
of both the challenges and potential of presenting great orchestral music
to 21st century listeners. They must be articulate representatives who
know their audiences, and who can develop and offer imaginative ways
to create new enthusiasm and relevance for orchestral music. This
program is open to anyone with an undergraduate conservatory degree
or equivalentand who wants to change the future of orchestras.

Lynne Meloccaro
Executive Director

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 TABLE OF CONTENTS

Introduction
Staff and Administration 4
Objectives of the Program 5

Section I: Curriculum and Course of Study

Curriculum Summary 6
Key Dates 20172018 8
Masters Degree Requirements 8
Course Descriptions 9
Grading and Academic Standing 10
Pass/Fail Courses (Applied Studies) 10
Letter-Graded Courses 10
Satisfactory Academic Standing 11
Assignment Due Dates 11
Incomplete Grades 11
Probation 11
Grievances 12
Grievance Procedures/Grade Appeals 12

Section II: The OrchestraPolicies and Resources

Schedule and Facilities 13
Musicians Website 13
Offices 13
Lockers 13
Practice Rooms 13
Private Lessons 15
Policies 15
Stipends 15
Attendance Policy 15
Excused Absences and Leaves 16
Medical Absences and Leaves 17
Absence Request Form 17
Early Departures 17
Orchestra Information 18
Instruments 18
Seating Assignments 18
Musical Preparation 19
Principal Player Responsibilities 20
Bowings 20
Care of Music 20
Rehearsals 21

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 Concerts 22
Recordings 23
Concert Dress 24
Complimentary Ticket Policy 25
Rules of Conduct 26
Conflict and Resolution 27
Travel and Buses 28

STAFF AND ADMINISTRATION

Orchestra Artistic Staff
Leon Botstein, Music Director president@bard.edu
James Bagwell, Associate Conductor bagwell@bard.edu
845-758-7356
Zachary Schwartzman, zac@theorchestranow.org
Resident Conductor 646-319-5803
Andrs Rivas, Assistant Conductor andres@theorchestranow.org
Erica Kiesewetter, kiesewet@bard.edu
Director of Audition Preparation 201-280-5082
and Principal String Coach
Bridget Kibbey, bridget@theorchestranow.org
Director of Chamber Music 646-456-0401
and Arts Advocacy

Orchestra Administration
Lynne Meloccaro, Executive Director lynne@theorchestranow.org
917-881-0536
Oliver Inteeworn, Managing Director oliver@theorchestranow.org
646-237-5031
Marielle Metivier, Orchestra Manager marielle@theorchestranow.org
603-860-7936
Hsiao-Fang Lin, Production Assistant hlin@bard.edu
Viktor Tth, Production Coordinator viktor@theorchestranow.org
845-532-8076
Sebastian Danila, sebastian@theorchestranow.org
Music Preparation and Research 917-498-9121
Benjamin Oatmen, Librarian ben@theorchestranow.org
646-237-5025
Stephen Dean, sjdean@bard.edu
Production, Fisher Center 845-758-7946

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 Academic Administration
James Bagwell, Academic Director
Eric Trudel, Seminar Director trudel@bard.edu
845-758-7121
Sebastian Danila, Seminar Instructor
Kristin Roca, Administrative Assistant kroca@bard.edu
845-758-2403
Orchestra Marketing & Development Staff
Brian J. Heck, Director of Marketing brian@theorchestranow.org
646-237-5033
Nicole M. de Jess, nicole@theorchestranow.org
Director of Development 646-237-5022
Alice Terret, Marketing Associate alice@theorchestranow.org
646-237-5034

TON Graduate Committee

James Bagwell, Academic Director
Lynne Meloccaro, Executive Director
Eric Trudel, Seminar Director
Erica Kiesewetter,
Director of Audition Preparation
and Principal String Coach

OBJECTIVES OF THE PROGRAM

The purpose of TNs program is two-fold:

1) To provide you with experience that simulates as closely as possible

what you might expect to do in a professional orchestra.
Almost everyone graduating from conservatory dreams of getting an
orchestra job. But what they may not realize is that life in an orchestra
is not for everyone. It is natural to focus on practicing and
auditioning, but what about after that? The life of an orchestra
musician can be extremely rewarding and extremely grueling. Daily
rehearsals, constant performances, strict rules designed to support
not your individual artistic goals but the consistency of the
orchestrathese are the realities of the orchestra musician. In TN
you will be asked to keep to a heavy schedule. You will learn to cope
with this mentally and physically. You will be expected to adhere to
the standards of conduct of a professional musician (see Rules of

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 Conduct). But you must also remember that this is a training
orchestra and you are not yet a professional musician. You are a
student and have the advantages of Bard Colleges educational
and cultural resources. While we simulate the functions and
operations of a professional orchestra, for training purposes we will
not adhere to typical orchestra rules at all times. The experience you
gain here will help you to decide if orchestral life is right for you.

2) To provide you with skills to enhance your understanding of the

orchestra world and possible roles for you in it.
You already know that orchestras are not as secure as they were
years ago. Audiences and philanthropy are dwindling. As a musician,
it is up to you to take responsibility for the continuation of your
profession. This means taking an active role in communicating with
audiences, being articulate about what you are performing and
why, and imagining new ways to present music to people who may
not have your experience of it or your interest in it. TNs objective is
to help you understand, write, and speak about what you do in a
way that will transform you into the best argument for your own work.
You will learn to approach music not only from a technical point of
view, but in ways that help others understand its importance and
relevance in our society. You will learn how to curate concerts,
experiment with formats, and develop audiences. Our objective in
the non-performative courses you will be taking is to enhance your
skills as a musician who can not only play at a professional standard,
but also contribute to an orchestra as a knowledgeable and
articulate advocate for music. If eventually you decide that
orchestral life is not for you, these skills may open career paths
beyond the traditional routes of teaching or administration.

TN means to make you in to the best possible orchestral musician you

can be and to be part of the innovative change that must occur in
orchestras if they are to survive your lifetime. The program is hard and will
require you to start thinking like a pre-professional graduate student
rather than an undergraduate conservatory studentbeginning now!

SECTION I: CURRICULUM AND COURSE OF STUDY

CURRICULUM SUMMARY

There are two dimensions to this program, both of which complement

each other and which mirror the two objectives stated above. The
performance dimension has to do with your training as a performer.

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Rehearsals and performances for the entire three years are considered
courses and you will receive a pass/fail grade for these. Your grade will
be based on preparedness for rehearsals, professional conduct,
following the rules laid out in this handbook and other instructions,
punctuality, and collegiality. Performance courses include all rehearsals
and performances, sectionals, coachings, chamber music, and audition
preparation workshops.

The critical and curatorial dimension of the curriculum is designed to

enhance your intellectual comprehension of musical culture and your
skills at self-presentation. This dimension includes seminar meetings,
lectures and panel discussions, and writing and speaking assignments.
You will be required to take two years of a seminar which meets weekly.
The first year will focus on repertoire and research skills. You will study the
historical and cultural context of the TN concert programs while you
rehearse them. You will be required to write about the works you are
performing and to present your findings to your colleagues. By the
second year, TN students may write program notes for the concerts
and give short talks to the audience during concerts.

The second year of the seminar will focus on professional development.

Here you will use the skills acquired in your first year to refine your self-
presentation as a professional musician. Study topics include resume
writing, grant-writing, understanding orchestra business and
administration, and the history of the orchestra as an institution.

During summer sessions, you will participate in the Bard Music Festival
and take a two-week course in curatorial studies. This course will include
classroom discussion about concert programming and production, and
attendance at Festival symposia and performances. TN will also
perform its own concerts in the Bard Music Festival.

The third year is devoted to teaching artist residencies and to the

Capstone Projects, which you propose to the TN Graduate Committee
at the end of your second year and complete in your final year. The
Capstone Project represents the culmination of your study in TN.

TNs academic year runs from September to August, with the

exception of the third year, which ends with Bards Commencement in
May. Completion of the academic requirements for a full year includes
the summer session.

All TN students must be in residence near Bard College by September

4, 2017.

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 KEY DATES 20172018

2017
September 4 Fall Semester Begins
October 710 Fall Break
November 2026 Thanksgiving Break
December 18 Winter Break Begins

2018
January 15 Spring Semester Begins
March 111 Spring Break
May 26 Spring Semester Ends
July 16* Summer Session Begins
August 20* Summer Session Ends

*Please note: These dates are approximate and depend upon the
dates of the Bard Music Festival.

MASTERS DEGREE REQUIREMENTS

Candidacy for the Masters in Curatorial, Critical, and Performance

Studies requires completion of the following courses and the Capstone
Project:

First Year
CCPS 501: Seminar in Repertoire Studies (Fall & Spring)
CCPS 601: Applied Orchestral Studies (Fall & Spring)
CCPS 603: Applied Sectional Studies (Fall & Spring)
CCPS 513: Curatorial Studies (Summer)
CCPS 613: Applied Orchestral Studies (Summer)

Second Year
CCPS 521/23: Seminar in Professional Development (Fall & Spring)
CCPS 621: Applied Orchestral Studies (Fall & Spring)
CCPS 623: Applied Sectional Studies (Fall & Spring)
CCPS 626: Applied Orchestral Studies (Summer)

Third Year
CCPS 535: Teaching Artists (Fall & Spring)
CCPS 536: Capstone Project (Fall & Spring)
CCPS 631: Applied Orchestral Studies (Fall & Spring)
CCPS 633: Applied Sectional Studies (Fall & Spring)

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Seminars typically meet for two hours each week. Applied courses
typically meet for two and a half to three hours, four to five times each
week (depending on concert programs). Because programs, guest
artists, and schedules may change; be sure to check the TN schedule
regularly. You are responsible for being present at rehearsals and
seminars regardless of changes in schedules.

Course Descriptions
CCPS 501: This seminar will focus on writing and thinking about repertoire.
Students will learn about resources for research and how to use them.
They will study the larger historical and cultural context of the repertoire
they are performing, and learn to integrate this knowledge into their
concert preparation. In addition, they will hone skills to engage
audiences through the written and spoken word.

CCPS 513: This course takes place during the summer session. Students
will participate in discussions with the Music Director about concert
curation and programming, and meet with visiting scholars from the Bard
Music Festival. Subjects for discussion include the considerations that go
into creating a concert program, evaluative standards for successful
programming, and innovation in traditional program formats.
Attendance at musical events and panel discussions during the festival
are an integral part of this course.

CCPS 521/23: This course focuses on understanding the orchestra as a

cultural institution, and defining ones professional goals in it. Students will
study the challenges and changes experienced by the modern
orchestra, and will learn the skills of self-presentation that are necessary
for todays musician, including resume and grant-writing, administrative
structures of the orchestra, audience and philanthropic development,
and fashioning a career path.

CCPS 601/613/621/626/701: This course includes the full orchestra

rehearsals for the entire concert season. Evaluations are based on
preparedness, conduct, adherence to orchestra rules, and conductors
assessments. Please see the Rules of Conduct for further criteria. Students
are required to perform in all orchestral programs in which their
instrument is required to achieve sufficient credit for this course.

CCPS 603/623/703: This course includes sectional coachings, audition

prep classes, masterclasses, and chamber music. Evaluations are based
on preparedness, conduct, and assessment by coaches and visiting
faculty. Please see Rules of Conduct for further criteria.

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CCPS 535: Students participating in the teaching artist program train and
participate in various community projects and programs, in order to
hone their skills in both teaching and outreach. Evaluations are based on
attendance and supervisors assessments.

CCPS 536: In the final year, students present their Capstone Project.
Projects should reflect the culmination of the students thinking and
social engagement throughout the program, and should be designed to
address in some way some of the challenges of keeping orchestra music
relevant to contemporary society, with particular focus on audience
development. Projects may include forming and managing a performing
ensemble, curating a music festival, designing a music education
curriculum for at-risk children and youth, curating a program of solo and
chamber works around topics of social importance, or working with local
communities to explore and express their life experience in words and
music. As new collaborations and partnerships are formed, Capstone
Projects may be presented in the Hudson Valley and in New York City.

GRADING AND ACADEMIC STANDING

TN performance courses (Applied Studies) are graded Pass/Fail. All

other TN courses use a letter grading system.

Pass/Fail Courses (Applied Studies)

Pass
The student is fully prepared for all rehearsals. They have closely followed
all rules of conduct. They have not been disruptive to colleagues and
conductors. They have closely studied their part both independently and
in relation to the full score. They have been seated, settled and
prepared to play before the downbeat. They have notified the
Orchestra Manager with sufficient notice of any issue or development
that impacts their presence at rehearsal (e.g. illness).

Fail
Any of the following circumstances may result in a failing grade. The
student was not prepared for rehearsal, did not listen to conductors or
section leaders direction, was late without sufficient excuse, failed to
notify the Orchestra Manager, did not follow the rules of conduct, or
exhibited disruptive or uncollegial behavior during rehearsals or
coaching.

Letter-Graded Courses
Letter grades and grade-point equivalents are defined as follows (TN
does not use the grades C- or D):

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A (4.0) Exceptional
A- (3.7) Excellent
B+ (3.3) Very Good
B (3.0) Good
B- (2.7) Competent
C+ (2.3) Academic Probation
C (2.0) Academic Probation
F (0.0) Failure to reach the standard required for credit

Grading criteria for letter-graded courses will be specified by the

individual instructor.

Satisfactory Academic Standing

Students must maintain a passing grade in all performance courses
(Applied Studies) and a grade point average (GPA) of 3.0 in their letter-
graded courses to remain in good academic standing. A student whose
GPA drops below 3.0 or who receives a C grade in a letter-graded
course will be placed on academic probation. A failing grade (F) in any
course is grounds for dismissal from the program. A student who receives
a failing grade in any semester must meet with the Academic Director
and Executive Director, followed by a meeting with the relevant faculty
to review the students overall performance. Final determination of the
students standing in the program will be made by the TN Graduate
Committee.

Assignment Due Dates

Faculty members set deadlines for all assignments in letter-graded
courses. It is expected that all assignments will be submitted on time. Any
extensions granted beyond the end of the semester must be approved
in advance by the Academic Director and Executive Director.

Incomplete Grades
Failure to meet all requirements for letter-graded courses will result in a
grade of incomplete. A student who receives an incomplete must
meet with the course instructor to discuss what needs to be done to
complete the course requirements and to determine a date by which
the work must be done. All work for incomplete courses must be
submitted no later than one week after the start of the succeeding
semester. Any student carrying an incomplete grade beyond the first
week of the succeeding semester will be suspended from the program
and their stipend will be withheld.

Probation
Attendance and participation in all the courses and curricular activities
outlined in this handbook are required to maintain good standing in this

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program. Attendance is monitored by the Orchestra Manager, coaches,
and faculty. Lack of attendance, preparation, participation, poor
conduct, or low performance in any course or curricular activity may
lead to probation, suspension, or expulsion from the program. Probation
is a cautionary status, in which the student is apprised of the issue that
has affected their academic standing and is given time to correct or
resolve it. The student will be notified of their probationary status by a
written letter from the Academic Director or Executive Director. The
student will then meet with the Executive Director, Academic Director
and any relevant faculty to discuss the issues detailed in the probation
letter and to arrive at a determination how to resolve them. The student
may continue in the program and retain full financial aid for one
semester; students may not take leaves for auditions or any other
purpose and will not be assigned a principal seat until they are once
again in good academic standing. If at the end of the semester the issue
leading to probation is not resolved to the satisfaction of the Academic
Director, Executive Director, and relevant faculty, the student may be
suspended or dismissed from the program. Final determination of the
students standing in the program will be made by the TN Graduate
Committee.

Grievances
It is the hope of all TN faculty and staff that every student who attends
TN enjoys a meaningful and productive educational experience.
Students who encounter a problem related to their studies, course
experience, or the TN community should consult with the Executive
Director or Academic Director. Problems related to academic
performance or classroom issues should first be brought to the attention
of the relevant faculty member. Problems related to rehearsals,
performances, or audition classes should first be brought to the attention
of the instructor who supervised the event in which the issue arose. In the
case of a full orchestral rehearsal, the problem should be brought to the
Orchestra Manager. If an issue cannot be resolved by the faculty
member or the Orchestra Manager, the student should consult the
Executive Director, who may bring the issue to the relevant faculty.
Appeals to decisions made by the Executive Director or Academic
Director may be brought to the Dean of Graduate Studies.

Grievance Procedures/Grade Appeals

As stated above, a student who has a grievance should first appeal to
the faculty or staff member it concerns. For example, a student should
first appeal a grade to the faculty member who gave the mark. If the
student is not satisfied by the response of the faculty or staff member, or
if they regard it as inappropriate to bring their appeal directly to the
faculty or staff member it concerts, they should consult with the
Executive Director or Academic Director.
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 SECTION II: THE ORCHESTRAPOLICIES AND RESOURCES

SCHEDULE AND FACILITIES

Musicians Website
TN has a secure section of its website that is for TN musicians only and
is password protected. It contains very useful information, including (but
not limited to):
Rules and regulations for all TN members.

TN calendar of events, classes, and venues. This is the only official

schedule!

Audition class requirements, schedule, and attendance chart

Audition absence request form

Notifications and updates

Please make a habit of checking this website regularly, which can be

found at the following URL:

http://theorchestranow.org/notifications/

Offices
TNs office is located in Blum (Bito Conservatory Building), Rm. N201. The
Librarians office is located in Blum Rm. 114

Lockers
Individual lockers are located by the stage entrance to Sosnoff Theater
in the Fisher Center. The room is locked in the evening and unlocked
during the daytime. You may claim any available locker designed for
your instrument, and you must provide a lock for it. Fisher Center and
Bard College are not responsible for any damaged or stolen items left in
the locker room. The locker room is not available during the summer due
to the backstage activity required for the opera production.

Practice Rooms
Practice rooms are located in several areas on campus. The bulk of the
practice rooms are in Blum and in the Practice Room Building. There are
also eight practice rooms in the basement of the New Robbins dorm.

If you would like to have access to the practice rooms in New Robbins,
please ask Eileen (Bito 106) for an authorization form, which should then

13
be taken to Buildings & Grounds to get a key. If you would like to
practice, or have a chamber rehearsal, you can make a reservation
using space.bard.edu for rooms in Blum, Bito, and the Practice Room
Building. There are four ways to do it:

1) go to space.bard.edu (48 hours IN ADVANCE of the time you would

like the room)

2) go to the lobby of Bito Conservatory building and reserve with the

room scheduler in the front desk

3) send an email to practice@bard.edu

4) if you need a large space to rehearse, please email Hsiao-Fang Lin at

hlin@bard.edu at least a week in advance.

You should always check in with the room scheduler before you use the
room. Bito is a teaching building and teachers have priority for use of the
studios, which means your reservation may be moved to another room. If
you are more than 10 minutes late for your reserved time, your
reservation will be cancelled. If you leave the room for more than 10
minutes, your reservation will be cancelled as well.

Recording sessions
If you would like to reserve CPS or Olin Hall for your recording session,
please email Lisa Hedges at lhedges@bard.edu no later than two weeks
in advance. If you need either hall on a weekend, you must email Lisa no
later than Thursday morning for a Saturday or Sunday slot. Recording
and hall-use time is limited to 2-hour time slots. You should bring your own
music stands.

If you would like to reserve Bard Hall, Blum Hall, or Jazz Room Blum N211
for your recording session, please email James Mongan at
mongan@bard.edu no later than two weeks in advance. It is the
responsibility of the student booking the space to reconfirm all of the
details with either James or Hsiao-Fang one week prior to the recording
session.

To reserve other studios, please email Hsiao-Fang Lin at hlin@bard.edu.

Please note that you must provide your own equipment for the recording
session.

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Recitals
If you would like to reserve a space for your recital, please email Hsiao-
Fang Lin at hlin@bard.edu no later than a month in advance.

If using Olin Hall for a recital, students are not allowed in the sound booth
and must contact Bard AV at av@bard.edu as soon as you book the
recital. If you are using CPS and need electronics, you must provide your
own mixer, amps, etc.the Conservatory does not have that
equipment. Students are not allowed in the Conservatory AV equipment
room.

You will have to hire your own stage manager and ushers.

Private Lessons
Private lessons are not subsidized by TN, but TN members may
negotiate for discounted lessons from Bard Conservatory faculty.

POLICIES

Stipends
Stipends are paid through the Bard student payroll and are taxable. TN
students will receive biweekly checks or direct deposits, and a W-2 at the
end of the year. International students are strongly urged to inquire if
their country of origin has a tax treaty with the United States in order to
avoid the maximum tax rate. You are also urged to keep all receipts for
relevant expensesthis can go far in reducing your payment amount.

TN reserves the right to withhold stipends if a student is not in good

standing in any aspect of this program, and has made no attempt to
resolve those issues which have been identified to the student as
preventing him/her of maintaining good standing. Reasons for
withholding stipends include failure in graded or pass/fail courses, failure
to abide by the rules of this handbook, and unexcused absences.
Decisions for suspension of stipends are made by the TN Graduate
Committee. Appeals of suspension may be also be made to the TN
Graduate Committee. If you are struggling in any way please seek out
help from the staff or TN Graduate Committee. TN has made a
considerable investment in you, and will do everything possible to help
you succeed.

Attendance Policy
Students must earn the appropriate number of credits each
academic year.

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 Students are expected to be in residence, living near campus while
the orchestra is in season (mid-July through May).

Attendance is mandatory at all rehearsals, sectionals, classes,

coaching sessions, and performances, including any additional
events that may be scheduled throughout the season and any that
may be rescheduled.

In the event of an unavoidable absence from rehearsal, musicians

are required to notify the Orchestra Manager immediately via phone
or text. Unavoidable absence is defined as an absence arising from
a serious illness (a doctors note may be required) or a family
emergency. Scheduled medical appointments, travel delays,
vacation plans, and scheduling conflicts are not considered to be
excusable absences. Failure to notify may be considered an
unexcused absence.

Unexcused absences or tardiness may result in withholding of

stipend, probation, or, in extreme cases, dismissal from the Program.
TN members are expected to adhere to the disciplinary standards
expected from professional musicians, not students.

Excused Absences and Leaves

TN students are expected to perform in all orchestral programs in
which their instrument is required in the 201718 season.

In order to allow for audition leaves that may conflict with the TN
schedule, TN members may obtain leaves by participating in other
Bard Conservatory/College orchestra projects, or other performing
projects on campus. TN members have the option at the beginning
of the year to volunteer in advance for a non-TN concert or
equivalent (choice subject to approval) so that they can get credit
in the "bank" for leaves for auditions. All leaves, and assignments to
other Bard performance projects, are still subject to approval by the
staff. Credits may not be used for leaves for non-audition purposes.

The specific amount of leave time that one can qualify for by
substituting in other Bard performing projects is determined by staff
on a case by case basis.

Credit may not be earned by participating in non-Bard orchestra

performing projects.

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 TN musicians in their final year may have three audition releases
without making up concerts in order to help maximize their audition
opportunities.

Students may request extended leaves for personal or medical

reasons. Extended leaves will not be granted for purposes of working
with another orchestra. Leaves of absence require a non-refundable
fee of $250 per semester.

Medical Absences and Leaves

If a student feels they must miss a rehearsal due to short-term illness
(cold, etc.), they should notify the Orchestra Manager immediately,
and submit a note from a doctor or the health service.

If a students condition is such that they must miss multiple rehearsals,

they should contact the Orchestra Manager to discuss release from
the concert, and submit a note from a doctor or the health service.

If a student is injured or suffers a longer-term illness that will prevent

them from participating in multiple concerts, they should submit
relevant documentation from their health provider and see the
Executive Director to discuss a plan for making up the course
requirements. Requests for medical leave shorter than 50% of a
semester will be considered on a case-by-case basis according to
the individuals condition and doctors advice.

If a student is unable to fulfill more than 50% of the semester due to

illness or injury, they should meet with the Executive Director to
discuss a long-term medical leave. Medical leaves require
documentation from the health provider.

Absence Request Form

TN Absence Request Forms are available on the TN musicians
website. Absence Request Forms for auditions must be completed and
submitted to the TN office three weeks in advance of the audition, and
be accompanied by the audition invitation. Please allow up to five days
to receive approval for the absence.

Early Departures
If you audition successfully for a position in another orchestra and decide
to leave TN early, or if you decide to depart from TN early for any
other reason, you must notify TN administration immediately. You are
requestedin fairness and respect to your colleaguesto depart only at
the end of a semester. It is understood that your deposit will not be
refunded. It is part of the purpose of this program to help you get a great

17
job in an orchestra; you are strongly urged to discuss all job offers with an
advisor before accepting them.

The full year ends in August with the Bard Music Festival. If you choose to
leave before the festival, please note that you will forfeit stipend
payments after May.

If you wish to depart for reasons unrelated to employment, please be

sure to speak to your advisor or TN administration before making any
abrupt decisions. Bard College has many different resources to help with
many kinds of problems, and the TN staff is available 24/7 for
emergencies.

**These policies are specific to The Orchestra Now. For policies

pertaining to Bard College in general please see the Bard Graduate
Program Handbook**

ORCHESTRA INFORMATION

Instruments
With some exceptions for larger or auxiliary instruments, TN musicians
use their own instruments and are responsible for their maintenance and
repair. It is understood that neither Bard College nor The Orchestra Now
is responsible for damage to or theft of any instrument, regardless of
circumstance. (It is strongly recommended that you insure your
instrument with a reputable carrier.)

Seating Assignments
Strings
String seating is rotational and determined by the artistic staff. 1st and
2nd year strings are encouraged to take the auditions for the principal
pool, which are held at the beginning of each semester (see calendar).
Players retain their position in the pool for one year, provided their
performance remains to standard and they are in good academic
standing. There may be supplementary auditions for specific concerts if
a piece with a prominent solo (e.g. Rimskys Scheherazade) appears in
the repertoire. Once the pool for each instrument is established, the
leaders for a given concert will be chosen from these players only.
Additional considerations will include (but are not limited to)
demonstrated leadership capabilities, knowledge of repertoire, and
attitude. Players are expected to fulfill all responsibilities of any seat to
which they are assigned, either as a leader or a section player.

18
Winds, brass, percussion
Seating is determined by the Resident Conductor and the Music
Director. However, seating requests may be submitted to the Resident
Conductor at least one month in advance of the first rehearsal. Once
set, seating may not be altered under any circumstances without
express permission from the Resident Conductor.

You are required to play in all concerts that require your instrument. In
cases where seating rotation means not all TN musicians will be
needed for a concert, a musician may be requested to make up the
credit for that concert by playing a concert in one of the other college
orchestras.

Musical Preparation
Musical preparation is essential to the artistic quality of the orchestra.
Students are required to prepare their assigned parts in advance of the
first rehearsal of all programs, to a degree that allows comfortable
execution. Students should arrive at the first rehearsal with a familiarity
not only with their part but of the work AS A WHOLE. Every player needs a
sense of how their individual part fits into the larger context of the work
chronologically, texturally, and musically. This can be achieved in part by
listening to a recording (preferably not the same recording more than
once) while looking at the individual part/full score. Parts and full scores
are posted online and are accessible 23 weeks before the first
rehearsal.

Preparation includes but is not limited to:

Familiarity with all musical terms, translating foreign terminology if
necessary.

Foreseeing and being comfortable with tempi that may be taken for
each passage.

Adhering to the appropriate style and sound world for each work.

Working out all notes, key signatures, meter changes, dynamics, and
extra-musical effects.

Strings: knowledge of bow strokes for each passage and familiarity

with bowings.

Winds and brass: knowledge of appropriate articulations required to

achieve an authentic style or musical effect.

Percussion: knowledge of appropriate instrument and mallet choices.

19
It is strongly suggested that you take advantage of the music libraries of
both TN and Bard College, and that you obtain French, German, and
Italian dictionaries for your reference. There is also a copy of the New
Grove Dictionary for your use in the TN office.

Principal Player Responsibilities

Students assigned to principal seats are expected to advise the
orchestra manager of any additional instruments that may be required
for any works in a concert, and they must ensure that those instruments
are present for all rehearsals and concerts. Principal players represent
their sections, communicate directly with the conductor during
rehearsals about musical issues, and generally work to facilitate
communication and smooth operation of the section.

Principal players are required to notify the Librarian as soon as possible

about awkward page turns, mistakes, missing parts, unclear cuts, or any
music needs, changes, repairs, etc.

Principal players are responsible for clearly leading their sections in

entrances, immediately establishing steady tempi, assertively
communicating suggested changes or requests to their own and other
sections, coordinating entrances with other principal players, and being
responsive to conductors gestures and eye-contact.

Principal players are also responsible for seeing that their entire section is
present and accounted for prior to European entrances on to the stage.

Principal players should look after their sections. They are responsible for
maintaining accord among the section members, helping those who
may need assistance, notifying those who may not be behaving
professionally, and assisting them in correcting the behavior in question.
Principal players must show leadership.

Bowings
Bowings must be coordinated by principal strings and marked into first
stand parts 1014 days before the first rehearsal for any given program, in
order to allow the library team time to transfer them to parts. Bowing
meetings are scheduled in the calendar. Parts (with changes marked
with Xs) should be delivered to the Library Manager immediately
following the meetings. Failure to attend a bowing meeting will be
considered an unexcused absence.

Care of Music
Musicians may take original parts away with them to practice, but must
inform the librarian that they are doing so. Musicians are responsible for

20
returning the part in undamaged condition. Markings should be made in
light pencil and erased when the part is returned. Musicians will be held
responsible for lost or damaged parts and must pay for replacement.
When taking a part out of the venue, take only the part itselfdo not
take the orchestra folder.

No music is to be removed from the orchestra library without advance

approval from the librarian.

Rehearsals
You must arrive at least 10 minutes prior to the scheduled start time of
any rehearsal. You must be seated and ready for announcements five
minutes prior to the start of a rehearsal. You must be seated and ready
for announcements two minutes prior to the resumption of a rehearsal
after a break.

Tuning will take place after announcements.

Rehearsals are generally three hours with one 25-minute break. If a

double rehearsal is necessary, the rehearsal will be two and a half hours
with one 20-minute break. Break times may be divided if stage changes
necessitate. On occasion, it is necessary for a rehearsal to be extended
for a brief interval, when for instance a work can be finished with a few
added minutes. Strict observance of break times and avoidance of
delays at the start will minimize this occurrence, but when it does
happen, it is understood that all musicians will remain in their places.
Rehearsal ends when the conductor sets their baton down. Never make
any plans or engagements that will not allow for the possibility of late
endings.

Rehearsal schedules may also change at any time. Regardless of

change, you are expected to be at every rehearsal. Never make plans
that risk conflict with the TN schedule. TN will not honor outside
contracts or commitments because of conflict due to a schedule
change.

Rehearsal orders will be announced via email the day before the
rehearsal. Unless specifically permitted, you are expected to be present
at the top of a rehearsal regardless of whether you are playing in the first
piece, to allow for last-minute scheduling changes. All rehearsal orders
are subject to change.

Instrument cases and small personal items such as coats or handbags

may be brought on stage during rehearsals. No food is permitted on
stage at any time, except for drinking water in closed containers, and

21
small containers for reed water (but dont drink that!).

If you are unavoidably late for a rehearsal, please contact the Orchestra
Manager immediately. If you do not, the lateness will be marked as an
unexcused absence. If you are late returning to the stage after a break,
or if staff have to search for you, it will be considered an unexcused
absence.

Rehearsals have sufficient break time for anyone to use the restroom. No
one may leave the stage while a rehearsal is in progress except for the
following reasons:
You are having a medical emergency.

Your instrument is not functioning and requires immediate attention

(e.g. broken string).

You have been excused by the conductor.

You may not leave the stage during tacet passages or movements
without the permission of the conductor. If a work is being rehearsed in
which you are not playing at all, you are not required to be on the stage,
but you must remain in the building close enough to hear your call.

Absolutely no cell phone use is permitted during rehearsals. Anyone

caught using their cell phone will immediately be placed on probation.
No reading of extraneous materials such as magazines is permitted.
During tacet passages or movements, you are encouraged to follow
along out of respect for your colleagues. If you wish to leave the stage
for an entire tacet movement, please indicate your request to the
conductor first.

If you have a logistical issue during a rehearsal (e.g. sightline,

equipment). Inform the Orchestra Manager or a stage crew member. Do
not stop the rehearsal or address the conductor about it.

If you feel too unwell to attend a rehearsal, please inform the Orchestra
Manager or the TN office. It is better not to infect your colleagues if you
are in the contagious phase of a cold or virus.

Excuses for absences due to medical reasons require a doctors note.

Concerts
You are expected to arrive at the concert hall no later than 30 minutes
before the top of the performance.

22
The Orchestra Now uses European entrances when space permits. You
are responsible for being in your proper position in line five minutes prior
to the entrance. Principals are responsible for seeing that everyone in
their section is present.

In the case of European entrances, you are allowed warm-up time on

stage 15 minutes prior to the opening of the house (usually 30 minutes
before the performances), so please allow additional time if you wish to
take advantage of this warm-up time. Once the house is open, all
musicians must be off the stage and all instruments (save those that
cannot be moved) must be cleared from the stage. Tuning will take
place on the stage.

If the orchestra does not do a European entrance, you will be informed

when the stage is open for warm-up. If a pre-concert talk is scheduled,
musicians have until five minutes before the talk begins to warm up.
Remember that after the house opens, you will be observable by the
audience, so please comport yourself accordingly. Once the house is
open, do not practice passages from the program! Not only is that
annoying for the audience, but it gives them the impression that you are
insecure with the music. Use anything else to warm-up, but never the
music you are about to play.

Musical instruments are the only items allowed on stage during a

concert. Instrument cases and personal items must be left in dressing
rooms or designated backstage areas. Please be sure your cell phone
ringer is silenced before you go onstage.

If you feel faint or nauseous before a concert, DO NOT go onstage. It is

much more disruptive for you to try to get off the stage after the
downbeat than for you to wait until intermission to see if you feel better,
and then enter the stage. Notify the Orchestra Manager immediately if
you do not feel well.

If you suddenly feel ill during a rehearsal or performance, quietly leave

the stage and seek help from the Orchestra Manager or stage crew.

Recordings
Some TN concerts are recorded and may be released as commercial
recordings or as sellable downloads. In some cases, commercial
recordings may require additional studio time. TN musicians may
receive a complimentary copy of the recording, but no additional
monetary compensation.

23
Concert Dress
TN has two categories of concert attire: formal and casual. Formal is
generally used for all concerts taking place at Carnegie Hall and the
Fisher Center. Casual is used for the Sight & Sound and Around Town
series. The Orchestra Manager will advise you via email the day before
each concert as to the proper dress code. If you are not certain about
the dress code please consult the Orchestra Managernever assume! If
you discover on the bus that you do not have the proper attire, you will
be responsible for obtaining it before the concert, and that could prove
difficult and expensive.

Men
Formal
Black blazer
Black dress pants
Black dress shoes (polished and in good shape)
Black button-up collared dress shirt
Cobalt/Royal blue socks (provided)
Cobalt/Royal blue tie (provided)
Cobalt/Royal pocket square (provided)

Casual
Black blazer can be worn if you wish, but is not required
Black dress pants
Black dress shoes
Black button-up collared dress shirt
Cobalt/Royal blue socks (provided)
Cobalt/Royal blue tie (provided)
NO pocket square

Women
Formal
Black floor-length skirt OR black wide-leg floor-length dress pants
(palazzo style)
Black dress shoes (should have some heel)
Cobalt/Royal blue formal blouse, solid color/no patterns (see below
for color guidance)
No button-ups unless the style is clearly dressy
No shirttail hem
No ruffled bottoms
No roughly woven or stiff material; crepe, silk, satin, or
synthetic are preferable
No patterns, appliques, or additional colors
Little or no sequins or reflective additions such as rhinestones
May be sleeveless, but not overly exposing

24
Casual
Black floor-length skirt OR black pants (do not need to be palazzo
style)
Black dress shoes (may be flat)
Cobalt/Royal blue blouse, solid color/no patterns (can be a more
casual style; see below for color guidance)
May be button-up
No shirttail hem
Nothing shiny or reflective on the blouse
If cotton, should not look over-washed, worn, or frayed

Blouse: Use this color swatch for comparison when shopping:

https://www.panTNe.com/color-finder/300-C.

Blouse should be blue ONLY.

For examples (including what to avoid) see here:

http://pinterest.com/theorchnow/

IF YOU ARE UNSURE if your blouse is the correct color or style, please
consult the Director of Marketing, Brian J. Heck.

Colognes, aftershave lotions, perfumes, and highly reflective jewelry are

not permitted.

Women who must buy new blouses to fit the dress code may be
reimbursed $20 (the equivalent of the cost of the mens ties and socks),
upon receipt.

Complimentary Ticket Policy

For all concerts, TN musicians may receive two complimentary
tickets, subject to availability. If a performance appears to be selling
out, musicians will be notified in advance.

TN musicians may reserve their comp tickets by emailing the

Marketing Associate, Alice Terrett, at alice@theorchestranow.org
and providing the full name of the person who will be picking up the
tickets. Tickets may NOT be reserved under a musicians name.

Musicians may give unused comp tickets to fellow musicians, as long

as this is made clear in the ticket request and both parties are
copied. The musician receiving the extra tickets may then submit the
names of the ticket users to the Marketing Associate.

25
 All comp requests must be made no later than two days prior to the
concert date, or by Friday at noon for a weekend performance.
Requests made later than that will not be fulfilled. Requests should
not be considered fulfilled until a confirmation is received.

Comps will be held at the box office at each venue and will be
available for pickup two hours in advance of the performance.

RULES OF CONDUCT

It is considered part of your training to instill in yourself the behavior and

etiquette that will be required of you in your professional career. The
standard of professional conduct is higher than that demanded from
undergraduate conservatory students. Successful professional musicians
are not late for rehearsals, and are respectful of conductors and
colleagues. They do not indulge in behavior such as bullying or
humiliating their colleagues in words, actions, or facial expressions. They
project engagement and attentiveness in posture, deportment and
expression. Behavior deemed to fall below the standard of the
professional musician will not be tolerated and may result in probation.
Always remember that you are entirely visible from the podium, and we
always receive feedback from conductors, coaches, and audience
members. Negative assessments regarding conduct or demeanor will
certainly be investigated.

Here are some basic guidelines for professional deportment. For more
information, please consult Elaine Douvas immensely helpful
memorandum on the TN musicians website.

It is your responsibility to support the conductor, no matter what

disagreements or criticisms you may have. You will encounter a range of
different conductors, and whether or not it is immediately apparent to
you, each one has something to offer. Your attitude should be to identify
what is valuable to you and receive it. It is very obvious when a player is
not supporting a conductorobservations of this kind will be considered
a violation of the rules of conduct.

In the same vein, it is your responsibility to support your colleagues. If

someone is confused by something, struggles with a passage, or makes
an error, giving a dirty look or being critical serves no purpose other than
to make you look like a bad colleague. Bad colleagues will not endure in
this program.

26
Poor conduct includes (but is not limited to):
Showing up at the last minute and unpacking when others are
already set for rehearsal.

Warming up at high volume.

Talking or looking away while the conductor is addressing the

orchestra.

Leaving the stage without permission from the conductor.

Indicating exasperation at colleagues, guest artists, or conductors.

Crossing legs or slumping in the seat, yawning, chatting with

neighbors, or tapping feet.

Cleaning or adjusting an instrument while someone else is playing a

difficult passage.

Dressing like a complete slob; insufficient hygiene.

Leaving personal items all over the communal backstage area.

Imitating the bad habits you may observe in others.

Being inconsiderate of the stage crew.

Conflict and Resolution

In any orchestra, conflicts invariably arise. These are generally of two
kinds: personal and political. Personal conflict may occur when a
colleague is displaying some of the behavior listed above, or is in general
not acting in a cordial and professional manner. Political conflict arises
when the cliques and sub-groups that inevitably form when a large
group is in constant close proximity attempt to alarm or persuade others
to behave in certain ways.

TN relies first on peer-to-peer resolution. If you see a colleague

behaving badly, first assume that person is not aware of his/her behavior
and that they need assistance, not condemnation. Notify the section
leader (unless it is the section leader, in which case notify the
concertmaster). It will then be up to the section leader to try to explain
to that person in a non-confrontational way the impression his/her
behavior is making on others. If the behavior persists, the section leader
should request that the Orchestra Manager or Resident Conductor
observe the behavior directly, and then the administration will deal with

27
it from there.

There is no easy resolution for political conflict, which you will find in any
ensemble you play with throughout your career. In any orchestra and
indeed in any profession, the best strategy is not to believe word of
mouth, but to discover and weigh the facts for yourself. Some people
thrive on setting fires, others want to be everyones hero, still others
ignore it all and keep their focus on things at hand.

If you feel a conflict of any sort is interfering with your ability to work
successfully in any part of this program, and you feel at a loss as to how
to resolve it, please see any of the staff with whom you feel comfortable,
or see any of the counselors in the college or the conservatory. There are
many resources on the campus which can intervene to help.

Travel and Buses

When buses are provided for transportation to concerts, musicians are
requested to be at the designated pickup location 20 minutes prior to
departure. The pickup location is generally the third parking lot behind
Fisher Center, where you may leave your car.

Sign-up sheets for the buses are provided at the two final rehearsals for a
run-out program. These should be signed regardless of whether you
intend to take the bus. Failure to sign the bus sheets will be noted and will
affect your orchestra record.

If you do not intend to take the bus but have provided for transportation
on your own, you are required to inform the Orchestra Manager the day
before the concert, and to provide a means of communication on travel
days.

All TN members should have valid passports for international travel.

Please be advised that all of the policies and rules of conduct described
above are an integral part of the program. Failure to adhere to them, or
to notify administration of any issues you may have so that we may assist
you in resolving them, are part of your permanent academic record.

28
NOTES

29
 NOTES

30
NOTES

31
 NOTES

32