ABSTRACT
The preceding four chapters have evaluated the role of the orchestrator bearing in mind a technical determination of the process, training and apprenticeships, the influence of technology on how the job is carried out, and the degree of involvement in scoring projects. All of these things impact to a greater or lesser extent on the working practices of orchestrators, but there are some aspects of these practices that have not been covered so far in the discussion, and which form the basis of the following consideration. The critical analysis of ‘orchestrating’ and ‘arranging’ in Chapter 2 established the framework in which these professionals work, but further investigation is required into actually doing the job and the approaches and routines developed by leading practitioners in the business. Similarly, Chapter 3 provided a detailed investigation of how one enters the profession and enabled an understanding of the steps that must be taken to become a film-score orchestrator, but there is more to be determined about managing the workload that such a career may bring, and the fine balances which must be weighed.
