Abstract
<jats:title>Abstract</jats:title> <jats:p>The editors’ introduction to the Oxford Handbook of Orchestration Studies establishes the rationale for this collection, advocating for “orchestration studies” as a distinct interdisciplinary field. By embracing the plural “studies” and departing from traditional pedagogical texts and single-author treatises, this Handbook challenges the historical separation of orchestration from composition and its diminished role as a “decorative” element. Inspired by a broad definition of orchestration as the “selection, combination, and juxtaposition of sounds,” the volume expands beyond the Western symphony orchestra, showcasing a wide array of musical practices—including jazz big bands, gospel music, film scores, electroacoustic music, and global musical traditions. Spanning research in the humanities and sciences and assembling contributions from theorists, musicologists, ethnomusicologists, cognitive scientists, technologists, composers, and performers, the introduction highlights the book’s commitment to fostering a rich cross-disciplinary dialogue.</jats:p>