<s>
Virtual	B-Application
orchestra	I-Application
refers	O
to	O
a	O
variety	O
of	O
different	O
types	O
of	O
technologies	O
and	O
art	O
forms	O
.	O
</s>
<s>
Most	O
commonly	O
used	O
to	O
refer	O
to	O
orchestral	O
simulations	O
,	O
either	O
for	O
pre-recorded	O
or	O
live	O
environments	O
,	O
it	O
also	O
has	O
been	O
used	O
in	O
other	O
ways	O
,	O
such	O
as	O
IRCAM	O
's	O
virtual	B-Application
orchestra	I-Application
database	O
.	O
</s>
<s>
For	O
this	O
reason	O
,	O
much	O
of	O
the	O
music	O
heard	O
on	O
television	O
,	O
and	O
in	O
cinema	O
,	O
uses	O
some	O
form	O
of	O
a	O
virtual	B-Application
orchestra	I-Application
.	O
</s>
<s>
The	O
term	O
virtual	B-Application
orchestra	I-Application
is	O
used	O
today	O
to	O
describe	O
the	O
real-time	O
simulation	O
of	O
a	O
traditional	O
acoustic	O
orchestra	O
in	O
live	O
performance	O
genres	O
such	O
as	O
musical	O
theater	O
,	O
ballet	O
,	O
and	O
opera	O
.	O
</s>
<s>
This	O
use	O
of	O
virtual	B-Application
orchestras	I-Application
emphasizes	O
the	O
interactive	O
capabilities	O
of	O
the	O
technology	O
as	O
opposed	O
to	O
pre-recorded	O
and	O
studio-based	O
genres	O
such	O
as	O
film	O
scores	O
.	O
</s>
<s>
The	O
term	O
virtual	B-Application
orchestra	I-Application
implies	O
a	O
high	O
degree	O
of	O
human	O
interaction	O
during	O
live	O
performance	O
and	O
suggests	O
that	O
the	O
method	O
simulates	O
both	O
the	O
sound	O
and	O
behavior	O
of	O
an	O
acoustic	O
orchestra	O
.	O
</s>
<s>
While	O
the	O
definition	O
has	O
expanded	O
to	O
include	O
creative	O
and	O
research	O
activity	O
in	O
a	O
broader	O
aesthetic	O
range	O
beyond	O
traditional	O
orchestral	O
simulations	O
,	O
the	O
ability	O
to	O
interact	O
with	O
the	O
sonic	O
and	O
behavioral	O
elements	O
in	O
real	O
time	O
via	O
human	O
performance	O
has	O
remained	O
one	O
the	O
requisite	O
attributes	O
of	O
a	O
virtual	B-Application
orchestra	I-Application
.	O
</s>
<s>
There	O
have	O
been	O
multiple	O
union	O
pickets	O
at	O
performances	O
that	O
used	O
or	O
intended	O
to	O
use	O
this	O
technology	O
,	O
such	O
as	O
the	O
2003	O
Broadway	O
musicians	O
strike	O
,	O
that	O
began	O
as	O
a	O
dispute	O
over	O
pit	O
minimums	O
,	O
and	O
rapidly	O
escalated	O
into	O
a	O
referendum	O
on	O
virtual	B-Application
orchestras	I-Application
.	O
</s>
<s>
Yet	O
even	O
into	O
the	O
late	O
1980s	O
and	O
beyond	O
,	O
the	O
virtual	B-Application
orchestra	I-Application
was	O
criticized	O
for	O
its	O
divergence	O
from	O
the	O
original	O
aesthetic	O
trajectory	O
.	O
</s>
<s>
The	O
criticism	O
suggested	O
that	O
it	O
was	O
unimaginative	O
to	O
set	O
the	O
Virtual	B-Application
Orchestra	I-Application
's	O
sights	O
on	O
a	O
target	O
of	O
simulation	O
when	O
its	O
potential	O
could	O
be	O
better	O
served	O
by	O
allowing	O
it	O
to	O
function	O
idiomatically	O
while	O
moving	O
the	O
art	O
form	O
forward	O
along	O
the	O
original	O
trajectory	O
of	O
experimentalism	O
.	O
</s>
<s>
While	O
the	O
experimentalists	O
intended	O
to	O
move	O
the	O
art	O
forward	O
by	O
leaps	O
,	O
and	O
emphasize	O
the	O
aesthetic	O
and	O
technical	O
disconnect	O
between	O
composers	O
,	O
works	O
,	O
studios	O
,	O
and	O
strategies	O
,	O
supporters	O
of	O
the	O
virtual	B-Application
orchestra	I-Application
set	O
out	O
to	O
establish	O
the	O
connection	O
and	O
evolutionary	O
continuity	O
of	O
the	O
technology	O
.	O
</s>
<s>
Furthermore	O
,	O
the	O
virtual	B-Application
orchestra	I-Application
pioneers	O
sought	O
to	O
decouple	O
the	O
technology	O
from	O
an	O
aesthetic	O
altogether	O
.	O
</s>
<s>
The	O
evolutionary	O
propagation	O
of	O
virtual	B-Application
orchestra	I-Application
technology	O
was	O
not	O
predicated	O
on	O
the	O
experimental	O
European	O
trajectory	O
,	O
but	O
the	O
trajectory	O
set	O
in	O
motion	O
by	O
the	O
traditional	O
acoustic	O
instrument	O
developers	O
hundreds	O
of	O
years	O
earlier	O
.	O
</s>
<s>
The	O
philosophy	O
of	O
the	O
virtual	B-Application
orchestra	I-Application
rests	O
on	O
the	O
assumption	O
that	O
while	O
the	O
exact	O
simulation	O
of	O
acoustic	O
instruments	O
may	O
be	O
unattainable	O
,	O
some	O
degree	O
of	O
understanding	O
and	O
implementation	O
of	O
the	O
process	O
is	O
crucial	O
to	O
the	O
evolutionary	O
development	O
of	O
the	O
technology	O
.	O
</s>
<s>
From	O
this	O
perspective	O
,	O
it	O
was	O
inevitable	O
,	O
if	O
not	O
deterministic	O
,	O
that	O
the	O
early	O
years	O
of	O
the	O
virtual	B-Application
orchestra	I-Application
's	O
development	O
would	O
explore	O
the	O
methodical	O
simulation	O
of	O
acoustic	O
instruments	O
.	O
</s>
<s>
Virtual	B-Application
orchestras	I-Application
are	O
technologically	O
capable	O
of	O
simulating	O
the	O
sound	O
and	O
behavior	O
of	O
a	O
traditional	O
acoustic	O
orchestra	O
.	O
</s>
<s>
Critics	O
of	O
the	O
technology	O
do	O
not	O
believe	O
that	O
a	O
virtual	B-Application
orchestra	I-Application
qualifies	O
as	O
musical	O
instrumentation	O
because	O
its	O
output	O
is	O
far	O
too	O
complex	O
to	O
be	O
under	O
the	O
control	O
of	O
a	O
single	O
performer	O
.	O
</s>
<s>
The	O
virtual	B-Application
orchestra	I-Application
,	O
while	O
preserving	O
much	O
of	O
the	O
traditional	O
tactile	O
instrumental	O
interface	O
,	O
requires	O
a	O
redefinition	O
of	O
the	O
term	O
musical	O
instrument	O
.	O
</s>
<s>
The	O
first	O
use	O
of	O
a	O
virtual	B-Application
orchestra	I-Application
in	O
a	O
live	O
performance	O
occurred	O
on	O
February	O
12	O
,	O
1987	O
.	O
</s>
<s>
The	O
K250	O
sampler	O
,	O
a	O
virtual	B-Application
orchestra	I-Application
in	O
a	O
box	O
,	O
was	O
hidden	O
behind	O
the	O
curtain	O
.	O
</s>
<s>
The	O
society	O
mounted	O
a	O
full	O
production	O
of	O
the	O
opera	O
in	O
1988	O
,	O
again	O
,	O
to	O
the	O
accompaniment	O
of	O
Yavelow	O
's	O
virtual	B-Application
orchestra	I-Application
.	O
</s>
<s>
Otherwise	O
,	O
the	O
site	O
has	O
remained	O
unchanged	O
since	O
its	O
launch	O
,	O
a	O
monument	O
to	O
the	O
first	O
use	O
of	O
virtual	B-Application
orchestra	I-Application
technology	O
in	O
live	O
performance	O
.	O
</s>
<s>
The	O
first	O
use	O
of	O
virtual	B-Application
orchestra	I-Application
technology	O
to	O
simulate	O
a	O
previously	O
written	O
classical	O
piece	O
in	O
a	O
live	O
performance	O
occurred	O
in	O
March	O
1989	O
.	O
</s>
<s>
Working	O
with	O
Phil	O
Ramone	O
,	O
they	O
created	O
a	O
virtual	B-Application
orchestra	I-Application
for	O
Telecom	O
'	O
99	O
in	O
Geneva	O
Switzerland	O
using	O
an	O
immersive	O
environment	O
of	O
310	O
speakers	O
.	O
</s>
