”A survey of orchestration treatises reveals the dearth of underlying theory, in sharp contrast to other traditional areas such as harmony and counterpoint […].” Stephen McAdams in Timbre as a structuring force in music (2013)

“[…] orchestration, a field of the purest imagination at the crossing of daring and experience, is still a highly empirical activity like no other in musical writing […] we must admit that orchestration is still too often approached in quite an archaic manner in the age of computer music, and that a rational and scientific approach to it is still to be achieved.” Yan Maresz in On Computer-Assisted Orchestration (2013)

“the art of combining the sounds of a complex of instruments (an orchestra or other ensemble) to form a satisfactory blend and balance” Kreitner et al. on “orchestration and instrumentation” in Grove Music Online (2016)

“What Haydn’s work solidify, through their constant working through and development of thematic material, is the idea of orchestration as re-instrumentation. It is through revisiting, remaking, and re-imagining material in different instrumental guises that instrumentation – understood as the division of material among available instruments – turns into orchestration, an active art of developing and manipulating instrumental sonority.” Emily I. Dolan in The orchestral revolution (2012)