In this edition of our Pathway series, we shine a light on lesser-known yet vital careers within the music industry – Arts Administration.
While conversations about music often focus on performers and conductors, Pathway explores the behind-the-scenes roles that sustain and shape the band and orchestral ecosystem.
The Band Post is honoured to feature Ramu Thiruyanam, Head of the Singapore National Youth Orchestra (SNYO), in this series. As an arts administrator, educator, and musician, Ramu offers insights into how leadership, vision, and thoughtful administration create meaningful opportunities for young musicians and contribute to the long-term vibrancy of the music scene.
As the Head of SNYO, what are the core values or guiding principles that shape your vision for the orchestra and its young musicians?
As the Head of SNYO, my vision for the orchestra is founded on three pillars: excellence, inclusivity, and holistic development. Excellence extends beyond technical skill; it encompasses artistry, curiosity, and a profound respect for the process of creating music. Inclusivity ensures that every young musician feels valued and supported through our programmes and initiatives, regardless of background, fostering a sense of belonging and shared purpose. Holistic development involves nurturing not only musicianship but also resilience, empathy, and leadership, qualities that will serve them well in both music and life.
SNYO is more than just a youth orchestra; it is a community of like minded individuals where members challenge themselves and develop into better versions of who they aspire to be. I want SNYO to be a space where young people find their voice, learn to collaborate, and experience the transformative power of music, a place where we create the extraordinary.
Under your leadership, SNYO has been expanding its programmes and collaborations. How do you identify partnerships that truly serve the orchestra’s artistic and educational mission?
I see the SNYO as a platform where collaborations thrive. To ensure partnerships are meaningful, we have established a policy framework that emphasises alignment across two key aspects: artistic integrity and educational depth. A collaboration must expose our musicians to top tier artistry while offering learning opportunities that broaden their horizons. I ask: “Will this challenge them musically? Will it enrich their music making experience? Will it expand their perspectives?” Time is valuable for our members, so every programme must meet high standards.
For me, collaborations are a two way process, both sides learn and develop. Partnerships with national youth orchestras, professional ensembles, festivals, and institutions that share these values are a natural fit. For instance, working with international youth orchestras provides exposure to diverse artistic voices and global standards of excellence. Side by side experiences with professional musicians deepen understanding of ensemble skills. At the same time, interdisciplinary projects help young musicians see music as a dynamic, evolving art form that connects with the world around them.
You emphasise creating meaningful experiences that challenge and stretch young musicians. What does “meaningful” look like within a youth orchestra in today’s landscape?
“Meaningful” refers to experiences that personally engage musicians, sparking curiosity and connection. It involves moving beyond rote performance to create moments of transformation, whether through performing major symphonic works, collaborating with living composers, or participating in community outreach.
In today’s context, meaningful also signifies relevance. I often ask, “Why do we do what we do?” and “How is the orchestral experience pertinent to young musicians today?” Our programming combines traditional orchestral repertoire with chamber music, contemporary works, and interdisciplinary projects when opportunities arise. For both SNYS and SNYO, we design experiences so members develop holistically through tailored opportunities that reflect their changing needs and aspirations.
To me, meaningful also means that our members are intrinsically motivated to improve, not just as musicians, but as individuals. When they look back and reflect on their SNYO journey, I want them to cherish memories of a place where they discovered their strengths and gained confidence. Most importantly, I hope it sustains their passion for music long after their journey with SNYO concludes.
Your musical background spans classical, contemporary, jazz, Latin, world music, and improvisation. How does this versatility influence your artistic direction for SNYO and the opportunities you design for its members?
My experiences across genres have shown me that music knows no boundaries. People may communicate music differently, but the essence remains the same everywhere. It is a universal language, a form of communication, and a means of self expression. This perspective enables me to create opportunities that break down silos and promote experimentation. While our foundation is rooted in classical music, we now offer experiences such as improvisation through a Jazz Ensemble I lead, sparking curiosity about music beyond their usual scope.
The artistic direction is a collaborative effort between our Music Director Joshua Tan, Associate Conductor Seow Yibin, and myself. It is a challenging process and we plan carefully, considering the members’ strengths and building on their foundations. We are currently developing a four to five year cycle for each new member to ensure every musician has the opportunity to undertake a varied musical journey. This demands significant time and effort, as it involves understanding each member’s abilities and how we can support their progression to the next level. This versatility cultivates adaptability, a vital skill for twenty first century musicians, and encourages innovation in our programming.
Having taught at SOTA for 13 years and pursued extensive pedagogical training, how do you weave educational philosophy into your approach to developing young orchestral musicians?
My philosophy emphasises student agency and reflective practice, but also focuses on helping them learn and understand not only the music making process but also the behind the scenes work involved in organising concerts. As much as possible, we want our members to gain knowledge about the administrative tasks we undertake, so they can be equipped with both musical skills and practical know how to organise and lead their own ensembles in the future.
I encourage senior members to mentor the younger ones, guiding them and serving as role models within the orchestra. Additionally, I believe in further developing our members through masterclasses and workshops that enrich their experience. It is also about recognising individual strengths and nurturing their skills. In every internal placement audition, we evaluate their progress and consider how we can elevate them to the next level through our programmes and repertoire choices.
Learning experiences in an orchestral setting differ from those in a classroom, so we create supplementary opportunities that complement the orchestral experience. We are continuously exploring ways to expand these opportunities, from additional performance platforms, masterclasses, workshops, and collaborations with smaller ensembles, so members can develop in diverse contexts.
I am also a strong advocate for member feedback. Through our feedback channels, I dedicate time to reading every comment and suggestion. While not everything can be addressed immediately or satisfy everyone’s wishes, we strive to provide the best possible experience. I want our members to be curious and intrinsically motivated. I also encourage them to participate in their own ensembles outside of SNYO, provided there are no clashes with our rehearsals and they can manage their time, because many opportunities for growth exist beyond the orchestra. Every experience gained outside SNYO benefits both the individual and the ensemble, as members bring back new insights and skills that enhance our community.
This demands considerable behind the scenes effort, but as an educator, I believe it is all worthwhile because it ensures each member grows holistically as both a musician and a leader.
Youth orchestra members often balance demanding school commitments with rehearsals and performances. How does SNYO support their well being, growth, and long term engagement with music?
We recognise the pressures our musicians face, so we prioritise balance and support systems. This involves collaborating with schools to understand their challenges, maintaining open communication with families, and adjusting schedules whenever possible. Beyond logistics, we foster a culture where mental health and musical enjoyment are just as important as technical skill. Stress is unavoidable, placement auditions and concert preparations can be demanding, but my team and I actively support members who need guidance.
I also work closely with schools and band directors because we share the same goal: the best for each member. Together, we discuss how to support their overall development and ensure they are not overstretched between commitments. Keeping these communication channels open is vital. I maintain ongoing dialogue with band directors, which is helpful given my years of experience as a percussion tutor, freelance musician, and educator at SOTA, to explore how both SNYO and their school programmes can complement each other. This collaboration helps prioritise responsibilities and has been very beneficial since I joined SNYO, ensuring members can thrive both academically and musically. Our aim is to make music a source of resilience, not stress.
We also offer pathways for ongoing involvement, such as alumni networks, mentorship roles, and opportunities to return as guest musicians, ensuring their connection to music and SNYO remains strong. In addition, we are developing active pathways beyond SNYO to help members explore opportunities in higher education and professional music environments. I personally advise members aiming to pursue music careers, guiding them through auditions, portfolio preparation, and navigating the industry. This ensures that SNYO is not just a chapter in their musical journey but a foundation for lifelong engagement with the art form.
You have performed with ensembles ranging from the SSO and SCO to Nanyin groups, Mandopop productions, musical theatre, and jazz ensembles. How do these diverse experiences influence the way you approach leadership and mentorship at SNYO?
Performing across genres and contexts taught me that music is a bridge, not a boundary. This perspective shapes my leadership. I foster openness, humility, and curiosity among our musicians. Mentorship at SNYO involves modelling versatility and demonstrating that excellence can exist alongside experimentation. It is also about teaching adaptability, because the future of music is diverse.
Through my experiences, I have learned how to manage artists. Being a musician myself, I understand how I would want to be treated and managed, and that shapes my leadership approach. I am continually learning to become a better leader and mentor by listening to those on the ground and working with team members to help them develop and improve their own management skills. Having taught for many years, I have had the pleasure of mentoring numerous students, and that commitment remains unchanged here at SNYO. My musical background in various ensembles also gives me an insider’s perspective on the opportunities available to our musicians, especially if they are considering exploring beyond classical music.
A good leader learns to serve, and through serving, truly understands the needs on the ground. This helps me better address challenges that members or my team might face as the Head. The same principle applies to my team and orchestra members. I try to understand the challenges they encounter and, by working with them directly, I find ways to simplify processes or create support structures that improve their experience.
When I lead and mentor, I assume multiple roles: musician, educator, and administrator. These roles do not always align perfectly, but leadership means setting clear expectations and choosing the appropriate approach for each decision. By sharing my own experiences, I aim to inspire members to embrace diversity and see every musical encounter as an opportunity for growth.
Behind every successful orchestra is a strong administrative foundation. What are some of the unseen or less celebrated aspects of running a national youth orchestra that you believe are vital to its success?
I feel blessed to have an excellent team supporting me. Without them, none of our achievements would be possible. Behind the scenes, success depends on careful planning, financial oversight, stakeholder engagement, and alignment with our long term vision. When I took on this role, I developed one year, two year, five year, and ten year plans, and these continue to evolve as we analyse trends in youth orchestras across the region and the world, and adapt to changing needs.
From securing funding and managing budgets to coordinating logistics for tours and auditions, these tasks may go unseen but are essential. When things go well, the orchestra is celebrated; when challenges arise, administrators often take the heat.
I am fortunate to bring both performance and education experience to this role. It helps me understand artistic needs while developing programmes that are pedagogically sound. Less visible are logistical aspects such as moving instruments, arranging transportation, ensuring meals, coordinating schedules with multiple conductors, and planning tours from scratch while prioritising safety and risk management. We also manage rare disciplinary issues such as punctuality problems and lack of practice, always aiming to support members in their growth.
My team works early mornings and late nights, often staying after rehearsals to resolve issues. Administration is not glamorous, but it is the backbone that enables artistic vision to flourish. It is about building trust and relationships so we can help each member become the best version of themselves.
The role of arts administrators is often undervalued despite its importance in sustaining a vibrant music ecosystem. From your perspective, what does effective arts administration look like, and how does it shape meaningful opportunities for young musicians?
Arts administrators are often dismissed as “pencil pushers,” but in reality, we are frontline connectors, cultivating relationships with partner organisations, learning best practices, and promoting collaboration. Effective administration involves aligning artistic goals with sustainable practices, budgeting for ambitious projects without sacrificing stability, and creating pathways for talent development, something I am deeply committed to now.
When executed effectively, administration serves as a catalyst for creativity, shaping opportunities that enable young musicians to flourish both artistically and personally. The most successful administrators are those willing to work closely with artists, in this case the members of the SNYO, and to be actively engaged on the ground, understanding their challenges and seeking ways to improve systems. It requires humility, openness to feedback, and the capacity to make decisions based on principles rather than emotion.
Ultimately, effective administration creates a space where art and education support each other, a core belief here at SNYO. This is not merely a space for performance; it is a learning environment where artistic excellence and educational growth go hand in hand. This synergy ensures the next generation of musicians has the resources, mentorship, and support needed to succeed.