Introduction
According to Jefferson and Anderson (2021) the interpersonal domain encompasses “the capacity to express, interpret and respond to others” (p. 94). In addition to common interpersonal interactions such as speaking and listening, musical interpersonal interactions can occur through music by sharing the very act of music making with others. In music making we express ourselves for and with others, interpret music for and with others, and respond to and with others.
Jefferson and Anderson (2021) write that influence “describes the positive impact we have on others through the leadership of taking initiative and responsibility. It also describes how we are positively influenced and led by others to take initiative and responsibility. Influence is a proactive behaviour that has an effect on the environment and other people” (p.94). Influence that occurs in order to develop agency in one’s self and in others, that is both intrinsically motivated and satisfying, is the most powerful use of influence. Taking initiative and responsibility for influence is a powerful form of leadership, as is taking responsibility for one’s own learning (Jefferson & Anderson pp. 94-95). Influence requires a trusting ecology of learning that provides learners with the agency to be flexible and self-aware in their own learning and in support of others’ learning. Flexible, collaborative learning environments that position learners as agentic rather than as passive, and that encourage students to be leaders, are conducive to the development of positive influence.
Being flexible, being open to the imperatives of rapidly changing situations, as a way to positively influence student agency and learning was a common theme amongst conductors. This was sometimes expressed as a practical form of dedication to the group, or going out of their way to make sure that the rehearsal was engaging and productive. Sometimes influence was expressed as a tacit sort of knowing between players and conductors, such as a tacit acknowledgement that all parties know that players don’t yet know their parts. Encouraging player leadership through ‘ownership’ and ‘responsibility’ for their learning and their practice was also referred to in different ways by conductors. Players expressed positive influence as being prepared for rehearsals and taking responsibility for thoughtful, creative well-considered practice.
What our participants said
“A conductor of young musicians in my view must see him/herself in a different mode. We need to see the score as the map of a work. This immediately gives the conductor the role of navigator rather than captain or outright leader. We leave captaincy and leadership to orchestral members as we move through the work”. David (conductor).
“They all know how things need to sound. Whether they can do it or not. And so they need to own the challenge to get it to sound the way that it needs to. Because there's no point me banging on about it”. Sandra (conductor).
“You know, they have to own it. So you just have to make it obvious that I know that they know, and then leave it with them. I'll ask to hear something. And they’ll know, and I'll say, okay, we'll move on. I'll just say that I hope we can get this bit a bit better together next week, when everyone's had a chance to have a good look at it”. Sandra (conductor).
“On Wednesday, I got the phone call to say that we weren't going to be in the concert. So what was I going to do in the rehearsal that afternoon, because I'd planned to do those two pieces. And then suddenly, there's no point doing those two pieces. So then, you know, try and find something meaningful, because I'm not going to waste the kids time, that's the last thing I'm going to do”. Sandra (conductor).
“I still kept messing up the pizzicato and arco parts and I wasn’t able to play all the notes in ‘Ruslan and Ludmilla’… but at least I know what to work on next week”. Harriet (player).
Exemplar
Practice is central to growth in any musical ensemble, and it is a skill that can be taught and learned. Providing players with the tools to undertake self-directed, reflective practice is one way in which conductors can influence players and through which players can influence one another and the larger group. Taking a growth mindset approach to practice locates students as agentic and able to influence both their own musical development and the development of the larger ensemble. This requires conductors to be explicit in their teaching and modelling of ‘how to practice’ and to convey clearly and regularly why this is important. As Nicholas (conductor) said “So that's my passion. I want students to experience the fact that they're the best teacher they're ever going to meet. My job is to prepare them for that”.
What does this mean for me?
- Model practice techniques in full ensemble settings, such as by isolating and solving challenging musical sections, and then folding the practised section back into the musical whole.
- Plan rehearsals to encompass opportunities to play through full musical pieces, but also opportunities to model practise techniques to solve specific musical problems.
- Communicate. Consider sending an email after each rehearsal that clearly describes what was learned in the rehearsal and what requires practise before the next rehearsal.
- Acknowledge and reward players who have demonstrated leadership through practise.
- Schedule player-led sectionals and make sure players are given sufficient notice of these in order that they may prepare.
- Constantly change section-leaders over time, sharing leadership opportunities amongst players. Once a player has led a section place them in proximity to a less-experienced player.
- Step back. It is tempting to try to solve musical problems ourselves. Think of ways to empower students to do this themselves.
- Plan. Although this may seem counter-intuitive, carefully planning rehearsals can support us to be flexible when we decide that we need to change direction or explore different solutions.
- Acknowledge when we don’t get it right. When a rehearsal technique doesn’t work or doesn’t connect with players so that they can solve a musical problem, admit this. Recommend another solution or even better ask players for their opinions or solutions.
- Make your mantra ‘we are all in this together’.