Too Geeky? Nah, Too Awesome.
Thanks to Tone Deaf Comics for continuing the wonderful music related humor!
Happy New Year!
Let us here and conductorsblog be among the last to wish you Happy New Year! We hope your 2012 is full of wonderful music-making and growth!

Today my friend and wonderful trumpet teacher, Eric Swisher, forwarded me a very interesting article. Over the winter break we got a chance to catch up and discuss things both personal and professional. During our discussion about all-things-teaching (!), he was reminded of this article at Psychology Today. (Teaser: It’s called “A Nation of Wimps.”)
You can find it here. I recommend you read it, especially if you are a teacher or a student (and aren’t we a bit of both most times?).
A year full of wonderful discussion is ahead. Make 2012 great for you and those around you!
Oboe he didn’t!
A Monday morning funny for you, courtesy of this weekend’s SNL and Jimmy Fallon!
Just what we needed!
Apparently, a woman was recently ejected from an orchestra concert in Washington for yelling “Boring” during the performance. The link to the article is here.
I think the most amazing part of the story is the fact that . . .
HER DAUGHTER WAS PLAYING IN THE ORCHESTRA!!!!
Name that Mahler Symphony!
Gergiev Masterclass Part 2
Here is another student conductor from the same masterclass. I think I might like this one even better.
Gergiev Masterclass
Bizarro World
My first semester conducting class has reached a point where starting and stopping an ensemble, and conducting the basic patterns are (mostly) no longer the difficult part of conducting class.
Instead, what I notice is that some are having a hard time accepting the actual responsibilities of being the conductor on the podium (we’ll get to what I mean by that in a moment).
And I understand, this is a big transition. Thus far, much of their participation in music has been as receivers of musical ideas. Most undergraduate music students have been told what musical ideas they need to perform by their private lesson teachers or their band/orchestra/choir directors - make this part louder, do that softer, play more in tune - their entire musical lives. Essentially, they have been followers.
This is totally normal. It’s how you learn.
My favorite part of teaching this class is that learning to be a conductor creates a bizarro world that students have not had to contend with before.
Okay, maybe not that one.
In this new world, rather than accepting and reacting to other musical ideas from a teacher, they are now responsible for actually causing other people to react to and enact their music ideas. This change is HUGE, and it really throws a number of them for a loop.
They not only have to generate their own musical ideas, they have to convince other people to actually do them!
It’s scary.
Rather than deal with this dramatic change, many students prefer to revert back to technique. They want something specific from me that they can do “correctly,” - Change the grip! Have better posture! Beat 2 goes to the left!
You get the point. . .
This whole “have an idea and convince other musicians to make it happen” is not only new, it’s frightening because it is runs the risk of potentially revealing something about themselves.
Will they have good ideas? Will they have ANY ideas? What if they people don’t want to do them? What then?
My students are confronting this issue in a lot of other areas in their growth as musicians. Most of my students are sophomores and juniors, so either they are getting ready for what we call their continuation (a barrier jury for sophomores before they advance to junior and senior level courses), or their first big solo recital as a junior.
I believe that getting involved in conducting is a big first step to owning one’s own musicianship. It forces you to think about the whole more than the individual. It forces you to have an idea. It forces you to want more from those around you than they are already giving you.
It’s upside down from what they’ve been doing their whole lives up until now, and I enjoy getting to welcome them to this whole new bizarro world.

Grrrr. Arrrgh.
The Law of Magnetism
(Note: This is part of a series based on John C. Maxwell’s book The 21 Irrefutable Laws of Leadership.)
John C. Maxwell has written a number of books about leading and leadership. They all have their merits and some of the books will resonate more with some readers than others, but it is his book The 21 Irrefutable Laws of Leadership that provides some delicious food for thought for us in the conducting business.
Law Number Nine (or, Chapter Nine as titled in Maxwell’s book) is called “The Law of Magnetism.” The byline for this chapter reads, “Who you are is who you Attract.”
I’ll admit this right now: most people I have talked to find this to be a disquieting prospect. Think about it: You are who you attract. When I mention this law, most people cringe in some way. One person said, “Wait a minute… I always joked I was a nerd magnet!” And another said, “Oh no. All I have is damaged people in my life!” I suppose it can go the other way, too. Think about your “circle.” Who’s in it? What kind of people are they? Few of us want to face it, but the Law of Magnetism is eerily accurate. You are who you attract.
I’ll admit something else. This is, perhaps, my favorite “law.” One thing I love to do is watch people and note who hangs out with whom. It is deep in our nature to find our “tribe” as humans. For instance, just look at your ensemble in rehearsal! That’s a case right there where people from all walks of life have found common ground in a passion for music. Even more fun: go to a comic book or star trek convention. I find it very entertaining to see that these people have found one another.
(Not my family photo)
Now, on to Maxwell’s words.
“Effective leaders are always on the lookout for good people,” is the sentence that begins this chapter. In the conducting profession we are often looking for the best musician, which doesn’t always translate into who is a good person. (It is hard to tell that sort of thing from a resume or an audition behind a screen.) But, truthfully, people want to show up every day and see/work with people they like. They want to be around good people. Some conductors maintain they don’t care; they want the best musicians possible regardless of character. But, when pressed, those same conductors will tell story after story of people they have gotten rid of from their ensembles – sometimes a musically based decision, but many times a personal (personnel?) one.
Do you know what qualities you are looking for in other people? I have some I regularly seek:
- Hard working
- On time and reliable
- Enthusiastic
- Pleasant
- Personally engaging
- Not prone to gossip (ok, that’s hard to avoid in our business)
- A person who is not a “cancer” to the organization, a negative attitude is cancerous
- A person who doesn’t deflect responsibility
- A person who gives good energy to the group; a giver not a taker
- A solid musician
The “solid musician” part is usually apparent in the first few seconds/minutes of an audition. You can tell whether or not someone is a good fit, musically, for the group pretty early in the audition process. It’s the other stuff that I spend my time figuring after I have determined that the person is musically appropriate for the ensemble. A big problem is that a resume states qualifications, not character, and an audition reflects the person’s musical skills but not professional or interpersonal skills. I keep asking myself while I listen to them, “what will this person bring to the ensemble?”
Maxwell continues with a little chart you can fill in: “My People Would Have These Qualities.” He then tells us, “Believe it or not, who you get is not determined by what you want. It’s determined by who you are.” Once you make a list of the qualities you want in others, you have to exhibit those qualities to attract them.
A section of this chapter is dedicated to “From Musicianship to Leadership,” one of the few places in this book where Maxwell discusses music. It isn’t in depth; Maxwell basically tells us the story of a church in San Diego where he followed a pastor who was an excellent musician. Maxwell admits to being inferior to his predecessor, musically speaking. After a few years there Maxwell notes that the talented musicians stopped committing to church, but the congregation was stocked with great leaders. His organization reflected the Law of Magnetism.
Why is this chapter so great? Take a look at your organization. Do you claim it is full of positive, hard-working people? Is it full of negative individuals? As Maxwell writes, “If you think your people are negative, then you better check your attitude.” Maxwell continues with a set of characteristics:
- Attitude: Rarely do positive and negative people attract one another. People who see life as a series of challenges and opportunities don’t want to spend time with people who complain about how awful life is. Negative people find positive people often tedious and naive.
- Generation: People tend to attract others of the same age. (For many of us who conduct at universities, we have two different demographics: our colleagues and our students.)
- Background: People of the same or similar backgrounds tend to attract one another. Are you from the Northeast USA and educated at a private school? Are you from the inner city and had to scrape for your education and opportunities? You will naturally resonate with people who have a similar fund of experiences and background.
- Values: People are attracted to leaders whose values are similar to their own. Great values don’t equate to great leadership skills: Adolph Hitler and John F. Kennedy inspired and motivated a lot of people with completely different ideologies. But, your value set will attract a certain type of person. Whatever character you possess you will likely find in the people who follow you.
- Life Experience: Your life experience matters. Think of the 28 year old conductor who has been thrown in front of a professional ensemble. What could they possibly bring to Mahler’s 9th Symphony with such little life experience? This level of experience, and how you use it, equates to attracting people who value such things.
- Leadership Ability: The people you attract will have leadership ability similar to your own. As discussed in the Law of Respect, people follow leaders stronger than themselves. Factoring in the Law of Magnetism, we can safely say that a mediocre leader attracts mediocre leaders, and even lesser followers.
This great chapter closes out with a memorable quote: “If you think the people you attract could be better, then it’s time for you to improve yourself.”
A “Basic” Reading List?
The title of this post refers to an earlier post of mine, “A ‘Basic’ Repertoire List?”
(This may be the first time I have been so openly self-referential on this blog!)
The aforementioned post describes, briefly, my first conducting lessons as a freshman in college wherein the professor handed me a “basic” repetoire list. I really wish I could find that original list, but it has been long lost. At the bottom of the page he had a “basic” reading list. I went out and tried to get ahold of as many of those books as possible. In the spirit of that original “basic” reading list, I offer mine to you!
Books about Music-Making and Orchestral Development
- The Orchestra by Paul Bekker
- The Joy of Music by Leonard Bernstein
- The Unanswered Question: Six Talks at Harvard by Leonard Bernstein
- The Orchestra from Beethoven to Berlioz by Adam Carse
- The Orchestra in the 18th Century by Adam Carse
- The Composer’s Voice by Edward T. Cone
- What to Listen for in Music by Aaron Copland
- The Interpretation of Music by Thurston Dart
- The Composer’s Advocate by Erich Leinsdorf
- The Orchestra: Origins and Transformations by Joan Peyser
- The Rest is Noise by Alex Ross
- The Great Conductors by Harold C. Schonberg
- The Birth of the Orchestra by John Spitlzer and Neal Zaslaw
- Poetics of Music in the Form of Six Lessons by Igor Stravinsky
- Defining Russia Musically by Richard Taruskin
- Of Music and Music-Making by Bruno Walter
- Weingartner on Music and Conducting by Felix Weingartner
- Mozart’s Symphonies: Context, Performance Practice, Reception by Neal Zaslaw
Books about Conducting (Not to be a conducting textbook review – see Jacob Harrison’s post regarding that topic.)
- The Conductor and His Baton by Nicolai Malko
- The Conductor’s Art by Carl Bamberger
- A History of Orchestral Conducting in Theory and Practice by Elliott W. Galkin
- The Dynamic Orchestra by Elizabeth A. H. Green
- The Maestro Myth: Great Conductors in Pursuit of Power by Norman Lebrecht
- Maestro: Encounters with Conductors of Today by Helena Matheopoulos
- Wagner on Conducting by Richard Wagner
- Beyond the Baton: What Every Conductor Needs to Know by Diane Wittry
Books about Leadership and Other Conducting Related Topics
- Robin Hood Marketing: Stealing Corporate Savvy to Sell Just Causes by Katya Andresen
- Influence: The Psychology of Persuasion by Robert B. Cialdini
- Good to Great by Jim Collins
- Talent is Overrated by Geoff Colvin
- The Seven Habits of Highly Effective People by Stephen R. Covey
- Flow: The Psychology of Optimal Experience by Mihaly Csikszentmihayli
- Mindset: The New Psychology of Success by Carol S. Dweck
- Blink by Malcolm Gladwell
- Outliers by Malcom Gladwell
- Emotional Intelligence by Daniel Goleman
- The Power of Mindful Learning by Ellen Langer
- The 21 Irrefutable Laws of Leadership by John C. Maxwell
- Enthusiasm Makes the Difference by Norman Vincent Peale
- A Whole New Mind by Daniel H. Pink
- Drive by Daniel H. Pink
- Can I wear my Nose Ring to the Interview? by Ellen Gordon Reeves
- The Element by Ken Robertson
- The Fifth Discipline: The Art and Practice of the Learning Organization by Peter M. Senge
- My Stroke of Insight by Jill Bolte Taylor
- Creativity by P. E. Vernon (editor)
- The First 90 Days by Michael Watkins
- Wooden on Leadership by John Wooden with Steve Jamison
I am sure there are ones I left out! And, I am betting there are books out there that you love and that have impacted your conducting. Please share them with us!


