Artistic Leadership in Orchestras, Part II: What If?

The purpose of this article is to encourage thoughtful discussion, greater understanding, creative solutions, and a supportive environment for future possibilities. No one way will work for every organization. Good solutions are individual. These questions reflect recurring themes and might serve as a discussion guide for exploring these issues.

Identity

What if…
…Every orchestra could define one or two artistic and/or cultural signatures that made that organization special, unique and valuable to the community (the audience and donor community, the musical community, and/or the internal orchestra community)?
…This signature was then understood, valued and perpetuated by the entire community? Would this unique identity encourage civic value, pride and support?
…Every orchestra recognized and valued the part that each individual can contribute to the whole? What if the organization found meaningful and productive ways to promote and encourage contributions from every member?

Vision

What if…
…Orchestras, as an entire organization, regularly participated in an ongoing retreat process (such as that used in the Lahti Symphony) where small discussion breakout groups were used for problem-solving, where each participant had the ability to bring up any topic for consideration, where group solutions were later adopted by the organization, and where fantasy wish lists became attainable visions?

Quality

What if…
…Quality control included the visual as well as the audio presentation of a concert?
…Study recordings were available online following each performance? Would the performers (conductors and musicians) take more individual responsibility for listening and modifying future performances?
…Orchestras regularly held listening sessions where the past performance was heard/watched (if video-taped) and constructively discussed, including the positive aspects as well as those aspects that could be improved? Would this create greater awareness of the whole performance and the importance of teamwork?
…Orchestras reinforced the importance of teamwork throughout the organization by eliminating those traditions and practices that separate Principals from section players, staff from musicians, etc? Some possible ways of creating a greater team commitment might be eliminating individual musician over-scale negotiations[1], linking administrative pay scales to that of the musicians, and having the entire orchestra enter and leave together during performances.
…There were acceptable methods of feedback established for all performers? This might be done through periodic job reviews, external coaching, and mandatory attendance at listening sessions or concerts.
…An entrepreneurial connection, such as profit-sharing, existed? The rate of pay of everyone in the organization, including staff, musicians and music director, could be determined by the realized financial success of the orchestra rather than a contracted wage. Would this create motivation for greater commitment, engagement and excitement in concerts?

Programming

What if…
…All programming processing included a discussion phase, where the one or two people responsible for the decision-making had the opportunity to share the reasons for the choice, and receive feedback from all other areas of concern, such as marketing, scheduling, and personnel and musicians? Would such discussions enable the organization to better understand and utilize the choices made? Would better decisions be made? Would the organization be a more gratifying place in which to work?

Personnel

What if…
…Staff, musicians and trustees participated in continuing education/enrichment activities? (See the Appendix for specific suggestions.) Would this encourage a more creative environment with greater flexibility and openness to change?
Music Directors
…Music directors received constructive feedback through their artist manager or through a system that is established in their individual orchestra contract? The mechanism for feedback needs to include a filter, so that comments are presented in a manner in which the information can be heard and used positively. Feedback should also include what is done well, not just what can be improved or changed.
…Music directors became part of a peer group that reviewed each other throughout their career, and assisted each other in recognizing when it was appropriate to retire?
…The music director’s renewal is never done automatically, perfunctorily, or because “it’s easier”?
…The renewal of the music director only occurred if the organization has sufficient enthusiasm about the renewal that they would have chosen her/him if this was the beginning, not the middle of the relationship?
…Conductors were given summarized evaluations sheets from the orchestras they conduct?
Musicians …In the process of choosing musicians:

• Auditions included an interview phase as well as a playing phase?
• Auditions always included an ensemble portion?
• Trial periods in the orchestra for one to several weeks were used as the final audition round?

…Musician job reviews were put into place on an ongoing basis of perhaps every three to five years? A process could be developed using feedback from the relevant portion of the orchestra, gathered by an impartial orchestra member, appropriately filtered, and then given to the musician being reviewed. An optional system might be to have every musician reviewed by colleagues of his/her own choosing at regular intervals, but each review must be done by a different group (the player could not ask the same colleague for any following reviews).
…Seniority pay was earned by positive reviews and participation in continuing professional development activities?
…Musicians were required – again, perhaps as a requirement for seniority raises – to have confidential hearing examinations by a qualified approved audiologist at regular intervals? Would this enable the musicians to remain aware of both their hearing status and also of current technology available for protective and corrective devices, thus lengthening their career quality?
…Good citizenship, including committee participation, was an accepted consideration in determining rate of pay? Would musicians appear to play with greater engagement if they had more experience and understanding of the whole institution?
…Committee participation was a periodic requirement of all musicians and was included in their job descriptions.

Leadership

What if…
…All members of the organization had job descriptions that clearly defined their leadership expectations? This would include the responsibilities of section Principals and committee members. Would this encourage individuals to step into the leadership potential of their positions?
…All staff conductors and musicians were required to engage in “continuing education” on a regular basis throughout their career? (Please see the Appendix – Professional Development.) The pursuit could be musical (lessons, coaching, attending concerts, programming workshops, presentation skills) or relevant non-musical skill development (communication, leadership and “follower-ship,” audience engagement). Every other live performance, sport and art, has a well-established system of expected coaching and continuing individual development. Would a system of professional development create greater connection with the audience as well as an environment that supports growth and change?
…Musicians were included/involved in a meaningful way with more of the orchestra’s leadership issues and decision-making? What if they were able to realize direct results and improvements as a result of their input? Would they feel more invested, satisfied, and fulfilled with their profession?

Appendix

Professional Development
To enhance an environment of continuing personal and organizational growth, performers, staff, and trustees would be encouraged to participate in ongoing enrichment programs.
Professional orchestras are perhaps the only performing art form or sport that does not provide/require regular individual or group coaching. While the music director might be considered the ensemble coach, rehearsal time is limited and is used for shaping the performance, not individual guidance.
Musician Continuing Enrichment
Completion of a given numbers of hours of study every five years could be a requirement for seniority raises. Certificates of specialization could be issued by an external organization, such as the American Management Association, for completion of in-depth study in non-musical areas. Study areas could include:

• 1. Lessons/Master classes/Coaching on instrument and in small ensembles
• 2. Critical listening (attending concerts and participating in post-concert discussions)
• 3. History as related to musical styles
• 4. Composition
• 5. Conducting
• 6. Communication skills and public relations
• 7. Individual presentation skills (including materials and organization)
• 8. Collective presentation skills (creating a relationship with the audience)
• 9. Leadership
• 10. Personal finance management (including instrument expenses and retirement planning)
• 11. Business management
• 12. Finances Marketing Governance

Staff Continuing Enrichment
All staff, including staff conductors, could be encouraged/required to participate in professional development as a part of their regular job review process and salary discussions. In addition to professional meetings and workshops specific to the individual’s area of expertise, all of the above areas of study for musicians could be considered enrichment activities.
Professional development for conductors could also include on-site or video-taped coaching sessions. Staff conductors’ continuing education could also include the more specific conductor certification program.
Trustee Continuing Enrichment
All trustees could be encouraged to attend presentations preceding or following board meetings or during retreats, which could include any of the following areas:

• 1. Critical listening discussions
• 2. Conducting
• 3. Composition
• 4. Musical styles in a historical perspective
• 5. Orchestra and management structures and etiquette

Music Director Certification
Aspiring music directors and conductors could be encouraged to broaden their knowledge if an external organization were to grant certification for completion of study in essential areas of understanding for music directors of a North American orchestra.
These areas could include:

• 1. Communication and public relations skills
• 2. Leadership
• 3. Orchestra finances
• 4. Programming, including marketing and personnel issues
• 5. Orchestra and management structures and etiquette
• 6. Role of the music director in relationship to:

Board Orchestra Management Fund raising Community

Orchestra Citizenship Certification
Aspiring orchestra musicians could be encouraged to broaden their knowledge and non-musical skills if an external organization were to grant certification for completion of study in areas related to life as a member of an orchestra.
These areas could include:

• 1. Orchestra etiquette (including Principal responsibilities, playing Assistant Principal, and playing in the section)
• 2. Team participation
• 3. Leadership
• 4. Orchestra management structures
• 5. Communication and public relations skills
• 6. Labor relations
• 7. Conflict resolution