Reflections on the Choral Rehearsal Cycle: An Approach to Professional Practice

Abstract

This dissertation explores and reflects on the professional practice of the author and a group of five experts through case studies. Incorporating interviews, observations, reflective journals, video footage, and a choral project, this research aims to explore how five expert choral conductors work in the rehearsal setting. Rehearsal techniques are as diverse as the individuals who practise them. Yet, even though conductors have their differences, the varied outcomes can still be judged as satisfactory. These techniques are not necessarily skills that have been taught in an undergraduate conducting class. Conducting courses and textbooks focus on beat patterns and other skills that must be mastered by the novice and which, in turn, lend themselves more readily to assessment. However, the running of a rehearsal is a complex mixture of musicianship and teaching skills that are continually developed over a lifetime of practice. The following questions emerge: how, then, do highly successful conductors work in rehearsal? What do they consider to be important parts of their own practice? What skills and attributes are crucial for successful ensemble leadership? For this research, five expert choral conductors were observed on site in multiple rehearsals and in working with a variety of vocal ensembles. They also participated in a wide-ranging, semistructured interview that further explored their approaches to conducting, repertoire selection, planning, personal philosophy, and reflections on their craft. The author used the data generated from the case studies and through a survey of core literature to experiment with their own practice during a 12-week rehearsal period that culminated in a performance of Haydn’s Missa in angustiis. The research project revealed that, while each case study conductor had an individualistic approach to their rehearsal delivery, five main characteristics appeared to be common amongst them all: they recognised the conductor’s role as a teacher; they were interested in working towards a sound ideal; they believed in their responsibility to develop skills; they included performance opportunities in the rehearsal setting; and they emphasised the importance of building community. As a result, these concepts formed the foundation of the author’s work with their own ensemble. These findings have implications for the author’s own practice as well as broader implications for other conductors and the training of student conductors. The results appear to advocate a more holistic approach to conducting and conductor training as well as the importance of developing community within the avocational choir.