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CONDUCTOR

1. Performance Skills

Mastery of at least one instrument and experience as a solo, chamber, and orchestral performer are vital to

the development of greater musical insight and an understanding of music-making from a player's point of view.

Interpretive skills and instincts, developed and honed through the sequential performance experiences as a

soloist, chamber musician, orchestral musician, and conductor and a voracious appetite for hearing performances of

all types. Inquisitiveness about what composers may have wished to communicate in their music, and a fundamental

ability to relate that intent to musicians and audiences.

!he capacity to invoke a range of emotional responses, and the skill to create drama, contrast, and well-

defined gestures in music, from the smallest detail to the overall shape of a piece.

2. Technical Skills

"dvanced aural skills to deal with complex problems of orchestral intonation, balance, and color advanced

skills in sight-reading and transposition, especially as applied to the preparation of orchestral scores for performance.

#etailed knowledge and understanding of all instruments used in orchestral performance functional

keyboard skills.

$ractical experience in composition so that there is an awareness of the creative process and its choices,

systems, and procedures.

"dvanced skills in musical analysis based on professional competence in counterpoint, harmony,

composition, musical structures, and orchestration. !hese skills must be integrated to provide the basis of artistic

interpretation and the preparation of scores for performance.

#emonstrated mastery of various musical styles an awareness of how to discern the effects of time, place,

personality, and relevant performance practice upon the way a work should sound, and an understanding of how it

should be played to achieve the intended effect.

3. Conducting skills

%aton technique& "bility to maintain continuity of rhythm, line, structure, and interpretive integrity in the

overall performance of a work while evoking and controlling response using gestures at all levels of musical detail.

ehearsal technique& "bility to recogni(e, diagnose, and correct musical, interpretive, rhythmic, balance,

and intonation problems in an efficient, sequential, and creative manner. "bility to fuse the analytic knowledge of the

structure of a work and an artistic conception into a sonic reali(ation in the available rehearsal time. !his skill should

be evident with all si(es of ensembles, from coaching soloists and chamber music to rehearsals with full orchestral

and choral forces.

$odium presence& "wareness of how the conductor's body language enhances the quality of music-making,

as well as how it affects the physical and emotional well being of the players.

"bility to communicate effectively with the musicians of the orchestra, both in and out of rehearsal,

engendering an environment conducive to a satisfying professional experience and performances of high quality.

"bility to gain respect by leading through an example of creativity, knowledge, and dedication.

. !"tensi#e and insightful kno$ledge of music% and of the arts and humanities in general

)omprehensive knowledge of the orchestral repertoire, as well as chamber orchestra, opera, ballet, and

choral*orchestral repertoire detailed knowledge of scores forming the basic literature of each historical period of

orchestral performance.

)omprehensive knowledge of the history of music and its relationship to +estern civili(ation

ufficient language skills to coach singers in rench, erman, Italian, /atin, ussian, and panish 0highly

desirable1 sufficient language skills to conduct rehearsals in modern 2uropean languages 0desirable1 ability to readmusic source materials in original languages 0desirable1

3nowledge of the visual arts, particularly of the 45th, 46th, and 78th centuries and fundamental knowledge

of literature and drama, particularly of works that have had a considerable impact on music.

&RT'ST'C D'R!CTOR

1. (ualities of )ersonal disci)line and integrit* re+uired for artistic leadershi)

"bility and willingness to assume a creative leadership role within the complex structure of relationships

within the organi(ation.

)onfidence and integrity to make difficult decisions.

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"dherence to principles fairness and sensitivity in all matters pertaining to orchestra personnel such as

auditions, terminations, and seating, etc.

$erspective on publicity and reviews and the ability to distinguish between what are worthwhile and what is

not.

"bility to advance the needs of the orchestra and community over personal ego needs.

2. &,ilit* to esta,lish an artistic #ision for the organi-ation as a $hole

" passion for the orchestra and its repertoire and an ability to translate that passion into well-coordinated

programs and activities that carry out the orchestra's mission.

!he 9udgment, imagination, and practical sense to create balanced programs of significance to the

ensemble, the occasion, and the community.

3nowledge of current solo artists, contemporary music, and performance practices.

3. &dministrati#e skills

unctional knowledge of and respect for the orchestra's administrative*business operation, including

governance, fund raising, and marketing*public relations.

"n understanding of musician governance structure and practice and collective bargaining agreements.

"bility to work collaboratively with management, boards, volunteers, and members of the orchestra.

!horough grounding in professional ethics

COUN'T/ &RT'ST'C 0!&D!R

1. no$ledge of ho$ the orchestra o)erates as an institution " compelling view of the impact an orchestra can have on its community, and an ability to reali(e that

potential through programming, education, outreach, and other activities.

"wareness of the role the orchestra plays in a changing society.

"bility to serve as an influential community advocate for music and music education.

"n aptitude for good public and personal relations.

2ffective public speaking skills.

"bility to act with maturity and discretion in sensitive issues.

"wareness of political processes and the development of public policy.

"bility to assess the environment in which the orchestra performs and understand the implications of that

environment for the orchestras goals and ob9ectives.

CONC0US'ON

!he mystique that surrounds the conductor's role sometimes obscures the fact that it is possible for a conductor to bea clever charlatan-to substitute show for substance, terror for talent. %ehavior that masks musical and leadership

incompetence must not be tolerated. )onducting is a rigorous discipline-both difficult and demanding-and the music

director's authority must flow from a genuine mastery of his or her craft.

Many of the qualities needed by a music director are innate. :thers are acquired over time. !raining does not occur

by accident but should be developed purposefully and sequentially. !aken together, these traits and skills are the

building blocks by which talent creates art.

CONTR'UTORS

)hristopher +ilkins 0chair, )onducting )ontinuum )ommittee1, music director, an "ntonio ymphony

2ileen !. )line, senior fellow, Institute for $olicy tudies dean emerita, $eabody )onservatory of Music, !he

;ohns

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