Conductor vs. Educator
by Dan Halpern
As directors of school-based performing groups, music teachers constantly balance the dual roles of conductor and educator. In many ways these roles are intertwined, but there are ways in which the goals of a conductor are not the same as those of an educator. A conductor must ultimately place the highest value on performance as an outcome, whereas an educator will place a higher value on student growth. Some might argue that performance is the means by which that growth occurs. However, placing too much emphasis on performance can cause some educators to limit opportunities for other types of learning.
Students benefit from participating in school-based performing groups because they can engage in authentic learning experiences that model the processes of professional musicians. For that reason ensemble directors often model themselves on professional conductors. Teachers draw on their own backgrounds as performers and attempt to recreate elements of their experiences in the classroom. The students are cast in the role of the performers, and the teacher is the conductor.
However, consider the difference between a conventional professional rehearsal and a classroom. In a traditional music rehearsal the conductor is completely in command and makes all decisions regarding what is done and how. There is no discussion, no questions, and all activities are geared toward the realization of the conductor’s vision. In many ways this is the complete opposite of what a positive learning environment should be.
A school ensemble rehearsal should exemplify aspects of a professional rehearsal to the extent that it supports learning objectives. If the goal is for students to do more than develop performance skills, then rehearsals should also incorporate discussion, debate, question and answer, and so on. In doing so students will not only learn to play music, but will also be able to critique, analyze, interpret, and create music.
This can be done by simply flipping the traditional approach of telling students how to play, and asking them instead. For example, rather than directing students to play a passage in a particular way, ask them to share their own ideas on how it should be played. Take multiple responses and lead a discussion on which one is preferred. This process enables students to develop their own interpretations, as well as listen, analyze, and critique various approaches. It forces them to engage in music as a form of expression as opposed to a set of directions to be followed.
A mentor of mine once said that music teachers often spend an inordinate amount of time trying to make small improvements to ensemble performance. A great deal of time, energy, and resources are expended to improve by 2% (assuming one can encapsulate a musical performance in a numeric score). A conductor would stop at nothing to achieve this improvement, however, an educator might think differently. How much more could students learn about music in the time that is spent to gain a small increase in performance? This is not to say that a group should not perform well. Rather, one must remember that performance is not the only goal of an educator, but rather a means to a greater end.
Advocates constantly espouse the value of music education as a creative endeavor. But we must ask ourselves, how creative is it to simply follow directions and realize someone else’s creative vision? Student experience in performing groups must lead to a more meaningful understanding of music. Ensemble directors must set goals based on student understanding, not just on performance. When selecting repertoire, one must consider what deeper musical ideas students will learn, and the learning process must incorporate various avenues of exploration.
The role of conductor is just one of many subordinate roles that must be played by a music educator. By carefully designing instruction and thinking more openly about the structure of rehearsals, directors can transform students’ ensemble experience into a deeper, more meaningful life-long connection to music.
by Dan Halpern
As directors of school-based performing groups, music teachers constantly balance the dual roles of conductor and educator. In many ways these roles are intertwined, but there are ways in which the goals of a conductor are not the same as those of an educator. A conductor must ultimately place the highest value on performance as an outcome, whereas an educator will place a higher value on student growth. Some might argue that performance is the means by which that growth occurs. However, placing too much emphasis on performance can cause some educators to limit opportunities for other types of learning.
Students benefit from participating in school-based performing groups because they can engage in authentic learning experiences that model the processes of professional musicians. For that reason ensemble directors often model themselves on professional conductors. Teachers draw on their own backgrounds as performers and attempt to recreate elements of their experiences in the classroom. The students are cast in the role of the performers, and the teacher is the conductor.
However, consider the difference between a conventional professional rehearsal and a classroom. In a traditional music rehearsal the conductor is completely in command and makes all decisions regarding what is done and how. There is no discussion, no questions, and all activities are geared toward the realization of the conductor’s vision. In many ways this is the complete opposite of what a positive learning environment should be.
A school ensemble rehearsal should exemplify aspects of a professional rehearsal to the extent that it supports learning objectives. If the goal is for students to do more than develop performance skills, then rehearsals should also incorporate discussion, debate, question and answer, and so on. In doing so students will not only learn to play music, but will also be able to critique, analyze, interpret, and create music.
This can be done by simply flipping the traditional approach of telling students how to play, and asking them instead. For example, rather than directing students to play a passage in a particular way, ask them to share their own ideas on how it should be played. Take multiple responses and lead a discussion on which one is preferred. This process enables students to develop their own interpretations, as well as listen, analyze, and critique various approaches. It forces them to engage in music as a form of expression as opposed to a set of directions to be followed.
A mentor of mine once said that music teachers often spend an inordinate amount of time trying to make small improvements to ensemble performance. A great deal of time, energy, and resources are expended to improve by 2% (assuming one can encapsulate a musical performance in a numeric score). A conductor would stop at nothing to achieve this improvement, however, an educator might think differently. How much more could students learn about music in the time that is spent to gain a small increase in performance? This is not to say that a group should not perform well. Rather, one must remember that performance is not the only goal of an educator, but rather a means to a greater end.
Advocates constantly espouse the value of music education as a creative endeavor. But we must ask ourselves, how creative is it to simply follow directions and realize someone else’s creative vision? Student experience in performing groups must lead to a more meaningful understanding of music. Ensemble directors must set goals based on student understanding, not just on performance. When selecting repertoire, one must consider what deeper musical ideas students will learn, and the learning process must incorporate various avenues of exploration.
The role of conductor is just one of many subordinate roles that must be played by a music educator. By carefully designing instruction and thinking more openly about the structure of rehearsals, directors can transform students’ ensemble experience into a deeper, more meaningful life-long connection to music.