| Chapter 1: | Conducting in Theory and Practice |
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Even the most expert orchestral musician became more alert and sensitive playing with him. And so without being at all didactic, Toscanini was, in effect, a great teacher”.49
In Amateur Settings
When working with professionals, it is not necessarily the job of the conductor to “teach” the orchestra, although learning does take place. Whilst in amateur settings, a similar transfer of knowledge occurs, but inexperienced performers require more guidance and instruction in rehearsal and performance—although the degree as well as the kind of instruction depends on the context. There is a familial bond that develops between teacher and music student as well as a sense of trust and positive appraisal among co-performers.50
The ability of the conductor to motivate students and foster an environment of desire is also an important factor in the conductor/ensemble relationship. In music, this is an important factor for learning and success. In addition, school bands and orchestras require more from conductors in terms of technical and musical guidance than might a university ensemble. Even so, it is still vital to create an environment of collaboration in the educational setting. Teaching students to make critical musical decisions is often an important objective in conservatories and music colleges.
The notion of teaching arises when conductors attempt to reconcile their conception of a work and their desire to express it with what they are actually hearing from the ensemble. The conductor strives to bring these two poles as close together as possible. Here, the idea of collaboration is less potent when working with less experienced ensembles.
However, how does the conductor balance the demands of the art and craft of conducting with his/her role as educator? There is a distinction between the conductor and the conductor/educator.