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 read
music 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.
"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 $hole
" passion for the orchestra and its repertoire and an ability to translate that passion into well-coordinated
programs and activities that carry out the orchestra's mission.
!he 9udgment, imagination, and practical sense to create balanced programs of significance to the
ensemble, the occasion, and the community.
3nowledge of current solo artists, contemporary music, and performance practices.
3. &dministrati#e skills
-unctional knowledge of and respect for the orchestra's administrative*business operation, including
governance, fund raising, and marketing*public relations.
"n understanding of musician governance structure and practice and collective bargaining agreements.
"bility to work collaboratively with management, boards, volunteers, and members of the orchestra.
!horough grounding in professional ethics
CO..UN'T/ &RT'ST'C 0!&D!R
1. 1no$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 be
a 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'2UTORS
)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 <opkins =niversity
;ohn -arrer, music director, %akersfield 0)"1 and 'oswell 0>M1 ,ymphony :rchestras
,usan -eder, vice president of promotions, .. ,chirmer*"ssociated Music $ublishers
'andy -isher, former violist, )olorado ,prings ,ymphony
<enry -ogel, former president, )hicago ,ymphony :rchestra, president and )2:, /eague of "merican
:rchestras
)atherine -rench, former president and )2:, /eague of "merican :rchestras
.ary .ood, executive director, :maha ,ymphony :rchestra
#aniel /ewis, professor emeritus, )onducting ,tudies #epartment, =niversity of ,outhern )alifornia
.ustav Meier, professor emeritus of conducting, =niversity of Michigan
)raig ,orgi, violinist, ,an "ntonio ,ymphony
,teven ,tucky, new music advisor, /os "ngeles $hilharmonic
#avid ,tyers, artistic and management services coordinator, /eague of "merican :rchestras
,usan %. !illey, regional arts administrator, 3ravis )enter, -lorida
#onald !hulean, vice president for orchestra services, /eague of "merican :rchestras
"lbert 3. +ebster, consultant director, "merican )omposers :rchestra
%en9amin ?ander, conductor and music director, %oston $hilharmonic :rchestra
"ll rights reserved.
@ 466A /eague of "merican :rchestras
revised ;anuary 7884
http://www.americanorchestras.org/utilities/traits_and_skills.html