"Our real discoveries come from chaos, from going to the place that looks wrong and stupid and foolish."
-Chuck Palahniuk
Conductors are all control freaks to some extent. We have an idealized version of the score in our head, and our rehearsal goals are usually oriented toward getting our ensembles to realize that perfect performance that we hear internally. While there's certainly something to be said for attracting people to your vision and persuading them to work toward a common artistic goal, in doing so we must be sensitive to the danger of treating our choristers simply as a means to some utopian artistic end.
In his wonderful book "Text & Act", musicologist Richard Taruskin writes at length about the dehumanizing effects of the "authenticity" movement (sometimes referred to as "historically-informed performance"). Taruskin contends, quite compellingly, that the exaltation of a musical "text" over the humans who perform it is not unlike the obsessive quest for utopia, and the rooting out of human flaws that such a quest entails:
Text-fetishism, the exaltation of scores over those who read or write them, has seriously distorted contemporary performance practice.
Taruskin goes on to exhort the reader:
It may be time for some countermilitancy - against authority, against utopia, against purity- on behalf of tradition... cumulative, multiply authored, open, accommodating, above all messy, and therefore human.
Are you comfortable with the idea of "messy"? Where are you on the spectrum of "allowing" versus "controlling" with your ensemble? Can you permit a little chaos?
**
KIRSTEN: This school year, I began working in a fabulous public school system teaching chorus to grades 5-8. My 5th Grade Chorus is made up of almost 70 excited young singers, who come into the classroom right from recess with tons of energy and totally ready to sing. Last week, we began rehearsal by listening to the Glenn Miller Orchestra recording of "Chattanooga Choo Choo" (since we have been working on a 2-part arrangement of the piece in class.) As they all gathered their music and sat in their seats, they began to organically clap along to the beat of the recording, swaying to the music. We then stood together and energetically began warm-ups with breathing, stretching, and then singing a major scale with hand signs. Hands went flying in the air as I asked for a volunteer "group leader" to lead us in hand signs as we sang the scale. After completing our first round, hands flew in the air again. "Really?" I asked the group of 5th graders. "Would you like to try this in two parts?"
"YES!" They yelled. "We can do it!"
This pattern continued to four parts, when I finally drew a line and told them it was time to move on to rehearsing "Chattanooga." They giggled and continued, applauding themselves for their recent major-scale success. I began the piano accompaniment to "Chattanooga," and they started the opening lyrics with so much confidence that the sound was almost a brash yell-sing.
In that moment, however, I felt more pure joy in the choral classroom from my students than I had ever felt. Could I have stopped them immediately and told them to sing with a better tone, and not to push or sing too loud? Sure. In fact, I have several choral colleagues who would probably reprimand me for not doing so, insisting that singing with "poor technique" could become a "habit" for the young singers. However, in that moment I knew that the basic human lessons being taught outweighed the musical quality lessons by a long shot. These students were singing wholeheartedly, full-bodied, and with confidence. For a short moment in time, they were not aware of what others were thinking, but were rather so caught up in singing with their biggest voice that they just didn't notice anything else in the room.
Stopping them and correcting their vocal technique would have quickly demolished several human lessons that the students were learning. Had any choral conductor walked in my classroom during that rehearsal, they probably would have reprimanded me for allowing the students to sing as brashly as they were singing that day. However, I can confidently say that I wouldn't have changed it for the world.
KRISHAN: When I first began working with a professional ensemble, I was obsessed with "running a tight ship". I wouldn't take questions in rehearsal, and was an absolute stickler about time, often glossing over legitimate chorister concerns in the interest of adhering to my rehearsal plan. As I've matured, I've grown less rigid in my approach. Though I still run a tight ship, I have begun to recognize the benefits of a little healthy chaos in my rehearsals. Whereas in my early days I would get frustrated if choristers began talking amongst themselves during rehearsal- thinking that I'd "lost control" of the room- I've now become open to allowing a more organic musical process to unfold. It's still my overarching musical vision that is driving the rehearsals, but my choristers are more active in the process of guiding each other, rather than all of the direction coming from the "top down". So when I pause in rehearsal, and choristers immediately begin talking to each other, pointing out passages that they missed, asking each other questions about the score, etc., I allow that "chaos" to unfold. As long as their overlapping conversations are about the music, we're still making progress toward our common goals.
**
The pursuit of musical excellence is a noble one, and worth committing to with every fiber of our being. But choral music is also about affirming people, meeting them where they're at, and allowing individuals to express themselves in an environment where mistakes are encouraged, and unique voices celebrated. Our most enduring successes will always be the ones that we reach through empowering others. When we're able to do this - often by refraining from judging or overly controlling- we ultimately release a potential that leads to far greater results than we could ever achieve on our own.
Sunday, October 23, 2016
Sunday, October 16, 2016
Perception Is Persuasion
"A brand is no longer what we tell the consumer it is - it is what consumers tell each other it is."
-Scott Cook
Humans are social animals, and singing is a social activity. Our success as choral directors depends, to a large extent, on our ability to convince people that the activity we're offering is worth their time. Usually, in order to accomplish this, we need to also demonstrate that other people are engaged in our activity (and the more, the better). In the study of persuasion techniques, this is known as "social proof"- people want to get to know you, if they feel like everybody else already knows you.
Therefore it's imperative that we constantly work to build the social proof of our "brand". A successful conductor usually has multiple people singing his or her praises to their respective social circles on a daily basis. This kind of social proof is money in the bank (i.e., it "works for you while you sleep"), but it doesn't happen by magic. We have to constantly work on enhancing our own reputation in order to maintain and build our brand. By doing so, we can increase excitement and membership in our ensembles.
This takes thoughtful planning, and a bit of showmanship. It's a variation on "act as if"- the ability to run our organizations and ensembles as if they're already as wildly successful as we hope they'll be.
In practice, this means first and foremost getting folks in the door, by hook or by crook. But a successful approach requires a bit more nuance and creativity. Here, then, are some practical tips for enhancing your brand.
1. GET THE RIGHT PERFORMANCE VENUE
Expecting an audience of 200? Book a performance venue that seats 175. You want a "standing room only" crowd at your concert. We've seen performances where the presenters boast via e-blast that "tonight is sold out!" or "last night we had to turn people away!". They neglect to mention that the venue only seats 75 people, but hey, give them credit for successfully "framing" a small crowd as a capacity audience.
2. GET THE RIGHT REHEARSAL VENUE
In our work with church choirs, we've become absolutely persuaded that rehearsals in the sanctuary are a bad idea. Rehearsing every week with a small group of 16 or even 24 singers in a dark, cavernous space is a morale-killer. Instead, opt for a small room that feels crowded even if there are only 12-15 people present. And no matter what kind of ensemble you direct, if at all possible opt for a highly visible rehearsal space- one where non-choristers will be walking by and eavesdropping on what a great time you all are having. In fact, during particularly raucous rehearsals, make sure to leave the door open.
3. MAKE SURE THERE'S A LINE AT AUDITIONS
We've run countless auditions, and have never regretted having too little time to hear individual singers. Downtime is the worst thing that can happen at your auditions. You want there to be a line out the door, and a steady stream of people coming and going. Therefore, you should invite anyone who's interested to come audition, even if you suspect they may not make the cut. And if you're only expecting 10 singers to show up for auditions, schedule them all within the same half hour. Would you want to sing for a group if you felt that you were the only one auditioning?
4. HAVE A CAP
"Accepting new singers until October 1st!"
"Only 3 new singer slots available this season!"
People want what they can't have. Creating a hard and fast line or rule for new singers gives auditionees or new registrants the idea that their participation would be special and select. The "come one, come all, at anytime" approach works only to an extent. If people believe that they can join at any time, they may put it off forever. Giving deadlines for new singers allows them to feel a small amount of good pressure. Good pressure is better than no pressure!
5. FRAME YOUR SOCIAL MEDIA POSITIVELY
Social media provides us all with an unprecedented opportunity to manufacture our own marketing juggernaut, at no financial expense. But we need to use social media strategically in order to see results in this area. Posting 20 pictures from a rehearsal may do as much harm as good; in addition to that one great shot, you've got images of people looking bored, staring into space, singing with bad posture, etc. Instead, find that one great picture where everyone is singing with a unified "ah" vowel and looking out of their music (crop out the one guy who isn't doing it), and let that be your rehearsal photo. *One* picture says a thousand words!
**
In his book "Me, Inc.", rock star Gene Simmons of the band KISS relays several amusing anecdotes about his manipulation of perceptions to achieve stardom. In one of these stories, Simmons tells about how, when they were still unknown, KISS landed a gig opening for a successful local punk act called The Brats. Knowing there would be a big crowd there to see The Brats, Simmons sent out several press releases saying "Heavy Metal Masters Kiss Perform 9:30-10:30pm". There was no mention of The Brats in the press release. This being in the days before the internet, several talent scouts responded to Simmons's press release, and showed up to see a huge crowd present (unaware that the crowd wasn't there to see KISS). Immediately after their set, Simmons grabbed the talent scouts and whisked them away to another venue, so that they could speak in private. KISS ended up getting several takers that very night.
As we work on the humdrum day-to-day tasks of our profession, it can be easy to forget that as conductors, we're also entertainers. Perceptions matter, and they have a real effect on our success. There's nothing wrong with faking it as you work toward making it.
-Scott Cook
Humans are social animals, and singing is a social activity. Our success as choral directors depends, to a large extent, on our ability to convince people that the activity we're offering is worth their time. Usually, in order to accomplish this, we need to also demonstrate that other people are engaged in our activity (and the more, the better). In the study of persuasion techniques, this is known as "social proof"- people want to get to know you, if they feel like everybody else already knows you.
Therefore it's imperative that we constantly work to build the social proof of our "brand". A successful conductor usually has multiple people singing his or her praises to their respective social circles on a daily basis. This kind of social proof is money in the bank (i.e., it "works for you while you sleep"), but it doesn't happen by magic. We have to constantly work on enhancing our own reputation in order to maintain and build our brand. By doing so, we can increase excitement and membership in our ensembles.
This takes thoughtful planning, and a bit of showmanship. It's a variation on "act as if"- the ability to run our organizations and ensembles as if they're already as wildly successful as we hope they'll be.
In practice, this means first and foremost getting folks in the door, by hook or by crook. But a successful approach requires a bit more nuance and creativity. Here, then, are some practical tips for enhancing your brand.
1. GET THE RIGHT PERFORMANCE VENUE
Expecting an audience of 200? Book a performance venue that seats 175. You want a "standing room only" crowd at your concert. We've seen performances where the presenters boast via e-blast that "tonight is sold out!" or "last night we had to turn people away!". They neglect to mention that the venue only seats 75 people, but hey, give them credit for successfully "framing" a small crowd as a capacity audience.
2. GET THE RIGHT REHEARSAL VENUE
In our work with church choirs, we've become absolutely persuaded that rehearsals in the sanctuary are a bad idea. Rehearsing every week with a small group of 16 or even 24 singers in a dark, cavernous space is a morale-killer. Instead, opt for a small room that feels crowded even if there are only 12-15 people present. And no matter what kind of ensemble you direct, if at all possible opt for a highly visible rehearsal space- one where non-choristers will be walking by and eavesdropping on what a great time you all are having. In fact, during particularly raucous rehearsals, make sure to leave the door open.
3. MAKE SURE THERE'S A LINE AT AUDITIONS
We've run countless auditions, and have never regretted having too little time to hear individual singers. Downtime is the worst thing that can happen at your auditions. You want there to be a line out the door, and a steady stream of people coming and going. Therefore, you should invite anyone who's interested to come audition, even if you suspect they may not make the cut. And if you're only expecting 10 singers to show up for auditions, schedule them all within the same half hour. Would you want to sing for a group if you felt that you were the only one auditioning?
4. HAVE A CAP
"Accepting new singers until October 1st!"
"Only 3 new singer slots available this season!"
People want what they can't have. Creating a hard and fast line or rule for new singers gives auditionees or new registrants the idea that their participation would be special and select. The "come one, come all, at anytime" approach works only to an extent. If people believe that they can join at any time, they may put it off forever. Giving deadlines for new singers allows them to feel a small amount of good pressure. Good pressure is better than no pressure!
5. FRAME YOUR SOCIAL MEDIA POSITIVELY
Social media provides us all with an unprecedented opportunity to manufacture our own marketing juggernaut, at no financial expense. But we need to use social media strategically in order to see results in this area. Posting 20 pictures from a rehearsal may do as much harm as good; in addition to that one great shot, you've got images of people looking bored, staring into space, singing with bad posture, etc. Instead, find that one great picture where everyone is singing with a unified "ah" vowel and looking out of their music (crop out the one guy who isn't doing it), and let that be your rehearsal photo. *One* picture says a thousand words!
**
In his book "Me, Inc.", rock star Gene Simmons of the band KISS relays several amusing anecdotes about his manipulation of perceptions to achieve stardom. In one of these stories, Simmons tells about how, when they were still unknown, KISS landed a gig opening for a successful local punk act called The Brats. Knowing there would be a big crowd there to see The Brats, Simmons sent out several press releases saying "Heavy Metal Masters Kiss Perform 9:30-10:30pm". There was no mention of The Brats in the press release. This being in the days before the internet, several talent scouts responded to Simmons's press release, and showed up to see a huge crowd present (unaware that the crowd wasn't there to see KISS). Immediately after their set, Simmons grabbed the talent scouts and whisked them away to another venue, so that they could speak in private. KISS ended up getting several takers that very night.
As we work on the humdrum day-to-day tasks of our profession, it can be easy to forget that as conductors, we're also entertainers. Perceptions matter, and they have a real effect on our success. There's nothing wrong with faking it as you work toward making it.
Tuesday, October 11, 2016
Leggo My Ego
"The main ingredient of stardom is the rest of the team."
-John Wooden
We live in a culture of musical celebrity. At the top of the pop heap are "artists"- photoshopped, auto-tuned individuals whose hits are usually penned by professional songwriters (whose names remain buried in the credits somewhere). Our overarching cultural paradigm of a singer is one who stands front and center and blows the audience away with the sheer bravura of his or her presence. While this particular model has some historical precedent, there was a time when the culture of celebrity was less dominant.
The advent of the recording industry in the early twentieth century influenced the change of our perception from music as a participatory art to one of entertainment. Prior to the wide dissemination of recorded performances, most individuals heard music primarily through their own participation in it- whether in a church choir, a singing society, a community band or an amateur orchestra. There is still a generation alive today who remembers a time when every respectable household had a piano. Bestselling music anthologies included piano reductions of popular classics, sentimental ditties and patriotic songs- and sheet music publishers couldn't crank this stuff out fast enough. Of course, people always went to concerts to hear the "stars" perform, but often the audiences were going to hear professionals perform what they themselves had been working on at home or in their musical club.
With the dominance of the recording industry came a fundamental change in the way that we as a society think about music. "Canned" music is now literally everywhere; you can't walk into a business establishment (or even fill up at the gas station) without being aurally assaulted by a tinny performance of the latest Top 40 hit. Music has shifted from a predominantly participatory activity to one in which a "professional" stands and performs for an audience, whose job it is to remain mute and passive. Certainly, the atmosphere at classical music concert enforces this- and many of us see this same dynamic in our churches, where the choir and cantors are actually performers, and the congregation is afraid to join in, lest they "mess up the performance".
Although choral music remains a thriving art, with more Americans than ever participating in some kind of choral organization, we've found that this paradigm of the "star singer" is still a stumbling block for many potential choristers. Every choral conductor has had the experience of approaching a potential recruit, only to be told, "Oh, you don't want me- I can't sing!". In recruiting for church and school choirs, we've found that many people are astonished when told that they don't need to have a beautiful or trained voice to participate. They hear our choir singing beautifully and assume that everyone participating has a beautiful instrument. Many individuals of varying abilities coming together to create something of transcendental beauty- this is the fundamental choral paradigm, but sadly, it's one seldom promoted by our contemporary culture.
Those of us who work with young singers (Pre-K through 12th grade) must battle the "star singer" mentality on a daily basis. Younger and younger, singers (and parents) are choosing to take private voice lessons, instead of participating in school or community youth choirs. We've had students as young as eight years old, with their parents' approval, elect to take private voice lessons rather than work with a choir of several students their age. Thanks to four-year-old jazz singers starring on Ellen and eleven-year-old winners of America's Got Talent, our society continues to reinforce children's voices mimicking those of adults, while being in the spotlight before an adoring audience.
Yet, if a seven- or eight-year-old told their parents that they would rather play soccer alone and get a private coach, rather than play on a team with other kids their age, they would be scoffed at. In almost every other activity, students are required to learn on a team or in a class filled with other kids their age (learning extremely important social skills and teamwork along the way). Later, in middle or high school, they're encouraged to focus on a particular activity. Perhaps, at that point, they decide to get private coaching to hone their skills individually, while still participating with a group. Students may need to learn how to hit the ball or shoot a basket individually, but it still represents and supports a team effort to win the game and perform well.
In the same way, choirs teach young singers basic vocal technique skills, while also teaching them the ability to work together to create a beautiful sound. Sacrificing this for the "star mentality" and encouraging our young vocalists to prioritize individual coaching over group singing only impedes their ability to work together with other musicians in the future.
As choral conductors, a key component of our job is to be evangelists for choral singing, encouraging everyone to participate, regardless of training or ability. We must also cultivate the patience and skill set to work with amateur singers, and those who may be developmentally challenged. Producing a beautiful choral sound with individuals of widely disparate abilities is no mean feat, but success in this area is one of the most satisfying experiences a conductor can have.
-John Wooden
We live in a culture of musical celebrity. At the top of the pop heap are "artists"- photoshopped, auto-tuned individuals whose hits are usually penned by professional songwriters (whose names remain buried in the credits somewhere). Our overarching cultural paradigm of a singer is one who stands front and center and blows the audience away with the sheer bravura of his or her presence. While this particular model has some historical precedent, there was a time when the culture of celebrity was less dominant.
The advent of the recording industry in the early twentieth century influenced the change of our perception from music as a participatory art to one of entertainment. Prior to the wide dissemination of recorded performances, most individuals heard music primarily through their own participation in it- whether in a church choir, a singing society, a community band or an amateur orchestra. There is still a generation alive today who remembers a time when every respectable household had a piano. Bestselling music anthologies included piano reductions of popular classics, sentimental ditties and patriotic songs- and sheet music publishers couldn't crank this stuff out fast enough. Of course, people always went to concerts to hear the "stars" perform, but often the audiences were going to hear professionals perform what they themselves had been working on at home or in their musical club.
With the dominance of the recording industry came a fundamental change in the way that we as a society think about music. "Canned" music is now literally everywhere; you can't walk into a business establishment (or even fill up at the gas station) without being aurally assaulted by a tinny performance of the latest Top 40 hit. Music has shifted from a predominantly participatory activity to one in which a "professional" stands and performs for an audience, whose job it is to remain mute and passive. Certainly, the atmosphere at classical music concert enforces this- and many of us see this same dynamic in our churches, where the choir and cantors are actually performers, and the congregation is afraid to join in, lest they "mess up the performance".
Although choral music remains a thriving art, with more Americans than ever participating in some kind of choral organization, we've found that this paradigm of the "star singer" is still a stumbling block for many potential choristers. Every choral conductor has had the experience of approaching a potential recruit, only to be told, "Oh, you don't want me- I can't sing!". In recruiting for church and school choirs, we've found that many people are astonished when told that they don't need to have a beautiful or trained voice to participate. They hear our choir singing beautifully and assume that everyone participating has a beautiful instrument. Many individuals of varying abilities coming together to create something of transcendental beauty- this is the fundamental choral paradigm, but sadly, it's one seldom promoted by our contemporary culture.
Those of us who work with young singers (Pre-K through 12th grade) must battle the "star singer" mentality on a daily basis. Younger and younger, singers (and parents) are choosing to take private voice lessons, instead of participating in school or community youth choirs. We've had students as young as eight years old, with their parents' approval, elect to take private voice lessons rather than work with a choir of several students their age. Thanks to four-year-old jazz singers starring on Ellen and eleven-year-old winners of America's Got Talent, our society continues to reinforce children's voices mimicking those of adults, while being in the spotlight before an adoring audience.
Yet, if a seven- or eight-year-old told their parents that they would rather play soccer alone and get a private coach, rather than play on a team with other kids their age, they would be scoffed at. In almost every other activity, students are required to learn on a team or in a class filled with other kids their age (learning extremely important social skills and teamwork along the way). Later, in middle or high school, they're encouraged to focus on a particular activity. Perhaps, at that point, they decide to get private coaching to hone their skills individually, while still participating with a group. Students may need to learn how to hit the ball or shoot a basket individually, but it still represents and supports a team effort to win the game and perform well.
In the same way, choirs teach young singers basic vocal technique skills, while also teaching them the ability to work together to create a beautiful sound. Sacrificing this for the "star mentality" and encouraging our young vocalists to prioritize individual coaching over group singing only impedes their ability to work together with other musicians in the future.
As choral conductors, a key component of our job is to be evangelists for choral singing, encouraging everyone to participate, regardless of training or ability. We must also cultivate the patience and skill set to work with amateur singers, and those who may be developmentally challenged. Producing a beautiful choral sound with individuals of widely disparate abilities is no mean feat, but success in this area is one of the most satisfying experiences a conductor can have.
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