Elder Conservatorium of Music – The University of Adelaide

FOUNDATIONS OF CONDUCTING
Conducting Observation & Review

Task: (a) To observe experienced conductors in a minimum of two successive rehearsals and…
(b) …to provide a written summary (with discussion) of your observations.

Purpose: To learn more about the rehearsal and ensemble direction processes by observing and
learning from experienced conductors as they work with their own ensembles.

1. In consultation with the Foundations of Conducting class lecturer, choose an ensemble and
conductor to observe

2. Contact the conductor of that ensemble and find out which rehearsals would be suitable to observe.
‘Preparation’ or ‘working’ rehearsals tend to be better for observation purposes than final,
general or dress rehearsals because this is where you will see most of the ‘nitty-gritty’ work
being done. It is crucial that you observe two successive rehearsals so you can observe follow-
up, progress and the on-going management of the rehearsal processes.

3. Obtain copies of the music to be rehearsed so that you can attend the rehearsal prepared.
You will get much more out of the rehearsal if you know the music.

4. Observe the rehearsal and discuss it with the conductor involved – before and after the rehearsal.
Get a sense of what the conductor wants to achieve in the rehearsal and use the following list as
a guide to what to look for in the rehearsal.

a. What is the overall structure of the rehearsal?

SAMPLE QUESTIONS
i. How many pieces were rehearsed?
ii. Were there any warm-ups or energisers at the start – and what was their purpose?
iii. When in the rehearsal was the most difficult (and easiest) music rehearsed?
iv. Comment on the pacing of the rehearsal.
v. How much ‘new work’ was done and how much revision?
vi. Summarise the ensemble’s achievement across the two rehearsals you observed.
vii. ...etc...

b. How does the conductor problem solve?

SAMPLE QUESTIONS
i. What was the relationship between what the conductor asked for verbally and their
conducting technique?
ii. How much was solved verbally, how much with gesture and how much with a
combination of the two?
iii. Comment on the conductor’s use of both language (musical and general) and gesture
during the rehearsal.
iv. Describe the rehearsal and teaching techniques used by the conductor to solve
problems?
v. What rehearsal and teaching techniques did you identify most strongly with - so that
you can incorporate them into your own methods?
vi. ...etc...
 c. How would you describe the overall relationship between the conductor and the ensemble?
i. During rehearsal – what was particularly noteworthy?
ii. At times other than during rehearsal

5. In your written report, comment on at least 2 aspects of conducting and rehearsal management that
you found particularly noteworthy in the rehearsal(s) you observed. In other words, what did
you learn that was positive and may be useful for you?

Your written report should include:

 The cover sheet provided

 name of the ensemble
 name of the conductor
 date, time & location of each rehearsal
 a list of all repertoire rehearsed (title & composer)
 a minimum of 800 words of commentary and discussion based on the guideline 4 above
 note form is acceptable but the depth, detail and clarity of the commentary is important

Notes:

 You can use Conservatorium ensembles for your Observation & Review but not if you are playing in
them at the time of your O & R. This also applies to other ensembles you choose – you should be a
focussed observer only for each O & R, not a participant in the ensemble.
 Your O & R can be either a choral ensemble (choir) or an instrumental ensemble (orchestra, band etc).
However, the ensemble must be a ‘conducted’ ensemble – please check with me if you are unsure
about what this actually means.

Associate Professor Carl Crossin – Course Co-Ordinator