Negotiated authority, shared creativity: Cooperation models among conductors and performers

Abstract

Drawing on fieldwork-a set of observations carried out over several years in the presence of conductors and musicians during rehearsals, concerts, and recording sessions, and in-depth interviews with conductors such as Claudio Abbado, Laurence Equilbey, and Claire Gibault-this article seeks to answer, from a sociomusicological perspective, the following question: How is a musical interpretation constructed within a collective body made up of a conductor and musicians? The central hypothesis leading to observation of music-being-made is that it is a collective creative activity. This is what we shall discover in two stages: first, by examining how the authority of the conductor is negotiated in the course of such a collective effort; then, by setting forth various facets by which it is possible to comprehend a process of shared creativity. We shall then approach the role of relays in the orchestra, phenomena of self-regulation, spontaneous interventions of musicians, as well as the process of cooperation. At least, the observation shows how the conductor plays a crucial but not solitary role. This is indeed a collaborative sort of work in multiple dimensions, in which the participation and role of each player is incessantly renegotiated, and in which in fine the meaning given to the musical entity is knit together. Creativity abounds in the heart of initiatives borne by each of the participants and takes form in their synergy.

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

“…This work is described as respectively “cooperation” between several composers, between tool developers and composers, and, between musical assistants and composers. Whilst the focus here is on composer-focused collaborative creativity, others recognize the roles of performers including performers and conductors (Ravet, 2016 ), performers and composers (Bayley and Lizée, 2016 ), and performers and audiences (Freeman and Godfrey, 2010 ) as sites for collaborative creativity. This body of research demonstrates an increasing interest in collaborative creative music practices in the western classical music profession, and a move away from the notion of creativity being the preserve of the solitary genius (Sawyer, 2017 ).…”

Investigating the role of Australian Orchestral Musicians in artistic decision-making processes: two case studies

“…In contrast, Ravet (2016) finds that shared creativity and collaboration does exist in the traditional orchestral rehearsal process. Ravet (2016) reports that the conductor consistently relies on, and responds to, the creativity, spontaneity, and self-regulation of the orchestral musicians during rehearsals (p. 302). In addition, orchestral musicians are frequently engaging in collaborative efforts without consulting the conductor on their decisions (Ravet, 2016, p. 297).…”

“…The results highlighted that an individual's capacity to contribute to decision-making processes may be influenced by their orchestral position, instrumental section, and personal experiences. Emerging research shows principals are more likely to have input into interpretative decisions (Ravet, 2016). This was reflected in the questionnaire data, which demonstrated section players were often discouraged from contributing to interpretative decisions.…”

“…The roles of orchestral musicians within international symphony orchestras, which are often led by a conductor, and international chamber orchestras, which are often led by the musicians without a conductor, has attracted some research. Results of studies reveal a contrasting level of involvement in artistic decision-making processes, between musicians in these two orchestral structures (Badger Both, n.d. ;Colson, 2012;Faulkner, 1973;Gillinson & Vaughan, 2003;Lewis, 2001;Maitlis, 1997;Ravet, 2016;Winston Churchill Memorial Trust, 2015).…”

“…Similarly, American conductor Wittry (2007) proposes that the symphony orchestra should implement avenues within the rehearsal setting, that enable orchestral musicians to participate in interpretative decision-making processes. French musicologist Ravet (2016) suggests that principals already influence the musical interpretation, when they decide how their instrumental sections will approach musical elements, such as articulation and inflections.…”