Conclusions and Recommendations

The following conclusions and recommendations are based upon a range of factors that inform the development of the conductor-music educator. However, it is necessary to understand that any recommendations made, read or assumed, must be considered within the current educational climate and context. When generalising about the work of the conductor-music educator caution needs to be exercised as the recommendations that follow are based on a range of factors specific to this study. 5.3.1 Conclusions

5.3.1.1Nature of the conductor-music educator’s work

This study suggests that the work of the conductor-music educator is multifaceted and multi-layered. Conductor-music educators can describe their work as being Off the Podium and On the Podium. Work Off the Podium includes repertoire selection, rehearsal planning, rehearsal preparation and rehearsal reflection. These are the musical and teaching roles a conductor-music educator undertakes, there are also non-musical roles including, concert organising, library and instrument maintenance, recruitment. On the Podium work includes rehearsal implementation and concert presentation. These two aspects of a conductor-music educator‘s work are the most visible. It is during the implementation of a rehearsal that the conductor-music educator‘s planning and preparation come to fruition, it is

where one teaches through conducting. The final stage of the cyclic process of the conductor-music educator‘s is the rehearsal reflection. This, however, is not the end point as this reflection is crucial to the ongoing planning and preparation of all subsequent rehearsals.

5.3.1.2Strategies Employed

It is vital for the conductor-music educator to have a number of teaching strategies to teach technical and musical concepts. Teaching strategies need to cater for different learning styles, enhance interest and motivation, and provide opportunities for differentiated learning by providing a range of learning experiences. Strategies which have been employed in the rehearsal stages of this study include; singing, counting, sizzling, modelling, discussion, listening and the kinaesthetic manipulation of instruments. Effective teaching strategies not only enhance student, and ensemble, learning they are more likely to enhance student interest, engagement and motivation.

5.3.1.3Education of Pre-Service Music Educators

Since the inception of tertiary music education courses, and more specifically conducting courses, much has been written about:

 the choreography of conducting (such as, Scherchen, 1933; Rudolf, 1969; Grosbayne, 1973; Green, 1987; Kohut & Grant, 1990; Thomson, 1994; Rudolf, 1995; Schuller, 1997; Price & Byo, 2002; Postema, 2008)

 repertoire selection (such as, Miles, 1997; Durrant, 1998; Gorelick, 2001; Boonshaft, 2002; Colwell & Goolsby, 2002; Boonshaft, 2006; Allsup & Benedict, 2008; Demorest, 2008; Gillis, 2008; Kirchhoff, 2009; Ulrich, 2009)

 score study (such as, Battisti & Garofalo, 1990; Kohut & Grant, 1990; Thomson, 1994; Miles, 1997; Lisk, 2000; Bell, 2002; Boonshaft, 2002;

McBride, 2002; Price & Byo, 2002; Boonshaft, 2006; Ulrich, 2009; Miksza, Roeder, & Biggs, 2010)

 and rehearsal planning and implementation (such as, Kinyon, 1982; Battisti & Garofalo, 1990; Kohut & Grant, 1990; Battisti, 1992; Kohut, 1992; Miles, 1997; Gorelick, 2001; Boonshaft, 2002; McBride, 2002; Williams, 2002; Boonshaft, 2006; Manfredo, 2006; Kelly, 2007; Demorest, 2008; Gillis, 2008; Morrison, 2008; Millican, 2009; Ulrich, 2009).

In recent years educationalists and theorists (including Elliott, 1995; Russell, 2006; Wiggins, 2007; Morrison, 2008; Blair, 2009; Ulrich, 2009; Wiggins, 2009) have advocated teaching for musical understanding. Teaching large ensemble performance is about teaching skills and musical understandings through conducting. Conductors with flawless baton control, perfect gestures, beautifully placed beat patterns and inspirational musical interpretations may look amazing on the podium, but can they teach the fundamentals of playing musical instruments? Do they possess the necessary strategies to teach musical and technical concepts? Elliott (1995) writes that professional music educators possess two complementary forms of expertise, musicianship and educatorship. This is also true of the conductor-music educator; however, I suggest that the conductor-music educator has a third form of expertise, conductorship.

What students learn depends upon the competence and expectations of the conductor-music educator (McBride, 2002; Wiggins, 2007; Kirchhoff, 2009). Conducting for musical understanding is more than beat patterns, cues, gestures and being able to conduct a group of performers who can already play their instrument with a level of proficiency, it is more important to be a masterful musician and teacher.

With deference to existing literature and evolving literature around musical understanding, I asked myself ―What does a conductor-music educator do, and therefore, need to know?‖ I have endeavoured to intertwine my experiences, reflections and thoughts whilst undertaking this study to recommend some of the skills and understandings a conductor-music educator requires.

This study suggests that educational conducting courses need to ensure that students are provided with a comprehensive understanding of the work of the conductor-music educator. Students need a mastery of the choreography of conducting, score study skills and rehearsal skills, they also need to know how to plan and sequence rehearsals that are designed to develop technical skills and musical understandings. Interestingly the National review of school music education: Augmenting the diminished (Australian Government Department of Education, Science and Training, 2005) recommended that music teachers need skills in conducting and ensemble direction.

Conducting students need to be provided with the opportunity to conduct student ensembles, not just their peers at university. Ensembles comprised of students from primary and high schools will assist conducting students to understand how students learn and respond to conductors in an educational environment.

In summary, the conductor-music educator‘s work is varied and complex. Many of the skills are learned on the job. However, it is incumbent on Pre-Service Music Education courses to provide future music educators with a basic set of skills and understandings which will enable them to teach music through performance and not just teach performance. It is important for conductor-music educators to have validity and credibility as both teacher and musician. As a semi-professional

performer I have been able to use my personal performance experiences in the educational setting. This validates my abilities as a musician while providing a secondary source of validity/credibility to what I do, say and the concepts I am teaching. It is important to maintain high standards and expectations as a conductor- music educator, as soon as these are relaxed then mediocrity may set in. Maintain high expectations and be willing to demand it; however, these must be realistic demands.

People play music in large instrumental ensembles for many reasons: socialisation, musical and technical stimulation, or because they just love playing. Conductor-music educators should not become fixated on teaching only, and ignore the intrinsic rewards that come from collective music making. Ultimately people make music for their own, and others, enjoyment. There is the need to balance the teaching and learning processes and performance. The right balance will contribute to a lifelong love of music as an active performer, listener and educator.

5.4 Limitations of the study

As outlined in section 1.1, this study is limited by its focus on one ensemble within a community music program in a regional Tasmanian city. As an autoethnographic study; it tells my story with the voices of ensemble members embedded into the narrative writings. Whilst this is my story it may resonate with you, the reader; however, it is and will always be my story.