A World of Wind Band Music Research group Lifelong Learning in Music Linda Hendriks I May 28, 2015

Presentation Research Wind Band Sector 1. Preparatory phase: Orchestra’s under pressure 2. Follow-up: Focus on the Conductor 3. Research projects into various aspects of wind bands and orchestras: a.o. focusing on the role of orchestra boards (volunteers) and repertoire 1 Research into the field of the wind band sector: inventory + survey 2 Research into the work of the conductor of wind bands, focusing on the different roles of the conductor 2 2

1. Preparatory phase Research Wind Band Sector 2013/2014 Background: There is a problem in the field of wind orchestra’s There are also orchestra’s doing very well Research partners: Wind band conducting programme PCC: teachers and students Research group Lifelong Learning in Music Focus: Provinces North Netherlands: Groningen, Drenthe, Friesland 3

Aim and approach Question: What is the state of affairs and what’s going on in the field of wind bands in the North of the Netherlands? Research Inventory Wind Bands North Netherlands Survey among a selection of 20 orchestras in three municipalities 4

Summary results preparatory phase Inventory: distribution across provinces A weak (statistical) link between number of inhabitants and number of orchestras - Weak (statistical) link inhabitants / orchestras - Most orchestra’s in rural area’s - Contribution of orchestra’s to a sense of community and collective participation 5 5

Summary results Inventory: distribution across orchestra types 6

Summary results 7

Summary results Survey in Province of Friesland 20 orchestra’s, 3 municipalities (rural area, small town and city) Orchestra’s in the region have disappeared and merged Problematic recruitment (youth) members Difficulties finding financial resources, board members and volunteers Indication for decrease participation in contests (50%) and fear for quality of performance level Professional conductors 95% orchestras and over 50% of youth orchestras Still reasonably high numbers of visitors of concerts 8

Focus on the Conductor

Focus on the Conductor Research question: What are the consequences of changes in the wind band music sector and in society for the profession of the wind band conductor? Sub questions: What roles can be distinguished in the profession of the conductor? What developments in the wind band music sector and in society have conductors experienced the past three decades? Which consequences do these developments have for the various roles in the profession of conductors in dealing with the changes? 11

Focus on the Conductor Qualitative research Literature review: Master theses, Articles in journals from the field: Klankwijzer , De Dirigent Narrative interviews with conductors (biographical / expert) Secondary data: Plan of action (2013) of the national association of wind orchestras (KNMO, Koninklijke Nederlandse Muziek Organisatie) 12

Focus on the Conductor Interviews 4 conductors 3 Friesland, 1 Gelderland Fanfare orchestras, Harmonie orchestras Brassbands and youth orchestras 3 Male, 1 Female 2 conductors with 10 years of experience 2 conductors with over 20 years of experience 3 conductors with amateur orchestras 1 conductor with a professional orchestras 13

Focus on the Conductor Frame of reference 1 Personal life course 2 Background, including family and upbringing 3 Early musical experiences 4 Education 5 Music education 6 Motivation, ambitions, choices 7 Career path 8 Wind band music field 9 Developments in the (wind band) music sector 10 Changes in society 14

Focus on the Conductor Code concentrations Background of conductors Perceptions of conductors Development / learning of conductors Ambitions of conductors Activities of conductors Career path, including port-folio career, transitions / change of direction Roles conductors (youth) orchestras Description of the wind band music field including changes in the field, for orchestras and conductors Changes in society influencing the sector 15

Changes I society Consequences economic crisis: Closing down of cultural centres and concert locations Cuts in arts/music sector Less consumer expenditure on arts/music Zeitgeist: Individualisation Perception of conductors: attitude of giving up early/easy Differentiation in and pace of society: Limited time Increased range of leisure activities 16

Changes l Music field Music education: Restructuring, job losses, music schools closing down Increase freelancing, freelancers working in collectives A large variation in the way music education is organised around and within orchestras Competition of other instrument types and repertoire Music publishing world: Take overs, restructuring, job losses, self-publishing Less focus on wind band music repertoire, especially Fanfare and lower divisions 17

Changes I Wind band Music Field In general: Transition to less compartimentalisation, unifying efforts Growing insight in need for transition from a competitive to a more developmental attitude Image and visibility problem 18

Focus on the Conductor 19

Changes Wind band Music Field Orchestras Orchestras are disappearing or merging Problematic recruitment (youth) members Working with substitute musicians Increase attention for youth (recruitment, education, youth orchestras) Difficulties finding financial resources, board members, volunteers Ageing audiences Less participation in contests Cross-overs 20

Changes Wind band Music Field Conductors Port-folio career Entrepreneurship 21

Roles Conductor as a musician: Musical roles Conductor as a professional within the sector: General professional roles Conductor as a human being: Personal roles 22

Musical roles 23

Roles 24

Roles conductor youth orchestra Musical roles: Educator, artistic leader, arranger, performing musician Professional roles: Connector, motivator Personal roles: Significant figure 25

Role of significant figure “(…) so that’s the important influence of people around you, who can push you and support you - because I wasn’t always a very secure boy, I was quite insecure - who said you can play very well, wow, you really did a good job.” (…) and I realise now, (…) in an amateur orchestra it’s so important how you motivate people, because it happens so easily that you find yourself snapping at people (...) but my approach has always been to try to get the most out people.” 26

“For hours and hours you are working on making changes in the music so that this one piece that they like, is playable for that combination of instruments, and (…) no matter how passionate you are, (…) there may be others who do it, but the work is downright underestimated, financially.” “(…) I think many orchestras see this work as closing entry on the bottom of the budget list resulting in the fact that there is not always a professional conductor in front of a youth orchestra. Thankfully I also know many orchestras where there is.” 27

Transfer of ... “(...) not by focusing on the technical aspects of being a conductor but on being a human being, to combine all that, and to rely on the idea that the things happening in the orchestra, that they happen through you as a source of power (…) through your contact with the people, and the sense of your own power (…) by listening to people, by collaborating, that something emerges out of it.” 28

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Further research Survey conductors North Netherlands Project city orchestra CMO, Grunobuurt Project boards orchestras 30

A World of Wind Band Music Thank you for your attention! * 31