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

2. 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

3. 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

4. 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

5. 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

6. Summary results
Inventory: distribution across orchestra types 6

7. Summary results 7

8. 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

9. Focus on the Conductor

11. 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

12. 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

13. 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

14. 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

15. 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

16. 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

17. 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

18. 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

19. Focus on the Conductor 19

20. 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

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

22. 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

23. Musical roles 23

24. Roles 24

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

26. 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

27. “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

28. 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

29. 29

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

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