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Thesis Submitted in Partial Fulfilment of Requirements for the Degree of Doctor of Musical Arts CONDUCTOR AS MUSICIANSHIP MENTOR Aleta King A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music University of Sydney 2020 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Aleta Serena King Date: December 16, 2020 ii Abstract This study investigates the conductor’s role as musicianship mentor through the rehearsal and performance process of three works for choir and orchestra. The concept of mentoring is examined through three research stages that parallel the three recitals. In the first stage, twelve participants rehearsing and performing Bach Cantata BWV 182 were asked about their experience of being mentored by the conductor. Questionnaire and focus group data showed that the conductor’s musicianship mentoring role was significant to their progress. They found five musicianship elements most important: inner hearing, musical memory, sight-singing, intervals, and solfège. Of these, solfège was perceived as foundational to developing the other four. In the second stage, the conductor’s self-mentoring process was analysed using a three-part self-reflective journal during preparation for a performance of Fauré’s Requiem. Part A and C explored the core relational aspect of mentoring, while Part B reflected on the conductor’s self-mentoring process. In the third stage, four of the original twelve participants were asked about their self-mentoring process during the rehearsal and performance of Karl Jenkins’ The Armed Man: Mass for Peace. Participants reported that they had acquired the skills to enable self-mentoring and become early-career mentors over two years between the first and third recitals. Inner hearing, sight-singing, intervals, and solfège were again highlighted, as well as ensemble singing and conducting. Participants felt solfège and sight-singing would be most beneficial in the future. The conductor as musicianship mentor model demonstrates the importance of self-mentoring to mentors and mentees, particularly mentees emerging as mentors. iii When a pedagogically sequential voice-based musicianship program is intentionally aligned with an ensemble performance program, the resulting synergy has a unique, purposeful, and powerful impact on the teaching and learning environment. iv Acknowledgments A sincere thank you to my doctoral supervisors: Associate Professor Dr Jennifer Rowley (thesis) and Associate Professor Dr Neil McEwan (conducting). Without your example of expert mentoring, this thesis would never have happened. Thank you to Dr Philip Eames for your assistance with editing and to Sallyanne Dehn for your formatting expertise in the final stages. Thank you to family, friends and colleagues who cheered me along the way, and Dr Grenville Kent, the wordsmith who encouraged me with both words and action. v Table of Contents Statement of Originality .............................................................................................. ii Abstract ....................................................................................................................... iii Acknowledgments ........................................................................................................ v Figures ......................................................................................................................... ix Chapter 1: Introduction .............................................................................................. 1 1.1 “I am Holding Guido’s Hand in My Hands” ....................................................... 1 1.2 “If You Really Want to Know More, Then You Ought to Go to Hungary.” ...... 2 1.3 Rationale .............................................................................................................. 3 1.4 Research Questions .............................................................................................. 3 1.5 Research Overview .............................................................................................. 5 1.6 Thesis Overview .................................................................................................. 6 Chapter 2: Literature Review .................................................................................... 8 2.1 “But When is She Going to Sing?” ..................................................................... 8 2.2 Defining Conducting ........................................................................................... 9 2.3 Defining Musicianship ...................................................................................... 10 2.4 The Importance of Singing in Musicianship ..................................................... 11 2.5 Music Education in Classical Antiquity ............................................................ 15 2.6 Boethius ............................................................................................................. 17 2.7 Early Christian Era ............................................................................................ 18 2.8 Guido d’Arezzo ................................................................................................. 19 2.9 Martin Luther and Music Education in the Reformation Era ............................ 27 2.10 Johann Sebastian Bach .................................................................................... 28 2.11 Nadia Boulanger .............................................................................................. 32 2.12 Mentoring ........................................................................................................ 38 2.13 Conclusion ....................................................................................................... 42 Chapter 3: Methodology ........................................................................................... 43 3.1 Research Design ................................................................................................ 43 3.1.1 Research Stages .......................................................................................... 43 3.2 Recital 1: Johann Sebastian Bach Cantata BWV 182 Himmelskönig, sei willkommen! ............................................................................................................. 44 3.2.1 Musicianship Program ............................................................................... 45 3.2.2 Avondale Chamber Singers ........................................................................ 46 3.3 Research Stage 1: Conductor as Mentor to Mentees ......................................... 47 3.3.1 Questionnaire ............................................................................................. 48 3.3.2 Focus Group Discussion ............................................................................ 49 3.4 Recital 2: Gabriel Fauré Requiem. ..................................................................... 49 3.5 Research Stage 2: Conductor as Self-Mentor .................................................... 49 3.5.1 Self-Reflective Journal ................................................................................ 50 3.6 Recital 3: Karl Jenkins The Armed Man: Mass for Peace ................................ 50 3.7 Research Stage 3: Conductor’s Mentees Become Self-Mentors ....................... 52 3.7.1 Follow-Up Interview ................................................................................... 53 3.8 Summary ............................................................................................................ 54 vi Chapter 4: Results & Discussion Recital 1 | Research Stage 1 .............................. 55 4.1 Recital 1: Johann Sebastian Bach Cantata BWV 182 Himmelskönig sei willkommen! ............................................................................................................. 55 4.2 Research Stage 1: Conductor as Musicianship Mentor to Mentees .................. 55 4.3 Questionnaire: Question 9 ................................................................................. 56 4.4 Questionnaire: Question 11 ............................................................................... 59 4.4.1 Inner Hearing ............................................................................................. 59 4.4.2 Musical Memory ......................................................................................... 60 4.4.3 Sight-singing ............................................................................................... 60 4.4.4 Intervals ...................................................................................................... 61 4.4.5 Solfège ........................................................................................................ 62 4.4.6 Triads .......................................................................................................... 63 4.4.7 Bach Chorale .............................................................................................. 64 4.4.8 Diatonic Scales ........................................................................................... 65 4.4.9 Simple Time Rhythm ................................................................................... 66 4.5 Focus Group Discussion .................................................................................... 68 4.5.1 Inner Hearing ............................................................................................
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