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The Choral Composer/Conductor Collective: an Ongoing Experiment in Musical Self-Governance

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The Choral Composer/Conductor Collective: an Ongoing Experiment in Musical Self-Governance University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 The Choral Composer/Conductor Collective: An Ongoing Experiment in Musical Self-Governance Julian D. Bryson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.267 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Bryson, Julian D., "The Choral Composer/Conductor Collective: An Ongoing Experiment in Musical Self- Governance" (2016). Theses and Dissertations--Music. 66. https://uknowledge.uky.edu/music_etds/66 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Julian D. Bryson, Student Dr. Jefferson Johnson, Major Professor Dr. David Sogin, Director of Graduate Studies THE CHORAL COMPOSER/CONDUCTOR COLLECTIVE: AN ONGOING EXPERIMENT IN MUSICAL SELF-GOVERNANCE DOCTOR OF MUSICAL ARTS PROJECT A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Julian David Bryson Lexington, KY Committee Chair: Dr. Jefferson Johnson, Professor of Music Lexington, KY 2016 Copyright © Julian David Bryson 2016 ABSTRACT OF DISSERTATION THE CHORAL COMPOSER/CONDUCTOR COLLECTIVE: AN ONGOING EXPERIMENT IN MUSICAL SELF-GOVERNANCE C4: The Choral Composer/Conductor Collective and Triad: Boston’s Choral Collective are the first choirs to explore collectivity as a method of ensemble organization. While more traditional ensembles have a single artistic director, C4 and Triad share and rotate leadership responsibilities among the full membership. Artistic and logistical decisions develop through conversation, consensus, and/or voting. This monograph draws primarily on interviews with thirteen current and former members of the two ensembles as well as the author’s personal experiences with Triad’s inaugural concert cycle to present a narrative description of member characteristics, governance, and operational processes. Interview responses are compared to relevant and recent findings in business, psychology, and choral music education research, establishing connections with larger social trends toward collectivity and away from hierarchical systems. The Orpheus Chamber Orchestra, a more established, collectively-governed ensemble, provides an additional comparison. Respondents noted benefits including heightened passion, engagement, diversity, and individual growth among collective members, which they connect to a stronger reputation, more equally shared responsibilities, more consistent recruitment of new members, and ideas of better quality and greater quantity when compared to their experiences in more traditional ensembles. The additional time and effort involved in communicating and finding consensus were frequently cited as the most pressing challenges. Suggestions for founding new collective choirs or adapting existing ensembles to be more collective conclude the work. KEYWORDS: C4: The Choral Composer/Conductor Collective; Collectivity; Choirs; Collaboration; Ensemble Leadership; Music Educator Training MULTIMEDIA ELEMENTS USED: TIFF (.tif) Julian David Bryson Student Signature June 24, 2016 Date THE CHORAL COMPOSER/CONDUCTOR COLLECTIVE: AN ONGOING EXPERIMENT IN MUSICAL SELF-GOVERNANCE By Julian David Bryson Dr. Jefferson Johnson Director of Doctor of Musical Arts Project Dr. David Sogin Director of Graduate Studies June 24, 2016 Date To Ariel. ACKNOWLEDGEMENTS Any undertaking of this size and scope requires the support and input of many individuals. In recognition of this, I wish to thank the following people for their generosity, wisdom, cooperation, and support: The many interviewees whose creativity led them to pioneer a new concept in choral music and whose willingness to share their experiences with me made this project possible. Dr. Jefferson Johnson for being the preeminent example of a servant leader, who began this conversation in our first class together, and who has been a continual source of encouragement and inspiration. Dr. Lori Hetzel for believing in my abilities and offering many opportunities to lead and teach, but most of all for demonstrating courage and passion in advocating for students and music. The other members of my committee and outside examiner—Dr. Karen Bottge, Dr. Jeffrey N. Peters, and Dr. C. Nathan DeWall—for the time, effort, feedback, and faith you have put into this project. My many professors and advisers at the University of Kentucky and the University of Tennessee, especially Dr. Ron Pen, Dr. Dick Domek, Dr. Elizabeth Packard Arnold, Dr. Naomi N. Lugo, Dr. David Stutzenberger, Dr. Angela Batey, and Dr. Kenneth A. Jacobs. My parents and family for teaching me to ask great questions, allowing me to explore my interests, and encouraging me to pursue my dreams. Your love and support mean the world to me. My colleagues who have discussed concepts, reviewed drafts, and inspired me to press on, especially in the most difficult and frustrating moments: Patrick Callaghan, Joshua Chai, Maggie Owens, J.D. Frizzell, Kristina Ploegger, Adam Beeken, James Rode, Mickey Ballard, Greg Monsma, David Schroeder, Jeff Wall, and so many others. The administration and faculty of Curry College who took a chance on this young professor, and who encouraged and allowed me to keep working on this project, especially Vice President David Szczerbacki, Fine and Applied Arts Department Chair Efram L. Burk, and Music Area Coordinator Douglas Koch. My brothers in Sinfonia who seek the mutual welfare and brotherhood of musical students and only the best in music. iii My beloved Ariel for your patience with long nights of writing and editing, your encouragement to always give my absolute best effort, your flexibility around Triad rehearsal nights, and your support for my musical activities. I would not have made it this far without you. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................................... iii LIST OF FIGURES ............................................................................................................................. viii CHAPTER 1: INTRODUCTION ........................................................................................................... 1 An Overview of C4 and Triad .............................................................................................. 1 Comparisons ....................................................................................................................... 3 Methodology ....................................................................................................................... 4 Review of Related Literature .............................................................................................. 5 Significance ......................................................................................................................... 9 Suggestions for Further Research ..................................................................................... 10 CHAPTER 2: CHARACTERISTICS OF COLLECTIVITY DEMONSTRATED IN C4 AND TRIAD ................ 11 Definition and Scale .......................................................................................................... 11 Contrasted with Hierarchy ................................................................................................ 13 Limitations of Hierarchy ....................................................................................... 14 Characteristics of Collective Members ............................................................................. 18 Balance Between Leading and Following ............................................................ 18 Servant Leadership
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