What Executive Directors are Looking For In A Music Director

Wanted: Youthful, yet experienced, world class conductor who possesses commanding grasp of all traditional, modern, and pops orchestra styles whose mere artistic gravitas is capable of inspiring musicians to accept work concessions. Applicant must demonstrate previous success with charming big buck$ out of donors, corporate types, and politicians. Candidates who respect executive authority and resist temptation to challenge board decisions are encouraged to apply. Residency required.

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What You Need To Know About Peer Review Part 2

In Part 1, we examined what the peer review process entails along with why some conductors experience frustration with the process only to be completely unaware that they are the root of the problem. Today’s installment will examine some solutions along with related material… Recapping The Problem We know that the peer review process is initiated by the employer and in all but a handful of professional orchestras those duties are …

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What You Need To Know About Peer Review

It seems that a little ignorance can go a long way in this business and a classic example is just how little some stakeholders really know about peer review. Case in point, the 10/27/2010 blog post from conductor James Gaffigan is a perfect example of ignorance run amuck in that he exhibits particular dissatisfaction for the current system of peer review… In order to make sure we’re approaching this discussion from …

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The Logan’s Run Tenure Track

Many thanks to Patty Mitchell over at oboeinsight.com for her post from 11/8/2010 where she takes conductor James Gaffigan to task over comments he made in one of his blog posts where he suggests the field needs to make room for the current crop of Juilliard students. Writes Gaffigan, “So, let’s make room for them!  I have conducted too many orchestras where individuals can’t play their instruments anymore.”…

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Where’s Leonard?

On 10/31/2010, the Detroit Free Press published an article by Mark Stryker that examines the role of Detroit Symphony Orchestra music director Leonard Slatkin within the month long work stoppage. In full disclosure, I would describe my professional relationship with Leonard to a degree that might be characterized as a conflict of interest so I’m not going to offer any personal observations but I will say that Stryker put together an excellent piece…

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