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Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds? - John Philip Sousa

Recently, I filled out an extensive survey requesting specific information concerning my thoughts on music. My response follows this italicized “question:” Describe your philosophy on teaching, rehearsing and conducting choral music.

Speaking in practical terms, an effective conductor should have a solid technique. Without technique, all else fails. The choir’s technique will only be as good as the conductor’s.

Rehearsal is the most precious time the choir and conductor have together. It is the time where a choir forms its unique identity through the binding power of working together through music. It is also a period book-ended by a start-time and an end-time, and the conductor must not waste a second.

Rehearsal always begins with warm-ups to ensure optimal vocal health. Rehearsals should never be so rigorous that every minute is spent making music. The conductor needs to take small breaks to tell stories and teach concepts, essentially giving the choir’s voice some rest.

At the very least, basic music theory and sight singing skills should be introduced to the choir not only to improve the choir’s competence, but also to enrich each individual member’s learning experience in music; a concept that is especially important in an educational environment. Also, pertinent historical data and the application of each piece’s relevance in contemporary society should be atop the list of a conductor’s teaching priorities.

A good conductor runs a tight ship by keeping the choir structurally organized, maintaining a healthy/user-friendly library, involving the greater community with the choir, and keeping the details of performance days always in mind.

Speaking in deep philosophical terms, the choir is a unique beast as it is the most psychologically sensitive of musical ensembles. Because the choir is such a tender instrument, the conductor wears many hats and performs a variety of roles. S/he must be a mentor, a coach, a preacher, a teacher, and a leader . . . one who serves only to uplift, enlighten, and motivate.

The conductor is a servant. S/he is committed in servitude to the composer’s music, the choir with whom s/he works, and the audience for whom s/he presents her/his work. It is a truly unique paradox, to be simultaneously a servant and a leader. But the strongest qualities of a great leader are found in humility, patience, understanding, awareness, and intelligence. A leader serves and loves her/his people.

The conductor must not only teach the choir proper vocal and choral techniques (which are automatic imperatives), but s/he must engage the choir deeply into the core of what music-making is, the profound (non-religious) spirituality of communal musicking, and the necessity to understand the human details of art.