Pedagogical reflections on my experience on
coaching and supervising conductors on a high international level

Introduction

Through my lessons in 1989 with Dr. Walter Hügler, Tossingen I became aquainted with the principles of the conducting anatomy. Based on his thought and practical examples, I developed the anatomical exercises and applied the theory into my own artistic work as a conductor. This development process took more than three years of practical work and reflection, from an understanding of a system to a full integration of the tool to make it a vessel for the artistic freedom as a conductor.  After having been engaged as music director of the NAM Sinfonietta in 1992, I was engaged as Assistant professor in orchestral conducting in 1995. 

In addition to conducting the NAM Sinfonietta, I was teaching orchestral conducting on Master level and secondary level. With reference to my own practical experience, my aim was to introduce the ideas of anatomy of conducting to the students on all levels through the anatomical exercises, and I was using chorales and two part music examples to demonstrate and illustrate how the system worked in practical contexts.

When commencing my studies with Professor Emeritus Joseph Gifford, I found it necessary to implement and apply the essence of my exercises into the orchestral pieces that the students were working with at any time. This applied to students on all levels, individual or groups and it gave the students the opportunity and motivation to connect the essence of the anatomical exercises directly into their artistic and technical work and preparation as conductors.
 

Over a period of more than 25 years, my view on teaching conducting has developed in a parallel strand together with my own development as conductor.  The philosophy that underlies my teaching derives from my education as an instrumental teacher from East Norway Conservatory of Music, 1981-84. During my time as a student, I adapted to the following approaches to teaching:  

1) The behaviour modelling approach This model is based on what kind of outer stimuli that increases the desired behaviour. In a teaching context this basically means to watch someone’s (the teacher’s) performance / demonstration and then repeat what is being executed.

2) The cognitive modelling approach In this model, the learner’s perception and internal and external experience over time involves a selfreflection on the learner’s own development. This selfexamination of own practice makes the learner observe the old and new information within an internal context that leads to a transformation from previous exposure to new and adjusted exposure. 

This analysis would not have been possible without having worked with Professor Emeritus Joseph Gifford at Boston University over a 16 year period. These studies gave me an extended view on how to combine and apply the two teaching models described above onto my own teaching.

At the turn of the century, my concern was to teach the students the anatomical system separately and THEN implementing the exercises into practical conducting.

Over the years, my teaching has developed into a practice where the student starts working on repertoire instead of starting with the anatomy. I focus on the conductor as an individual, in the perspective of considering the conductor as the instrument itself. The instrument in this context meaning every physical and mental activity and projection performed by the conductor, in the moment. The student’s analysis of the external and internal responses during the conducting activity (together with me as teacher) has constantly clear references to the principles in the anatomical exercises, in addition to the focus of being mentally present in the conducting activity. The goal is to BE the “instrument”, or as Professor Gifford wisely described it: “Leave yourself to find your SELF”.