CHAMBER MUSIC COACHING STRATEGIES AND REHEARSAL TECHNIQUES

THAT ENABLE COLLABORATION

A dissertation submitted

By

DORIANNE COTTER-LOCKARD

To
FIELDING GRADUATE UNIVERSITY

In partial fulfillment of the

requirements for the degree of

DOCTOR OF PHILOSOPHY

in

HUMAN AND ORGANIZATIONAL SYSTEMS

This dissertation has been accepted for

the faculty of Fielding Graduate University by

_________________________________________
Valerie Malhotra Bentz, PhD, Dissertation Chair

Committee:
David A. Rehorick, PhD, Faculty Reader
Jeremy J. Shapiro, PhD, Faculty Reader
Elaine C. King, PhD, University of Hull, United Kingdom, External Examiner
Luann D. Fortune, PhD, Student Reader
 Chamber Music Coaching Strategies and Rehearsal Techniques That Enable Collaboration

by

Dorianne Cotter-Lockard

Abstract

This study documents and provides an understanding of how the Cavani String Quartet

(CSQ) uses their coaching strategies and rehearsal techniques to teach advanced music

students to work together as teams. My primary goal in conducting this research was to gain

a deeper understanding of the process of coaching student string quartets, in particular the

process used by the CSQ. My secondary goal was to gain an understanding of how the

coaching process helps student string quartets learn to work effectively together. Gaining an

understanding of how student string quartet members learn to work together may provide

insights into how organizational teams learn collaboration. I conducted a qualitative study to

explore CSQs coaching strategies and rehearsal techniques, using an interpretive inquiry

approach. The research design included semistructured interviews of members of the CSQ

and their chamber music students, video-recordings of coaching sessions and individual

postcoaching session interviews of students and coaches. During the postcoaching

interviews, I showed video clips of the coaching session and asked open-ended questions to

elicit experiences related to the coaching and learning process. The results of this study

support existing literature in the areas of establishing a positive environment, psychological

safety, democratic rehearsal processes, and the use of gesture and body movement. The

findings also support and extend literature in the areas of rehearsal strategies and

collaboration processes. This study contributes a comprehensive model for coaching

chamber music, as well as the concept of the generative team, which includes elements such

ii
as positivity, commitment, caring communication, being empowered, the ability to shift

perspective, and the ability to become the other. These results have the potential to be used

to expand music education in schools around the world and to be generally applied to

develop teams in other types of organizations.

Key Words: music, chamber music, collaboration, coaching, teams, small groups, generative

team

iii
 Copyright by

DORIANNE COTTER-LOCKARD

2012

iv
 ACKNOWLEDGEMENTS

I am eternally grateful to the members of the Cavani String Quartet: Annie Fullard,

Mari Sato, Kirsten Docter, and Merry Peckham. These women invited me with openness,

enthusiasm, and love to conduct this research project at the Cleveland Institute of Music

(CIM). I am also grateful to Peter Salaff, Chair of the Chamber Music Department at CIM

and Adrian Daly, Dean of CIM, who graciously allowed me access to the school, its students,

and other resources. I greatly appreciate the time the Cavani, Mr. Salaff, and the students

spent with me during my visits, as well as in reviewing and providing detailed feedback on

my findings.

I am so grateful to my committee members for all of the support, encouragement, and

feedback they have given me throughout this process. Dr. Valerie Bentz has been my mentor

throughout my doctoral program; she encouraged me to explore my numerous interests and

knew when to tell me it was time to narrow my focus. Dr. David Rehorick helped me to

hone my research and writing skills. Dr. Jeremy Shapiro challenged my intellect at every

opportunity. My external examiner, Dr. Elaine King, provided detailed and extremely

helpful feedback on my proposal and dissertation. In addition, reading her research inspired

me to join the scholarly conversations in which she participates. Dr. Luann Fortune has been

my writing partner and sounding board throughout this program. I owe much to her diligent

reading of my drafts and in her always available shoulder to cry on. My work is stronger

because of my committees involvement and support.

I want to express my profound gratitude to my family members, who have been so

supportive and tolerant during these past 5 years. My husband, Jim Lockard, endured many

nights and weekends alone while I studied and wrote papers. He did the laundry, cooked the

v
meals, and went to movies alone. I look forward to enjoying the simple pleasures of life with

him again. My daughter, Grace Stauffer, was 13 years old when I started the program.

When I asked her if she was willing to make do with less, so I could leave my full-time job

to go to school, she said, Go for it, Mom! Now she is about to go off to college and have

her own higher education experience. Im so proud of the young woman she has become.

I want to specially acknowledge Dr. Robert Silverman, who responded with

enthusiastic and detailed feedback on a paper I wrote, Transition From Rehearsal to

Performance: The String Quartet as Exemplar Of Organizational Form, for an early

knowledge area course. I posted part of that paper on my blog. Dr. Edgar Schein later read

my blog post and initiated a dialogue with me about the topic. These two men influenced my

decision to change my original dissertation idea to this topic.

I would like to acknowledge the many people who answered my queries and engaged

in dialogue with me when I was searching for a research topic and site. These include

Charles Castleman, Chair of Chamber Music at the Eastman School of Music; Paul Katz of

the New England Conservatory; Susan Dadian of Chamber Music America; Quator Anneci,

Portland String Quartet, Ying Quartet; Quartet San Francisco; Brentano Quartet; Dr. Frank

Barrett; Dr. Daved Barry; Dr. Ralph Bathurst; Dr. Allegre Hadida; Dr. Ariane Abantal;

Michael Jones; Dr. Nancy Adler; Dr. John Paul Stephens; and Dr. Sally Maitlis.

I want to thank my peeps, the members of my Fielding anchor team, who stayed

regularly in touch via our Seussers blog: Dr. Wendy Overend, Dr. Luann Fortune, and

Rebecca Stafford. Also my fellow members of BIG for their supportive e-mails and SKYPE

calls: Dr. Laura Hauser, Dr. Polly Johnson, Barbara Mather, Stephen Presley, Dr. Bruce

Walton, and Heather Scholle.

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 Finally, I want to thank the Institute for Social Innovation at Fielding Graduate

University, which provided me a scholarship and grant to partially support my research.

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 DEDICATION

To my father, Stanley Cotter, who instilled a love of classical music within me at a very

young age, and my mother, Frances Spencer Cotter, who encouraged my early education in

the arts.

*****

To my violin teacher Anne Crowden, who nurtured me as a young musician and woman,

introduced me to the joys of playing chamber music, and who established an enduring school

for children Grades 4 through 8 that integrates music into a general academic education.

*****

To the members of the Cleveland String Quartet, Donald Weilerstein, Peter Salaff, Martha

Strongin Katz, and Paul Katz, who were my inspirational teachers and chamber music

coaches during my years at the Eastman School of Music.

*****

To my many performing colleague-musician friends, who continue to bring the joy of music

to audiences around the world and who teach our youth how to make their own music.

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 TABLE OF CONTENTS

CHAPTER ONE: THE STUDY ............................................................................. 1

Introduction ............................................................................................................. 1

Rationale for This Study ......................................................................................... 2

The Cavani String Quartets Coaching Strategies and Rehearsal Techniques ....... 5

Concepts and Definitions ........................................................................................ 7

CHAPTER TWO: REVIEW OF THE LITERATURE ........................................ 10

Team Development and Coaching ........................................................................ 11

Connections Between Music Ensembles and General Organizations .................. 22

Chamber Music ..................................................................................................... 33

Conclusion and Research Question ...................................................................... 52

CHAPTER THREE: METHODOLOGY AND METHODS ............................... 54

Research Orientation ............................................................................................. 54

Case Study Approach ............................................................................................ 57

Participant Selection ............................................................................................. 58

Data Collection Strategies..................................................................................... 59

Lessons From the Pilot Study ............................................................................... 64

Analysis Procedures .............................................................................................. 65

Validity: Addressing the Issues ............................................................................ 69

CHAPTER FOUR: CHAMBER MUSIC COACHING PROCESS ..................... 76

Coaching Context at Cleveland Institute of Music ............................................... 76

Role of the Coach.................................................................................................. 81

The Coaching Strategies and Rehearsal Techniques ............................................ 89

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Chapter Four: Summary...................................................................................... 111

CHAPTER FIVE: 4 CASE STUDIES ................................................................ 112

Case: Quartet A ................................................................................................... 113

Case: Quartet B ................................................................................................... 120

Case: Quartet C ................................................................................................... 133

Case: Quartet D. .................................................................................................. 142

Chapter Five: Summary ...................................................................................... 153

CHAPTER SIX: CROSS CASE FINDINGS THE GENERATIVE TEAM ... 154

The Coaching Model........................................................................................... 154

The Coaching Model An Integrated, Experiential View ................................. 161

Coaching Process A Progression of Styles, Foci, and Approaches ................. 168

Coaching Techniques and Strategies Compared With Intended Outcomes ....... 170

Student Learning: Impact on Group Collaboration ............................................ 174

Generative Team ................................................................................................. 179

Unanticipated Findings ....................................................................................... 196

Chapter Six: Summary of Findings..................................................................... 199

CHAPTER SEVEN: DISCUSSION ................................................................... 201

Contributions and Implications ........................................................................... 201

Discussion of Key Findings Related to the Chamber Music Coaching Model .. 202

Discussion of Key Findings Related to Student Collaboration .......................... 205

Contributions to Scholarship and Considerations of Transferability .................. 208

Limitations of This Study ................................................................................... 211

Future Research and Implications for Practice ................................................... 212

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Concluding Reflections ....................................................................................... 215

References ........................................................................................................... 217

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 LIST OF FIGURES AND TABLES

Figures

Figure 1. A coaching model for chamber music. ............................................................ 155

Figure 2. An experiential view of the coaching session. ................................................ 161

Figure 3. Progression of styles, foci, and approaches used by coaches with student groups

who have different levels of experience. ........................................................................ 170

Figure 4. The elements of a generative team. ................................................................ 180

Tables

Table 1. Interpretation and Expression ............................................................................ 91

Table 2. Ensemble and Sound ......................................................................................... 100

Table 3. Group Dynamics ............................................................................................... 106

Table 4. Demographic Data for Quartet A...................................................................... 113

Table 5. Demographic Data for Quartet B ...................................................................... 120

Table 6. Demographic Data for Quartet C ...................................................................... 133

Table 7. Demographic Data for Quartet D...................................................................... 142

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 APPENDICES

A Cavani String Quartet Coaching Strategies and Rehearsal Techniques 241

B Glossary of Musical Terms and Key Concepts of This Study 245

C Interview Guide for the Coaches 249

D Guide for Coaches Postcoaching Interviews 250

E Guide for Individual Student Interviews 251

F Coaching Strategies and Rehearsal Techniques Additional Detail 253

Table F1 Techniques for Interpretation and Expression 253

Table F2 Techniques for Ensemble and Sound 255

Table F3 Techniques for Group Dynamics 258

G Cross-Case Analysis Summary 260

Table G1 General Cross-Case Analysis 260

Table G2 Techniques Used in the Coaching Sessions 264

H Cross-Case Data: Students 269

Table H1 Student Group Dynamics Data 269

Table H2 Student Rehearsal Process Data for Established

271
Groups

Table H3 Techniques Used in Rehearsals 272

I Burkes Pentad: Case Context Comparisons 274

J Permission Request Letter to Conduct Research 278

K Sample Recruitment E-mail for Student String Quartet Members 281

L Professional Assistance Confidentiality Agreement 282

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M Coaches Informed Consent Form 283

N Students Informed Consent Form 286

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 CHAPTER ONE: THE STUDY

Introduction

I am 16 years old (its 1972), and Im in Berlin for a youth orchestra competition.

During our free time, Ive met up with three musicians from the Russian youth orchestra.

They are not supposed to talk with the Americans, but we do not speak each others language

anyway. I play the violin. I sit down with the other violinist, a violist and a cellist, and we

begin to play through a Mozart string quartet. Our attention is intensely focused on several

aspects of music making simultaneously. We play the notes individually on our instruments,

taking care to play in tune and make a beautiful sound. We listen to our own melody and to

each others parts, feeling the rhythm of the music in our bodies so that we play in

synchrony. We constantly adjust to each other and the group as a whole. This is not just a

technical feat; we express ourselves individually and as a group. On reflection, I realize that

somehow we acquired the ability to sit down with complete strangers and immediately make

music together.

Playing in a string quartet requires a high level of commitment and flexibility. I

learned much from my early chamber music coaches. In addition to the technical aspects of

putting together a strong musical performance, I learned that playing in a string quartet

provides lots of opportunities to work through relationship issues. I learned how to take on

different roles as required. My chamber music coaches imparted wisdom about working

together in a group, how to show respect when disagreeing, and how to negotiate with

different viewpoints and approaches.

As my fellow students and I learned these skills, we asserted our individual ideas and

temperaments during rehearsals. We tried out each others ideas with open minds. We
 2

became effective collaborators to create unique musical performances. As I began to think

about this phenomenon, I wondered how our chamber music coaches helped us to voice our

individual ideas and take on different roles within our group. How did our coaches help us

learn to collaborate as a group to create unique musical performances?

The string quartet can represent a model of shared leadership, democratic decision

making, and innovation in the moment (Gilboa & Tal-Shmotkin, 2010; Sawyer, 2006;

Tovstiga, Odenthal, & Stephan, 2004). Its members work intensely and collaboratively

together during rehearsals and performances. Although there are several studies of the social

dynamics of the string quartet, there are only a few limited empirical studies of how chamber

music students learn to collaborate together.

Rationale for This Study

Howard Gardner (1999) said that, participation in the arts is a wonderful way to

develop a range of intelligences in children and that the skill and craft gained in the arts

help students to understand that they can improve in other consequential activities (p. 1).

He asserted that whereas Europe and the Far East emphasize arts study as a normal part of

education, in the US such automatic allegiance to the arts does not exist (p. 1). A review

of over 65 studies related to arts education showed that learning or listening to music

enhances cognitive and spatial-temporal reasoning and socio-emotional behavior (Deasy,

2002). For example, emotionally disturbed students improved their writing skills when they

listened to music, and at-risk students reported that attending arts classes was a primary

reason that they did not drop out of school (Deasy, 2002).

A study of 10 schools with strong arts programs showed that these schools

transcended significant obstacles to become high-performing schools despite their location in

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poverty-stricken areas of the US (Stevenson & Deasy, 2005). The study findings show that

arts programming generated opportunities to change the essence of the schools; the programs

engaged students and improved their performance, developed students self-esteem,

increased teacher satisfaction and engagement, and built community within and outside the

schools. In a report on arts learning and state arts policy, Zakaras and Lowell (2008)

concluded that there is an imbalance in the way arts policies govern program funding. They

found that too much money is given to institutions that support the creation, exhibition, and

preservation of art and too little (less than 10%) is dedicated to arts education (p. xviii). Yet

arts programs continue to be the first to be cut as state budgets are slashed by legislators

(Song, 2011). There is clearly a need to place more attention on arts education in the US.

The string quartet, as a type of classical music ensemble that has existed for over 250

years, has by far the largest repertoire of compositions, compared with other ensembles.

Several famous groups spent decades in this particular configuration of musicians, rehearsing

together on a daily basis and traveling around the world to perform this music. Today, there

are hundreds of professional string quartets and thousands of amateur quartets around the

world. At least four biographies have profiled famous string quartets (Brandt, 1993; Rounds

& Lafayette String Quartet, 1999; Snowman, 1981; Steinhardt, 1998). Numerous studies

have highlighted the process of leading and following, decision making, and communication

within string quartets (Murnighan & Conlon, 1991; Seddon & Biasutti, 2009; Young &

Colman, 1979). The string quartet as an example of a high-performing small team is worthy

of our research attention.

The members of a string quartet arrive with different personalities, preferences, and

ideas around music making. Steinhardt (1998), recalling a moment before one of the
 4

Guarneri quartets performances, said If one of us decides spontaneously to fly with a new

idea during the next two hoursa different coloration, an exotic phrasing detailwill the

rest of us be quick enough to understand, respond, and take wing with him? (p. 10). It takes

skill to negotiate different musical interpretations. Joanna Hood asserted that I would rather

see a strong idea and a strong idea and try them both and then make a decision for one or the

other. Thats musically more interesting than to try to get a homogenized version of

something (Rounds & Lafayette String Quartet, 1999, p. 69). In these examples, string

quartet members learned how to actively practice respectful collaboration. Wendy Sharp of

the Franciscan Quartet reported that we had a rule in our group that we had to try the idea

and make it sound goodbecause its very easy to sabotage someone elses idea if you really

dont like it (Hoffman, 2000, p. 70).

I spent the past 25 years working in corporate America, including 8 years as an

executive leading a large division of technology professionals. I learned how to play the

violin in a U.S. public school music program. My studies in music, along with my first

career as a classical musician, gave me insight in teamwork and collaboration. The most

intense work and performance experiences came from my involvement in string quartets. I

was fortunate enough to study with members of the worlds most esteemed professional

string quartets, including the Griller, Cleveland, Tokyo, and American quartets.

Later on, as a leader of leaders within a Fortune 100 company, I intuitively translated

my musical experiences into management approaches and ways of working in teams. Yet, I

observed that many of my colleagues did not know the basics of working together in teams. I

saw leaders employ a top-down authoritarian approach to leading their organizations.

Though they espoused teamwork, they did not know how to build teams or how to create
 5

an environment of trust and open dialogue. These observations raised questions in my mind

about how we learn to work together in teams.

I applied the knowledge I gained from my music studies to my life as an

organizational leader. I modeled what I learned to help members of my organization to

develop their leadership capabilities. But the question remained in my mind: How do we

learn to work in teams? I wished to pursue this research in order to understand how chamber

music educators coach advanced string quartet students to become effective collaborators and

to work together as an effective team.

The Cavani String Quartets Coaching Strategies and Rehearsal Techniques

Initially, I contacted several professional string quartets and scholars focused on

chamber music ensembles to find a quartet that would be receptive to my research inquiry.

As a result of an e-mail exchange, the members of the Cavani String Quartet (CSQ) extended

an open invitation to me to come to CIM to study how they coached chamber music. CSQ

was established in 1984 and has been the resident string quartet at the Cleveland Institute of

Music (CIM) since 1988. The members of the quartet teach individual instrumental students

as well as coach over 30 string quartets at CIM. Additionally, they teach chamber music at

Case Western University and have several short residencies at schools around the United

States. The CSQ implemented a number of innovative programs during the past two

decades, including public schools programs, the Beethoven and Brotherhood Project

(Cavani, 2010a), and Music, Art and Poetry: Traveling through the Arts (Cavani, 2010b).

Their press release stated:

The Cavani Quartet has the honor of being a winner of the prestigious Naumburg
Chamber Music Award as well as numerous competitions including, Fischoff , Banff
and Coleman. Active proponents of contemporary music, the Quartet commissioned
and performed a worldwide array of living composers and is a recipient of the
 6

Chamber Music America - American Society of Composers, Authors and Publishers

(ASCAP) Award for Adventurous Programming. The Quartet has been featured on
National Public Radio's Performance Today and St. Paul Sunday, NBC, CBS, ABC,
and PBS television. In 2005, the Quartet became the first recipient of the Guarneri
String Quartet Residency Award from Chamber Music America. They received the
award again in 2011. Cavani Quartet recordings of Bartk, Dvok, Schumann,
Brahms, Erb, Chausson, Brouwer and Primosch are available on the Azica, Gasparo,
New World, Albany, and Pantheon labels (Curtis, 2010).

CSQ is considered by their peers and music critics to be a masterful string quartet as well as

highly esteemed teachers.

My study documents how the Cavani String Quartet (CSQ) used their coaching

strategies and rehearsal techniques (CSRTs) to teach students to work together as teams.

Over the past 20 years, CSQ defined a set of coaching strategies and rehearsal techniques

designed to address team dynamics and ensemble performance within chamber music groups.

A coaching strategy is the combination of coaching style, selected rehearsal techniques, and

areas of focus used by the coaches to guide their students during a coaching session. A

rehearsal technique is a specific practice taught by the coaches in coaching sessions and used

by students during their rehearsals.

As a result of the data collection and analysis process, I added to the original set of

CSRTs, making explicit what was previously implicit in CSQs coaching process. I then

extended the findings to create a chamber music coaching model, which is presented in

Chapter 6 (Schutz, 1962).

My primary goal in conducting this research was to gain a deeper understanding of

the process of coaching student string quartets, in particular the process used by the CSQ.

My secondary goal was to gain an understanding of how the coaching process helps student

string quartets learn to work effectively together. I also set an intention to draw connections

between the chamber music coaching process and how organizational teams learn to work
 7

together. Therefore, I conducted a deep exploration of how CSQ members coached their

advanced students. Furthermore, I focused my study on how these students learned

collaboration skills in order to function as effective teams.

This study will be of interest to music educators and scholars. It contributes to the

understanding of the chamber music coaching process and presents a model of coaching

strategies and rehearsal techniques that can be used by chamber music coaches with their

students. Some of the findings may contribute to the discourse around music education in the

US. This study contributes to the scholarly conversation with regard to the chamber music

coaching process, the use of gesture in musical performance, gender and communication

within music ensembles, and rehearsal processes. This study may also contribute to the

scholarly conversation in other areas such as team development, team coaching, and small

group collaboration. The findings from this study offer further ideas for research in all of

these areas.

Concepts and Definitions

Before moving into the literature review, it is important that I provide some key

definitions of musical terms to ensure that the general reader has an understanding of what I

mean by music, chamber music, chamber music ensemble, and string quartet. Specialized

musical terms used in this dissertation are included in the glossary in Appendix B. Other key

concepts such as team, coaching, team coaching, and chamber music coach, are defined in

Chapter 2.

Music: The standard dictionary definition is a: the science or art of ordering tones or

sounds in succession, in combination, and in temporal relationships to produce a composition

having unity and continuity; and b: vocal, instrumental, or mechanical sounds having
 8

rhythm, melody, or harmony (Webster, 2011). Social scientists have defined music as a

cultural phenomenon created by the people in a particular society or subculture. Therefore,

the scope of what is included within the definition of the term music varies depending on the

culture (Cross, 2001). Physiologists have defined music as the abstraction and

transformation of human emotional and physical energies into acoustic energies that reflect,

parallel, and resonate in synchrony with the physiological system (Schneck, Berger, &

Rowland, 2006, p. 28). We can even expand the concept of music beyond the human realm,

as attributed to English composer Sir Edward Elgar: My idea is that there is music in the air,

music all around us, the world is full of it and you simply take as much as you require

(Leventhal, 2003, p. 33).

Chamber Music: In the 18th century, composers began writing music to be

performed in the chambers of the wealthy. Musicians were most often the wealthy patrons

themselves, who became skilled amateurs and played music together during social

gatherings. With the advent of the pianoforte and advances in stringed instrument design in

the 19th century, chamber music moved into the concert hall. Additionally, the collapse of

the European aristocracy prompted composers from Beethoven forward to develop

alternative funding sources such as concert subscriptions, which allowed a wider range of

social classes to attend chamber music concerts (Raynor, 1972; Rounds & Lafayette String

Quartet, 1999)

Ensemble: A group producing a single effect: as a concerted music of two or more

parts (Webster, 2011). From the middle of the 18th century, ensemble is also used to

mean the precision with which a group plays together (Grove & Sadie, 1980, p. 209, Vol.

6).
 9

Chamber Music Ensemble: A group of musicians devoted to performing the music

written for small ensembles. Some chamber music ensembles come together for one or two

performances; others establish themselves as a professional long-term group.

String Quartet: A musical ensemble comprised of two violinists, a violist, and a

cellist. Each member of the group plays unique roles and musical parts during

performances.
 10

CHAPTER TWO: REVIEW OF THE LITERATURE

I adopted Melvilles (2010) approach in writing this literature review; he suggested

that the scholar first conduct a high-level scan (p. 5) to identify scholarly conversations

related to the phenomenon of interest. Once the core conversation is identified, the scholar

takes a closer look at the key scholars and their contributions to the topic. Next, the scholar

assesses the limitations of current knowledge as it relates to the topic and presents an

argument that leads to her or his research question.

The scholarly conversations about how specific coaching strategies and rehearsal

techniques help music students learn about teamwork and collaboration cross the disciplines

of music psychology, music sociology, and music education. Additional scholarly

conversations across multiple disciplines such as social psychology, organizational

development, and sociology draw connections between what we can learn from studying

musical organizations and what we can apply to general organizations and processes such as

coaching teams. In this review of literature, I examine relevant scholarly conversations at a

high level and then take a closer look at specific literature that is particularly relevant to this

study.

First, I examine the scholarly conversations related to team development and

coaching. Next, I examine the scholarly conversations that draw connections between

musical organizations and general organizations. Finally, I examine the literature related to

string quartet studies, rehearsal techniques, and chamber music pedagogy. As I conclude my

argument, I identify the gap in knowledge that I wish to explore in this study.
 11

Team Development and Coaching

This body of literature is relevant to my study because the string quartet can be

considered to be a type of work group or team. In the following subsections, I explore the

scholarly conversations around small groups, teams, coaching, and team coaching.

Throughout, I provide operating definitions that fit the topic of the chamber music coaching

process.

Teams and Team Effectiveness

Hackman (1990) provided a definition of work group that generally fits the attributes

of a string quartet: intact social systems, complete with boundaries, interdependence among

members, and differentiated member roles . . . they have one or more tasks to perform. .

.[and] operate in an organizational context (p. 4). Katzenbach and Smith (1993) built upon

Hackmans work to define team as a small number of people with complementary skills,

who are committed to a common purpose, performance goals and approach, for which they

hold themselves mutually accountable (p. 45). Though Hackman (1990) included stability

as a characteristic of work groups, Clutterbuck (2007) argued that his research refuted that

contention; there are several types of work groups and each has a temporal aspect. Old

members may leave and new members may join during the life of the group. Clutterbuck

added that teams are part of a larger social system; a team has relationships with an extended

system of parties including other groups and form a collective social identity (2007, pp. 70-

71). This is the case with chamber music groups; members may change out over time and

the group develops relationships with concert management, foundations, schools, and

audiences.
 12

In the context of this study, I consider a chamber music group to be a type of team.

Therefore, taking the definitions above as starting points, I define team as, a group of people

that form an intact social system within a larger social system, with boundaries and an

identity, a common purpose, mutual accountability, interdependence, and a commitment to

group performance goals.

Hackman (1990) defined group effectiveness in terms of three characteristics: the

groups output meets the standards of the recipient of the output, the process of working

together enhances the capability of members to work together interdependently in the

future, and the group experience contributes to the growth and personal well-being of team

members (pp. 6-7). Hackman suggested that different weights can be given to each of these

three aspects depending on the situation of the group and its goals. Clutterbuck (2007)

preferred the term teamwork quality (Hoegl & Gemuenden, 2001) over teamwork, which he

says is difficult to define. According to Clutterbuck, teamwork quality includes six

characteristics: communication, coordination, balance of member contributions, mutual

support, effort, and cohesion.

Two important reviews of the team effectiveness literature (Mathieu, Maynard, Rapp,

& Gilson, 2008; Pia, Martnez, & Martnez, 2008) provided insights into how the concept of

team effectiveness is defined and measured. Mathieu et al. (2008) revisited Cohen and

Baileys (1997) landmark literature review of work teams to highlight trends and themes in

this area of study and propose future areas for research. The authors cautioned that team

effectiveness research cannot be generalized because different types of teams have different

work processes and demands.

 13

Mathieu et al. (2008) began their discussion with the Input-Process-Output (IPO)

model (McGrath, 1964) to point out that what we think of as inputs, processes, and outcomes

can be quite complex. For example, inputs include team member characteristics, factors such

as task structure and contextual aspects such as the environment. Subsequent work extended

the model to include contextual elements, multiple levels of inputs, and temporal factors that

affect processes in episodic cycles (Kozlowski, Gully, Nason, & Smith, 1999; Marks,

Mathieu, & Zaccarro, 2001).

Mathieu et al. (2008) pointed out that two key types of models take into account the

temporal aspects of team functioning: developmental and episodic models. Developmental

models focus on how the same factors influence team processes differently over time as the

team matures (Kozlowski et al., 1999). Episodic models are based on the assumption that

teams use different processes depending on cycles of work (Marks et al., 2001). Newer

models such as the input-mediator-output-input (IMOI) model (Ilgen, Hollenbeck, Johnson,

& Jundt, 2005) combine developmental and episodic approaches.

Mathieu et al. (2008) concluded that great progress in team research took place

between 1997 and 2007 in the areas of group cognition, virtual teams, and group potency.

Group potency is defined as a collective belief in the teams success potential (Shea &

Guzzman, 1987). Progress was also achieved in the research on collective efficacy, which is

defined as a shared belief in a groups collective capability to organize and execute courses

of action required to produce given levels of goal attainment (Kozlowski & Ilgen, 2006, p.

90). Relatively little research took place in the areas of affect, mood, environmental factors,

and time (except as noted above in the areas of development and episodic models).
 14

Pia et al. (2008) aligned team effectiveness studies with three dimensions of team

effectiveness put forward by Cohen and Bailey (1997). The authors organized their analysis

by type of team (work, parallel, self-managing, project, and management) and by the three

dimensions: performance effectiveness, attitudinal outcomes and behavioral outcomes

(Pia et al., 2008, p. 16). The authors found that the importance of each of the three

dimensions depends on the type of team. For example, behavioral outcomes and attitudinal

outcomes have greater importance for self-managing teams than other types of teams. Pia

et al. (2008) concluded that more research is needed to develop measures of effectiveness

that include the three dimensions.

After an examination of the team and group effectiveness concepts presented by this

body of research, I return to Hackmans (1990) definition of group effectiveness to derive an

operating definition of effective teamwork for this study that applies to chamber music

groups. A key distinction between Hackmans definition and my definition is the idea that

both internal and external standards need to be met. Therefore, the definition of effective

teamwork that I will use for this study is, the process of working and performing together in

which the group experience contributes to the growth and personal well-being of team

members (Hackman, 1990, p. 7) and the groups performance meets group members and

the audiences standards. Furthermore, if I consider the chamber music group to be a type of

self-managing team (Gilboa & Tal-Shmotkin, 2010), I can adopt Pia et al.s (2008)

suggestion to consider behavioral and attitudinal outcomes of the work in my analysis.

Collaboration

The literature on team collaboration is extensive. A search of dissertations published

since 2010 that contain the word collaboration in the title yielded 195 results. Scholars have
 15

explored group creativity and collaboration (John-Steiner, 2000; Sawyer, 2003a, 2006, 2007,

2008; Scontrino, 2004), virtual team collaboration (Bjrn & Ngwenyama, 2009; H. G.

Brown, Poole, & Rodgers, 2004; Peters & Manz, 2007), inter-organizational collaboration

(Hardy, Lawrence, & Grant, 2005; Huxham, 2003; Huxham & Vangen, 2000; Liedtka,

1996), team collaboration in the business context (Haskins, Liedtka, & Rosenblum, 1998;

Magdaleno, De Araujo, & Borges, 2009), and communities of practice (Adler, Kwon, &

Heckscher, 2008; Wenger & Snyder, 2000). Collaboration in educational contexts (Caputo,

2008; Kezar, 2006; Schmaltz, 2010; Snyder, 2010) has been a target of recent research as is

childhood development (Howe, 2009; Rojas-drummond, 2009; Snyder, 2010).

Much of the literature on collaboration has examined large organizations or multiple

organizations. However, many of their findings can be applied to smaller groups. For

example, Leidtka (1996) studied collaboration in professional service firms. She concluded

that the elements of successful collaboration include ownership, trust, joint learning, and

honest communication. Peters and Manz (2007) defined collaboration as the existence of

mutual influence among members that enables open and direct communication, resulting in

conflict resolution, and support for innovation and experimentation (p. 119).

In a book about collaboration for non-profit and government agencies, Mattessich et

al. (Mattessich, Monsey, Wilder Research Center, & Amherst H. Wilder Foundation, 1992)

distinguished collaboration from cooperation and coordination. Cooperation occurs with

informal relationships and is usually relegated to information sharing; coordination requires

more formality in relationships and alignment of missions and planning processes;

collaboration connotes a more durable and pervasive relationship . . . with full commitment
 16

to a common mission (p. 39). Working with a string quartet falls into this third type of

durable, committed relationship.

In their study of professional service firms, Haskins et al. (1998) distinguished

transactional collaboration from relational collaboration: transactional collaboration focuses

on tasks, roles, and coordination, whereas relational collaboration involves partnering, shared

values and focuses on the people in the group. They described an ethic of collaboration in

which team members feel they are called to the work of the group, take personal pride in

their contribution, and care about group members and clients in addition to the mission of the

organization. The ethic of collaboration represents a state of mind, spirit, and doing (p.

36). Group members set high expectations of themselves and other members, yet they are

willing to surrender self-interest to the collective interest (p. 41).

John-Steiner (2000) wrote about creative collaboration among scientists, writers,

artists, and actors. She based her conceptual model on the work of Vygotsky (1978), Bakhtin

(Bakhtin, Holquist, & Liapunov, 1993), Gilligan (1982), Wittegenstein (1953) and others.

John-Steiner (2000) contended that collaboration thrives on diversity of perspectives and on

constructive dialogues between individuals negotiating their differences while creating their

shared voice and vision (p. 6).

Given these definitions and statements about collaboration, I derive my operating

definition of collaboration as a relational process in which people communicate diverse

perspectives with honesty and care, share a common mission, and contribute passion, ideas,

and energy to create a shared outcome.

 17

Learning Teams and Team Development

Clutterbuck (2007) presented the concept of a learning team as a group of people

with a common purpose who take active responsibility for developing each other and

themselves (p. 125). Clutterbuck derived several principles of learning teams from his

research: Learning goals, processes and outcomes (pp. 126) are owned by the team and

team members, every situation becomes an opportunity for learning, members share

knowledge and insights, the coach creates a learning environment, and dialogue is used in

place of discussion or debate.

Edmondson (1999) explored the antecedents of team learning behaviors and found

that psychological safety was a precursor to these behaviors. She defined psychological

safety as a shared belief that the team is safe for interpersonal risk taking (p. 354).

Learning behaviors include a reflectionaction process in which team members ask

questions, experiment, seek feedback, and reflect on the results and discuss errors and

unexpected results (p. 353). Edmondson suggested that building trust may be one of several

factors in establishing psychological safety. Her study also provided empirical support to

indicate that learning behaviors affect team performance.

I consider chamber music groups to be a form of learning teams because members

support each other to develop as musicians and as an ensemble regardless of their level of

proficiency. Learning together in a chamber music group is an ongoing process and occurs

in multiple domains, including but not limited to the piece of music, the historical and

cultural context of the composer, the groups interpretation of the music, the individual

contributions to expressing the music, and the group work processes to communicate and

make decisions in these domains. As I show in the findings chapters, I contend that
 18

psychological safety is an important factor in supporting open and honest dialogue and

learning processes within chamber music groups.

Tuckmans (1965; Tuckman & Jensen, 1977) seminal work on small-group

development produced the now well-known stages of forming, storming, norming, and

performing. Tuckman subsequently added a fifth stage of adjourning, based on Braatens

empirical work on group life cycles (Braaten, 1974). Other scholars developed group stage

development theories based on their own research (Bennis & Shepard, 2009; Gersick, 1988;

McGrath, 1991). For example, Gersicks (1988) article on punctuated equilibrium describes

a model of team evolution in which a team rapidly develops an approach to the task and then

goes through a period of inertia. At the halfway point the team goes through a sudden burst

of activity, followed by inertia, and finally moves into a last spurt of activity. Though not

tested in my study, the theories on team development stages could be applied to chamber

music groups. These two models of team development provide foundations for later studies

on the developmental pathways of chamber music groups (Robinson, 1997), which I consider

later in this chapter.

Coaching

According to Passmore and Fillery-Travis (2011), coaching research began in the

1930s (Gorby, 1937), hit a slump in the 1940s and did not pick up pace until the 1990s

(Diedrich, 1996; Kilburg, 1996a, 1996b). In sports, the coach is considered to be the leader

of the sports team. Therefore, sports coaching research reflects aspects of coaching

leadership styles such as autocratic, democratic, positive feedback, social support, and

training and instruction (Turman, 2001, p. 578), which are included in the Leadership Scale

for Sports (LSS) developed by Chelladurai and Saleh (1980). Though the sports coach can
 19

be considered to be a trainer and instructor, the meaning of coaching in the sports context

does not apply as well to my study as the meaning of coaching in a business context.

Passmore and Filler-Travis (2011) provided a working definition of coaching that

partially fits my research topic: a Socratic based dialogue between a facilitator (coach) and

participant (client) where the majority of interventions used by the facilitator are open

questions which are aimed at stimulating the self-awareness and personal responsibility of

the participant (p. 74). The authors note that this definition does not adequately address

team coaching and that research in the area of team coaching is not as mature as the dyadic

coaching literature.

In an early book on coaching for practitioners, Whitmore (1996, 2009) introduced the

GROW method of coaching, which scholars incorporated into subsequent models and studies

(S. W. Brown & Grant, 2010; D. Burke & Linley, 2007; Evers, Brouwers, & Tomic, 2006).

A coach uses the GROW process to set goals with their client, assess the clients current

reality, explore options, and help the client to determine what steps to take. The author takes

a pragmatic approach to coaching that is action oriented. The model does not directly apply

to my topic because it is dyadic rather than group-oriented and it is goals-based rather than

experiential.

Barner and Higgens (2007) offered a theoretical understanding of four implicit

models that influence coaching practices. In the clinical model, the client changes self-

perceptions and the coach acts as a counselor or therapist to help explore the clients

personality. In the behavioral model, the coach is advisor or trainer; she helps the client to

change thoughts and behaviors. Coaches use the systems model to help a client align

personal goals with the organization, change interactions with colleagues, and adapt to
 20

organizational systems. Finally, in the social constructionist model, the coach becomes an

ethnographer and narrative analyst (p. 150) and the focus is the clients story. The coach

assists the client to create new realities and perceptions of experience within the organization

context based on the assumption that change comes from changing the story we tell

ourselves. Although these four theoretical models support a dyadic rather than group

coaching process, the behavioral and social constructionist models have the potential to apply

to the chamber music coaching process.

Team Coaching

One notable exception to the dearth of team coaching literature is Hackman and

Wagemans Theory of Team Coaching (2005). Their model addresses the functions of team

coaching, when a coaching intervention is appropriate and the conditions for success. The

authors contended that interventions that focus on task performance facilitate team

effectiveness more than do interventions that focus on relationships (p. 274). Their model

includes motivational coaching which addresses level of effort, strategy-focused coaching

which aligns strategies to tasks, and educational coaching which allows reflection and

postperformance learning. They added a temporal aspect to the model, claiming that

motivational coaching is appropriate at the beginning stages of a teams life, strategy-focused

coaching is best at the midpoint, and educational coaching can be most useful at the end of a

teams work. Hackman and Wageman concluded that four conditions must be present for

team coaching to be effective: unconstrained processes, a well-designed team, interventions

occur at the right time, and the coach focuses on task processes rather than relationships.

In his book on team coaching, Clutterbuck (2007) distinguished between dyadic and

team coaching in several aspects. In particular, group members should determine

 21

developmental goals for the group as an entity. In a group situation, the coach can model

desired behaviors for team members to emulate, thus helping the team to improve group

dynamics. In a group-coaching situation, the coach needs to be able to process abundant

information quickly and at a macro level by observing dynamics among group members as

well as those between coach and group. Clutterbuck offered a definition of team coaching as

helping the team improve performance, and the processes by which performance is

achieved, through reflection, and dialogue (p. 77). He warned against over-using analogies

such as sports team coaching and the orchestra as a team because these do not apply to a

wide variety of teams and in the case of sports analogies, many people do not know the

specialized vocabulary used in the sports arena.

Brown and Grant (2010) recently extended the GROW concept to group coaching

with their GROUP model, which stands for goals, reality, options, understanding others, and

perform. The authors contended that dyadic coaching does not take systemic factors into

consideration and that systemic awareness is needed to effectively lead complex

organizations. The model is based on an assumption that group coaching is a process directed

towards goals and outcomes, rather than group facilitation, which focuses on group

processes. During the understanding others step, the authors suggested that coaches use a

dialogue process (Isaacs, 1993, 2001; Scharmer, 2007) to help group members understand

each other with openness and humility. The perform step comes from Tuckmans (1965)

group stages and other concepts such as double-loop learning (Argyris, 1977, 1991) during

which groups learn from the future as it emerges (Scharmer, 2007, p. 8).

Although aspects of these definitions and models of team coaching fit the realities of

chamber music coaching, certain aspects are not addressed. For example, the notion of
 22

performance as an expression of music is essential, as is the importance of experimentation

during rehearsals and even performances. I adopt a modified version of Clutterbucks (2007)

definition for the purposes of this study with the following definition of chamber music

coaching: helping the chamber music group to learn and develop the processes by which

musical performances are expressed, through experimentation, reflection, and dialogue.

Furthermore, Hackman and Wagemans (2005) team coaching theory, along with Brown and

Grants (2010) concepts of understanding others and perform inform the analysis of my

findings.

Connections Between Music Ensembles and General Organizations

Beginning in the 1990s, it became popular to study orchestras and other types of

music ensembles to draw connections between these groups and general types of

organizations. For example, some studies examined roles within a variety of small music

ensembles and how those roles effect decision making, rehearsal processes, and performance

creativity (Ford & Davidson, 2003; Khodyakov, 2007; Marotto, Roos, & Victor, 2007;

Sawyer, 2003a, 2006). Other studies, in particular of jazz ensembles, focused on

improvisation (Barrett, 1998; Berliner, 1994; Weick, 1998). Others looked at ensembles

such as choirs as a type of learning organization (Tamusauskaite, 2011) or a means to

understand coordination within a team (Stephens, 2010).

Finally, business writers such as Megginson (2000) suggested using a musical

ensemble such as a string quartet as a better metaphor than sports teams to illustrate concepts

to a business audience. Megginson provided examples of teamwork that he observed from a

quartet rehearsal such as attention to the whole; acute listening to others performance;

and concern for the feelings of all members (p. 222).

 23

After I read and synthesized much of the literature in this domain, the following key

themes emerged from the literature: (a) improvisation and innovation, (b) finding the groove

or flow, and (c) roles, relationships, decisions, and communication processes. In the next

three subsections, I show how the literature addresses each of these themes and indicate their

relevance to my research topic.

Improvisation and Innovation

In 1998, Organization Science devoted a special issue to Jazz Improvisation and

Organizing. Several articles from this issue including an article by Weick (1998), a seminal

work by Barrett (1998), and jazz as a metaphor for organization (Hatch, 1998) are considered

to be foundational scholarly works and have been widely cited by later works. The body of

literature related to jazz concepts contains work in which researchers studied jazz ensembles

to explore the concept of improvisation and how it may be applied to organizations (Bailey,

1992; Barrett, 1998; Bastien & Hostager, 1995; Berliner, 1994). Others took the findings and

models from these researchers and applied them to organizational topics such as leadership

(Cunha, Kamoche, & Cunha, 2003), organizational learning (Crossan, Cunha, Vera, &

Cunha, 2005; Crossan, Lane, & White, 1999), organization structure (Hatch, 1999), change

management (Leybourne, 2006), knowledge appropriation (Kamoche, Pina, & Cunha, 2008),

negotiation (Balachandra, Bordone, Menkel-Meadow, Ringstrom, & Sarath, 2005), physician

communication (Haidet, 2007), and general management (Leybourne, 2007; Zack, 2000).

In his work in this research topic, Barrett (1998) identified seven characteristics of

jazz improvisation that allow innovation, group cohesion, and coordinated social interactions.

Several of these characteristics refer to structures and practices, such as interrupting habit

patterns, embracing errors as a source of learning, and alternating between soloing and
 24

supporting (pp. 607-616). Barrett presented the idea that performers engage in a musical

dialogue through dynamic synchronization. According to Barrett, jazz musicians must

develop a remarkable degree of empathetic competence, a mutual orientation to one

anothers unfolding to enable deep musical dialogue (p. 613). He also suggested that

hanging out together in social contexts is another way to form a community that shares

tacit knowledge and codes of behavior (p. 616). Many of these characteristics are relevant

to my research because they address communication, coordination, and intersubjective

relationships among ensemble members.

In a recent article, Vendel (2009) provided a summary of the state of research on

improvisation in learning organizations, with some suggestions for future research. Vendel

clarified the definition of organizational improvisation, stating that there is a temporal

dimension to improvisation, with a convergence between conception and execution

(Cunha, Cunha, & Kamoche, 1999, p. 302) in which spontaneous action occurs between co-

performers. Improvisation has three characteristics: it is purposeful, extemporaneous, and

action-related.

Vendel (2009) contended that there are relatively few empirical studies that link

organizational improvisation and that learning and several challenges face scholars on this

topic. First, the jazz metaphor may have been overused to frame this topic and therefore may

hamper the production of new insights about improvisation in organizations (p. 452).

Second, though organizational improvisation is not easy to capture, behavioral patterns can

be captured and examined (Miner, Bassoff, & Moorman, 2001). Finally, because most

literature has captured successful examples of organizational improvisation, it is important to

also capture the failures.

 25

This area of the literature is related to my study in that it examines topics such as

group cohesion and social coordination between group members. However the relationship

of this literature to my topic is not as direct as other literature because improvisation is not a

focus of my study.

Finding the Groove or Flow

Csikszentmihalyi (1990, 1996, 1997; 1988) presented the concept of flow as effortless

action and an optimal experience that results in feelings of bliss for the one involved in the

action. During flow states, one experiences time differently, and time feels suspended or

seems to pass by quickly. A person who is in the flow is completely focused on her or his

activity and is immune to distracting thoughts or feelings. Csikszentmihalyi furthermore

contended that emotions, intentions, and thoughts influence each other as a person

experiences both inner and outer worlds. However, emotions and motivations can inhibit

concentration or may conflict with each other and therefore prevent the flow state.

According to Csikszentmihalyis (1997) Flow Model, there must be a balance

between skill level and the level of the challenge in order to achieve a flow state. If the

challenge is too high for the skill level, the person or group will feel anxiety or worry. If the

challenge is too low for the skill level, he or she will feel bored or relaxed. In the flow state,

individuals and groups learn to stretch their capabilities. When challenges and skills

approach a balanced level, the individual or group will feel a sense of arousal balanced with

control. Individuals learn either to increase skills or increase challenges in order to stay in

the flow, depending on whether they are in a state of arousal or control.

Dempsey (2008) used Goffmans (1974) frame analysis approach to understand

parameters that define the context in which jazz musicians interact during jam sessions and
 26

understand how jazz musicians move into a groove together or make musical gaffes that

result in train wrecks (p. 57). He contended that in order get into a groove, individuals

within a jazz group must pay close attention to context. Dempsey drew upon Sawyers

(2003a) work, describing a jam session as way to work together, to take each others ideas

seriously, and ideally build off the contributions of each individual member, producing an

emergent result greater than the sum of the individual contributions that make it up

(Dempsey, 2008, p. 59). Dempsey concluded that future researchers can apply this concept

to teams in the workplace and other types of organizational settings. Davidson and Good

(2002) cited Berliners article on jazz improvisation (1994), stating that in live performances,

co-performers must be able to detect and act immediately upon one anothers ideas to find

the groove (p. 188). Ford and Davidson (2003) made a similar observation in their article

on woodwind quintets.

Several scholars explored the temporal aspect of performing while in the flow or

groove. Temporality is a key difference between experiencing a painting or reading

literature, and experiencing a live performance of music, dance, or theatre (Hamilton, 2007).

Malhotra (1981) discussed how symphony musicians live in two temporal worlds

simultaneously during a performance by moving rapidly between inner and outer time, an

external world of gestures and body language between conductor and players, and an

internally experienced world of pulse and meter. Malhotra, who was influenced by Schutz,

defined dure in her article as the internally perceived pattern of rhythmic sound as felt by

the musicians (1981, p. 110).

In a study on collective virtuosity in organizations, Marotto et al. (2007) defined peak

musical performance as associated with a subjective experience in which one loses a sense
 27

of time and space as well as feels great joy and bliss (pp. 389-390). Marotto et al.s study

explored this magical connection, claiming that individual virtuosity becomes collective in

groups through a reflexive process in which group members are transformed by their own

peak performance (Marotto et al., 2007, p. 395). Jeddeloh (2003) also examined the magic

moments during jazz performance, which provide examples of musicians in flow states.

The findings of his phenomenological study pointed toward several factors that influence the

occurrence of magic moments, including environment, cultural conventions, relationships,

embodiment, the musical composition, temporality, technical abilities, and learning

processes.

Sawyer (2003a, 2003b, 2004, 2007) is well-known for his work on group creativity.

He used music and improvisational theatre as case examples, relating them to the interactions

of work in small teams. Sawyer (2006) wrote about group flow, which he distinguished

from Csikszentmihalyis (1990) flow theory. He contended that Csikszentmihalyis theory

addresses only individual consciousness, whereas group flow occurs as a property of group

consciousness. He cited Berliner as saying the highest points of improvisation occur when

group members strike a groove together (1994, p. 388). Sawyer described the group flow

phenomenon as having emergent characteristics, using the terminology of systems and

complexity theory (Stacey, 1996, 2003, 2005). The phenomenon occurs when performers

simultaneously listen to each other, listen to themselves, and play their instruments.

According to jazz musician Liston, everybody can feel what each other is thinking and

everything. You breathe together, you swell together, you just do everything together, and a

different aura comes over the room (Berliner, 1994, p. 392).

 28

In Hackmans (1990) edited volume on Teams that Work, the authors of the summary

section on Performing Groups (Butterworth, Friedman, Kahn, & Wood, 1990) concluded

that these groups of musicians, actors, and athletes had a cycle and rhythm to their activities

that encompassed practice sessions as well as performances. The researchers noticed a

pacing of rehearsals that gradually built to the performance night. A cycle might include the

set of rehearsals leading up to the performance, the performance, and the let-down period

after the performance. There is also a career cycle (shorter for athletes, much longer for

musicians and actors). The authors noted that these groups used the terms work and play

interchangeably and that authority rested in the accountabilities between group members.

Each member is accountable to the others for the end performance as well as the intermediate

tasks during practice sessions.

Finally, Ishak and Ballard (2012) published a nested phase model (p. 3) that

describes the temporal processes of action teams (e.g., fire fighters, military units, and

musical ensembles). Action teams differ from other teams in that their activities are cyclical,

final, and epochal. For example, athletic teams have a cycle of games leading up to the

championship series, music groups have a cycle of rehearsals and concerts during a season,

and fire fighters have an annual cycle of dry weather and holidays when emergencies occur.

With regard to finality, a string quartet cannot erase a mistake they make in a performance.

The work of these teams is epochal in that there is a set schedule of games and concerts and

firefighters cannot schedule to put the fire out at another date.

Ishak and Ballard (2012) defined preparation, simulation, production, and adaptation

as elements of the model. These elements are nested in cyclical phases of actions and

transitions. Action phases differ in scope and length depending on the perspective of the
 29

participant and the circumstance. Preparation is the stage during which members focus on

activities that will help guide them toward their goal, (p. 17) such as rehearsals or practices.

Simulations such as demonstration games or recorded run-throughs of a piece help action

teams to anticipate different scenarios and develop strategies to address them. Adaptation is

used to learn from simulations and production experiences and change strategies if needed.

The authors propose that some aspects of action teams processes can be applied to other

types of teams and settings.

The process of finding the groove or flow requires deep levels of listening and social

connection in real time with other members of the group. The concepts and the factors

reported by the scholars in this sectionsuch as building off the contribution of each

member, temporality, collective virtuosity, and nested phases within an action cycleare

relevant to my study as I examine how students learn to perform together as a unified

ensemble.

Relationships, Roles, Decisions, and Communication Processes

Sawyer (2003b, 2004) explored the concept of a musical conversation. He referenced

Monson (1996) as one of his influences, reflecting Monsons idea that jazz musicians must

be fluent in the musical language in order to have a fluid musical conversation during

improvisation. Sawyer extended Monsons work by examining conversational structures

during performances. Sawyer also drew on Bakhtin (1981), who said that we attribute

meanings to words based on their past use by other speakers and tend to reuse snippets of

conversation. Though Sawyers work relates to the musical conversation during jazz

improvisation, a similar musical conversation takes place between classical chamber

musicians as part of the interpretive and expressive process during their performances.
 30

The literature contains numerous articles relating orchestras to the topic of

organizational relationships. These articles address organizational identity (Allmendinger,

Hackman, & Lehman, 1996; Brodsky, 2006), leader and follower issues (Atik, 1994;

Faulkner, 1973), and professional commitment (Parasuraman & Nachman, 1987). Several

studies have focused on the impact of the conductor on the orchestras rehearsal style and

performance characteristics (Allmendinger et al., 1996; Atik, 1994; Boerner & Freiherr von

Streit, 2005; Brodsky, 2006; Maitlis, 1999). These studies typically take the position that a

conductor is the charismatic, heroic leader that commands respect from orchestra members.

However, Koivunen and Wennes (2011) presented a different model of leadership based on

an aesthetic analysis methodology that depicts the conductororchestra interaction as a

relational process. They contended that relational listening, aesthetic judgment and

kinesthetic empathy are important processes that an effective conductor should undertake

(p. 53).

Relational listening is defined by Koivunen and Wennes (2011) as intense, in-the-

present-moment attention, listening while in the flow of the actions taking place. Though the

concept of relational listening applies to smaller ensembles, in general orchestras are large;

they include sections of instruments with section leaders, implying an organizational

hierarchy. Orchestras differ from string quartets in many ways. The level of intimacy

required in working with fellow orchestra members is less than that required of a string

quartet and therefore the conclusions reported by these studies may not apply to chamber

ensembles.

A well-researched article on trustcontrol relationships in creative organizations is an

example of how some conclusions can be applied to smaller ensembles. In his study of the
 31

conductorless Orpheus Chamber Orchestra, Khodyakov (2007) claimed that trust and control

are both required for success in creative organizations. He asserted that goodwill trust, based

on a common commitment to excellence in music performance and competence trust, based

on past technical performance, allow members to take bigger risks during concerts.

Creativity increases during performances because performers know that they can depend on

their fellow members.

Conclusions from this example can be applied to the string quartet. For example,

Ann Elliott-Goldschmid, first violinist of the Lafayette Quartet, reflected on the performance

experience: when you get up on stage, its the ultimate moment of truth, and I have to trust

these three women with everything Im doing. I have to trust that theyre going to be

listening (Rounds, 1999, p. 73). Steinhardt (1998) said, If I played out of tune, we played

out of tune; if they stumbled, so did I; and if I managed to play beautifully, we would all

share the credit (p. 115).

Several studies have examined roles within small music ensembles and how those

roles affect decision making, rehearsal processes, and performance creativity (Allmendinger

et al., 1996; Ford & Davidson, 2003; King, 2006). For example, Barrett (1998) highlighted

the concept of alternating between soloing and supporting (p. 616) in jazz ensembles. Both

jazz ensembles and chamber ensembles require use of visual cues and ability to hear all

aspects of the music simultaneously during the performance in order to synchronize

harmony, melody, and rhythm. I include a discussion of literature specifically related to

string quartet roles and work processes in the section of string quartet studies.

The music ensemble is composed of individuals who coalesce into a tight knit team.

At the same time, it fits into a culture of music lovers, which in turn, fits into the larger
 32

context of history and world cultures. Doise (1986) defined four dimensions of analysis in

social psychology: intraindividual, interindividual, social-positional, and ideological.

Hargreaves and North (1999) investigated musical behavior within these four dimensions.

The intraindividual dimension includes self-concept and emotional expression (1999, p. 75).

The interindividual or interpersonal dimension involves performers or listeners individual

impacts on each other (Hargreaves & North, 1999, p. 75). Music is the universal language;

it can connect people regardless of their spoken language (p. 74). The interpersonal

dimension during rehearsals requires the ability to tactfully and directly deliver criticism,

negotiate interpretations, be open to feedback, and verbalize concepts so others can

understand them.

The work of Schutz merits mention because it informs my research analysis. In his

essay, Making Music Together, Schutz (1964) provided insight into the social interactions

between all participants in the musical process, including composer, performers, and

listeners. The key concept in Schutzs essay is the mutual tuning-in relationship, which

encompasses the relationship between I and Thou, forming a We presence. Schutz

looked at the structure of the mutual tuning-in relationship, which he said originates in the

possibility of living together simultaneously in specific dimensions of time (pp. 161-162).

He further delineated internal time, called dure, and external time (measured as clock time,

tempo and rhythm).

Schutz (1964) argued that performers and listeners step into the stream of the

composers consciousness by sharing these temporal dimensions during a performance of a

piece of music. Performers and listeners experience simultaneity (p. 173) through a

musical process which utilizes the mutual tuning-in relationship. The listeners activity is
 33

internal, whereas the performers is both internal and external. The performer interprets her

or his own part, anticipates the other performers interpretations, and also anticipates the

others interpretations of her or his interpretation. Members of an ensemble merge into each

others stream of consciousness. Schutz (1973) defined additional structures of the lifeworld,

including predecessors, contemporaries and successors, different points of view, and multiple

realities. In Chapter 6, I explore some structures of the lifeworld of the coaching session, as

well as Schutzs concepts of the mutual tuning-in relationship.

Much of literature mentioned above contains concepts related to aspects of my study,

such as the musical conversation, relational listening, trustcontrol relationships, and the

social context of the ensemble. However, the studies reviewed thus far do not examine

rehearsal techniques or the processes of coaching chamber music. I examine the scholarly

literature more directly related to my topic in the next section.

Chamber Music

In the next five subsections, I examine studies of string quartets, rehearsal techniques,

collaboration within music ensembles, chamber music education, and finally the chamber

music coaching process. I identify relevant studies and determine gaps in the research.

Studies of String Quartets

In this section, I explore the small set of research studies specifically focused on the

string quartet. Young and Coleman (1979) took a theoretical look at roles, leadership,

conflict, cooperation and co-action within the quartet, as well as co-action between the

quartet and audience. The authors reviewed several studies to reach their conclusions. The

authors found that studies of conflict and cooperation indicated that individual opinions

tended to converge in cohesive groups and conflict is diffused when a group faces a
 34

common-fate situation (p. 14). Young and Coleman applied the work of Bales (1950,

1955) to roles within a string quartet, suggesting that the first violinist is often the task

specialist and a secondary leader within the quartet may take the role of social-emotional

specialist (1979, p. 15). The authors also applied the work of White and Lippett (1960) to

the string quartet, suggesting that a democratic leadership style is most likely to generate a

stronger commitment to excellence from quartet members and create a positive group

rehearsal environment. Though their conclusions were not based on empirical evidence, the

theoretical ideas in Young and Colemans article laid the groundwork for subsequent

research studies.

Three case studies of professional string quartets bring to light elements of teamwork

during rehearsal (Butterworth, 1990), contributions to long-term quartet success (Poulson II

& Abraham, 1996) and group formation and decision processes (Austin, 2007). In his book

chapter about the Detroit String Quartet, Butterworth (1990) concluded that the ingredients

of team success include a shared purpose and direction, goals aligned with the groups

potential, a common relationship philosophy, self-management, shared accountabilities,

consistent levels of awareness of performance quality, and norms for team behaviors.

Butterworths study did not delve into specific rehearsal techniques that the quartet employed

during rehearsals.

Poulson and Abraham (1996) provided a transcript in their article of a workshop with

the Portland String Quartet, organized by topic. The quartet members voiced several

conclusions within the transcript. The success of the quartet was based on mutual

accountability and trust, a common purpose of leaving a legacy, and the ability to constantly

grow and change. Quartet members embraced healthy conflict with respectful
 35

communication. They adopted roles that each did best. However, they made all key

decisions together; it was a democracy from the beginning.

Austin (2007) told a story about how the Medici String Quartet formed and developed

as a group; it was messy and difficult at the beginning because they did not know how to

rehearse or communicate. Over time, the quartet members established clear roles and

matured group decision processes. They developed their own rehearsal techniques. For

example, after mastering a piece, they found ways to make it extremely difficult to play the

piece in order to continually challenge their growth as musicians. They employed another

technique: to intentionally revitalize repertoire, and do something outrageous with the tempo

or dynamics. Austin concluded that attention during rehearsals and performances and

integrated communication were key findings. However, changes in membership caused

anxiety, lower performance, and in one case a crisis. Although these last two studies (Austin,

2007; Poulson II & Abraham, 1996) did mention rehearsal strategies and techniques, these

researchers did not explore how the professional quartets in their studies taught rehearsal

strategies and techniques to students.

In their landmark study of 20 string quartets, Murnighan and Conlon (1991) found

three key paradoxes that provided foundational principles for future studies: the paradox of

leadership versus democracy, the paradox of the second violinist, and the paradox of

confrontation and compromise. The researchers concluded that many quartet members

embraced democracy in theory, but did not necessarily practice it in reality. They found that

successful quartets valued and appreciated their second violinist more than less successful

quartets and the second violinist accepted her or his role more so than their unsuccessful

counterparts. Finally, they found that successful quartets accepted conflict as a healthy part
 36

of creative collaboration and allowed conflict to exist, rather than avoid it or try to

compromise. The focus of this study was mainly on the roles of quartet members and the

communication aspect of rehearsals.

King (2006) compared three student quartets of different instrumental combinations

to determine roles and examine collaboration dynamics during rehearsals and performances.

She used Belbins (1993) team roles framework to examine the nature of collaboration and

roles and to understand how teamrole behaviors impacted group work, including rehearsal

progress, group dynamics, and performance (p. 266). King found eight common roles

across the three groups. Each quartet member filled one or more roles; some members

shifted roles from one rehearsal to the next, some did not. The string quartet had the most

stable team roles, resulting in healthier group dynamics, concentration, and progress during

rehearsals. The string quartet also received the highest performance scores by independent

examiners. King noted that the students faced key challenges such as the problem of what

to do to improve (p. 280), and the need to develop social collaboration skills. This last

finding highlights the need for music teachers to help students acquire specific skills in order

to be successful as a chamber music group. Although King observed rehearsal techniques,

she did not focus on how a coach teaches the art of rehearsal to students.

In an exploratory case study, Davidson and Good (2002) carefully examined the

sociocultural and interpersonal dynamics of a student string quartet. The authors leveraged a

conversation analysis framework (Clark & Brennan, 1991) to evaluate interactions between

players during a rehearsal and a performance. Davidson and Good concluded that Clark and

Brennans conversational dimensions of co-presence, visibility, audibility, co-temporality,

 37

and simultaneity applied to small-group musical performance. They found that the use of

gesture and eye contact was vital to coordination during rehearsal and performance.

Davidson and Good (2002) also observed some emotional and sociocultural issues.

For example, performance anxiety and maintaining focus during performance emerged as a

key issue. Although the authors focused primarily on communication and interpersonal

behaviors during rehearsal and performance, rather than rehearsal techniques, they included a

section on process coordination that described how the quartet practiced using eye and body

gestures to indicate entrances, dynamics, timing, and expression. Seddon and Biasutti (2009)

extended this work in their grounded theory study by identifying six modes of

communication (three verbal and three nonverbal) within a professional string quartet during

rehearsals and a performance. However, neither study examined the impacts of the chamber

music coaching process on the string quartets communication and interpersonal dynamics.

Further research based on these two studies is needed to examine how physical gestures for

cueing and communication are taught to student chamber musicians.

Robinson (1997) viewed string quartets as small, self-directing task groups and

open-social systemssensitive to group context (p. 2), with a focus on group stage

development. His grounded-theory study of 23 string quartets focused on the metaphors of a

string quartets group development. Robinson initially clustered quartets into three

developmental categories: formative (just starting their careers), established (recordings,

tours, residencies), and mature (well-respected and known, setting the standard for others).

Five metaphors emerged from the data: (a) Sacred Quest, the heros journey, to

discover spiritual musical essences and to impart this sacred discovery to others; (b) Market:

the drive to build a career and reputation and survive in the economic market-place;(c)
 38

Growth: the string quartet is seen as an organism expressing a drive toward growth,

maturational unfolding and regeneration; (d) Marriage: quartet members live together in a

long-term relationship among intimates; (e) Tao: the essential nature of the group is

expression through an existential process that constantly changes (Robinson, 1997, pp.

114-118). A future study is needed to incorporate direct observation of the string quartet

population in order to relate behaviors to stage development and determine whether these

metaphors are still supported.

Gilboa and Tal-Shmotkins (2010) quantitative analysis, based on a survey of Group

Characteristics in Music Ensembles, found that the concepts of self-managing teams apply

more to string quartets than other musical and nonmusical groups. The researchers adapted

the Self-Managing Work Team Effectiveness questionnaire (Cohen, Ledford, & Spreitzer,

1996) and a demographic questionnaire in their study of 72 musicians. Results were not

dependent on musicians country of birth, experience level, or whether or not they were

instrumentalists. The research confirmed that Cohen et al.s (1996) questionnaire, developed

for a business organization context, can be adapted to music ensembles. The survey results

showed that musicians believed string quartets exhibit greater levels of pluralistic leadership

and working patterns (e.g., rotating leadership and mutual accountability for performance

outcomes) than the other groups, including the nonmusical groups. In general, participants

perceived that string quartets were leaderless. Although Gilboa and Tal-Shmotkin examined

leadership and working patterns, they did not evaluate specific coaching or rehearsal

practices.

Tovstiga, Odenthal, and Stephan (2004) used a case study of the Carmina String

Quartet to examine sensemaking and learning in complex organizations. Drawing on

 39

constructs from models related to organizational learning (Argyris & Schn, 1978; Crossan

et al., 1999), Deweys model of learning (Kolb, 2000), and a theory of knowledge creation

(Nonaka & Takeuchi, 1995), the authors created a new framework, for sense-making and

learning in a dichotomous field of interaction (p. 4). This model combines individual and

collective learning with explicit and tacit knowledge creation.

In their findings section, Tovstiga et al. (2004) defined the four quadrants of

interpreting, intuiting, integrating, and institutionalizing to describe learning and

sensemaking. Interpreting requires techniques such as hearing in advance with the inner

ear in order to coordination rhythm and pitch (p. 8). Intuiting depends on personality,

behavioral characteristics, a willingness to collaborate and engage in inquiry, and

experiential knowledge. Integrating requires a continual process of listening to each other

while simultaneously responding. Finally, with institutionalizing, the string quartet may have

explicit rules around decision making that support democracy.

Tovstiga et al. (2004) concluded that a successful string quartet lives well with

ambiguity and paradox. The successful quartet knows when to use democratic leadership

and when to use directive leadership. Roles may be shared or rotated. Often conflict is

resolved through playing through the music rather than engaging in conversation. Tovstiga

et al.s study did not explore how the Carmina Quartet taught its rehearsal strategies to

students. However, it may provide a relevant framework for analyzing the data from my

study on how string quartet students learn the techniques and strategies required to work

effectively together.

In summary, none of the case studies of string quartets explored how rehearsal

techniques are taught to students (Austin, 2007; Butterworth, 1990; Poulson II & Abraham,
 40

1996; Tovstiga et al., 2004). One study focused on roles and communication within the

string quartet, but not on the practice of coaching students in rehearsal strategies (Murnighan

& Conlon, 1991). King (2004) studied student quartet rehearsal processes, but did not focus

on how a coach teaches the art of rehearsal. Two studies examined interpersonal dynamics

and communication modes within string quartets, but did not examine how quartet members

learned those dynamics (Davidson & Good, 2002; Seddon & Biasutti, 2009).

Robinsons study (1997) identified metaphors related to developmental stages of

string quartets, but not how quartets learned what was needed to move from stage to stage. A

quantitative survey (Gilboa & Tal-Shmotkin, 2010) revealed that string quartets exemplify

self-managing teams, but the researchers did not explore how they got there. Finally, a case

study (Tovstiga et al., 2004) of a string quartet presented a model for sensemaking and

organizational learning in complex organizations, but this study did not explore how

rehearsal strategies and techniques are taught to chamber music students.

Rehearsal Techniques

Though not scholarly, a small number of books on rehearsing and playing string

quartets bear mention. The earliest book, by Norton (1925), who was a student of the

Kneisel Quartet in the early 1900s, contains two short chapters on the topics of ensemble and

rehearsal processes. The remaining chapters focus on tempo, phrasing, dynamics, color, and

texture. Norton provided advice with regard to ensemble work, stating that the first

requisite for a good ensemble is that each player shall have the sense of the whole. This he

can only feel by listening to the others - constantly (p. 22) (Nortons emphases included).

She provided advice based on the traditional assumption that the first violinist is the leader of
 41

the quartet and therefore provides all cues, which contradicts recent research on democratic

leadership and the concept of role shifting.

Page (1964) devoted a small section to technique and interpretation; the remainder of

his book includes discussions of the string quartet repertoire. Loft (1992), who was an early

member of the Fine Arts Quartet, produced a volume of detailed interpretation and practice

notes for 30 chamber music masterpieces by all of the major classical composers and a few

20th century composers. He included an introductory chapter with tips for rehearsals,

including 10 rehearsal commandments such as the following:

Listen open-mindedly to your colleagues playing. It may well be convincing. If it

is, say so! . . . Dont get hung up on words. Play the musical alternatives, tape them,
listen, then decide. (Loft, 1992, p. 31)

Two books on string quartet playing feature interviews with the Guarneri Quartet

(Blum & Guarneri String Quartet, 1986; Fink, Merriell, & Guarneri String Quartet, 1985).

Each presents a discussion the role of each instrument along with an interview of the related

Guarneri Quartet member. Fink, Merriell, and Guarneri String Quartet (1985) provided a

detailed red-line analysis process for score study, along with examples of three string

quartet scores. Blum and Guarneri String Quartet (1986) devoted a section to technical

aspects such as intonation, vibrato, pizzicato, bowing, dynamics, rhythm, and tempo. The

latter part of the book presents the Guarneri Quartets commentary on repertoire and a

detailed discussion of Beethovens Opus 131 quartet.

Hallam (1995) explored how professional musicians approach learning new pieces of

music. She applied Pasks (1976) model of learning strategies and Perrys (1970) model of

student intellectual development to analyze the data from semistructured interviews. In her

conclusion section, Hallam (1995) recommended that teachers should identify the preferred

learning style of students in order to develop versatile learners, customize teaching styles to
 42

support the students preferred learning style, and encourage the development of alternative

learning strategies (p. 127). In a later publication, Hallam (1998) defined effective practice

as that which achieves the desired end product, in as short a time as possible, without

interfering with long term goals (p. 142).

Jrgensen (2004) presented a model for individual practice that includes processes

related to the concepts of self-teaching and self-regulated learning (McPherson &

Zimmerman, 2002; Zimmerman, 1998). Jrgensen (2004) adapted a definition from

Weinstein and Mayer (1986) of practice strategies as the thoughts and behaviors that

musicians engage in during practice that are intended to influence their motivational or

affective state, or the way in which they select, organize, integrate, and rehearse new

knowledge and skills (Jrgensen, 2004, p. 85).

Jrgensens (2004) model includes four different types of rehearsal strategies:

(a) planning and preparation strategies, which include setting goals and time management;

(b) executive strategies for rehearsals in preparation for performances; (c) evaluation

strategies; and (d) metastrategies, which are knowledge of strategies, and control and

regulation of strategies (p. 86). Executive strategies for rehearsal include mental strategies

(e.g., score study), playing strategies, strategies for the whole piece versus smaller parts (p.

92), strategies for challenging passages, and strategies for tempo. They also include

strategies to distribute practice over a timespan that leads up to a performance.

Davidson and King (2004) asserted that a common love of music, similarity of

musical instruments, affiliation to the group, a strong sense of self, and clear roles contribute

to positive group dynamics. Therefore, a prerequisite for effective rehearsals is that the

operational principles of the ensemble are established, understood and complied with (p.
 43

107). Furthermore, every voice should be free to express ideas during rehearsals. The

authors noted string quartets are not always the ideal ensemble form because there is an even

number in the group. Group dynamics issues may arise when there is a conflict of opinions,

either with an even split of opinions or when three people oppose one persons idea.

Davidson and King (2004) identified two types of communication: (a) that which is

related to coordination of musical content and (b) communication related to personal

interactions such as humor, power, and gender. Their research found that body movements

are used to coordinate musical expression between co-performers, convey musical expression

to the audience, and also has a social aspect that unifies the group as an entity. They also

noted that nonverbal communication and playing-through musical passages can resolve

disagreements when talking fails.

Davidson and King (2004) suggested that ensembles adopt the following six

guidelines for a successful rehearsal process: (a) define a shared plan with clear goals as well

as flexibility for the unexpected; (b) adopt a warm-up routine; (c) pace the flow during

rehearsals so there is a balance between different types of rehearsal strategies; (d) ensure

equal engagement of group members; (e) balance work and fun; and (f) work within

structural boundaries of the piece, for example, balance practice between short and long

sections, include run-throughs, try a non-sequential approach on occasion, and study the

score. The authors concluded that there is no single best method or strategy for rehearsing

a particular piece of music (p. 120). Successful rehearsals need to have as a foundation a

strong social framework and a positive socio-emotional ambience as a result of the

members behaviors (p. 120).

 44

King (2004) defined a conceptual framework to direct future research on the topic of

chamber music rehearsals. The framework includes three major categories of studies:

structure (schedule, goals, repertoire, session plans); collaboration (discourse, sociocultural

and socio-emotional aspects, group dynamics, roles, musical interpretation); and technique

(intonation, score study, playing specific parts together, metronome exercises, balancing,

sound quality; pp. 12-15). King asserted that studying chamber ensemble rehearsals can be

seen to contribute towards the understanding of small group processes and group work in

general (p. 15). The CSQs coaching strategies and rehearsal techniques that form the basis

of my study fall into all three of these categories. Therefore, Kings framework helped me to

organize my approach to this study. Instead of examining processes that students use during

rehearsals, my study examined the coaching process used by CSQ during coaching sessions,

which includes the use of rehearsal techniques.

The scholarly work in the section above addresses rehearsal strategies rather than the

coaching process by which students learn rehearsal strategies. In addition, many of the

studies focused on individuals or duos (Davidson & King, 2004; Hallam, 1995; Jrgensen,

2004). However, I will illustrate how the concepts presented by these scholars apply to my

findings in Chapter 6.

Collaboration Within Music Ensembles

Beckman and Graves (1997) highlighted the importance of mutual respect, work

ethic, and studying the score to know their own part and know what they are a part of (p.

21). They suggested the teachers role is to find ways for students to participate under

different collaboration situations such as turning pages, observing rehearsals, and performing
 45

in different acoustical settings. However, this article appeared in a musicians trade journal

and did not follow a scholarly research protocol.

Williamon and Davidson (2002) examined social aspects of communication (verbal

and nonverbal) between two expert pianists during rehearsals in order to understand

processes related to learning and performance. The duo spent 90% of the rehearsal time

playing through the music and 10% in conversation. The pianists largely depended on an

explicit use of musical communication to understand each others musical ideas, which

included physical gestures and eye-contact. The authors recommended that teachers pay

attention to the balance between playing and talking during rehearsals and coaching sessions,

and to encourage eye-contact and looking behavior (p. 64). This study was limited in that

it included only one piano duo consisting of two male participants.

In similar work based on piano-singer duos, Ginsborg and King (2007a, 2007b) found

that social interaction was largely positive for all four duos in their study. The researchers

found that the professional musicians offered more ideas than the students and that a majority

of the students statements focused on problem-solving. There were also differences in how

the duos used rehearsal time to accomplish goals efficiently. The student duos worked in

more intense bursts with more verbal exchanges than the professional duos (2007b, p. 1).

The most common rehearsal strategy was to run through the whole song (2007a, p. 54). In

another view of the same study King and Ginsborg (2011) contended that gestures have two

functions: (a) enable the musician to produce sound and (b) convey the emotion and

character of the music.

Two notable dissertations focus on the collaborative aspects of rehearsals. In her

ethnographic study, Berg (1997) explored how students in chamber music groups made
 46

decisions about musical interpretation through social action (p. iii). Berg applied

Vygotskys (1978) concept of zone of proximal development during the qualitative analysis

of two sets of high school chamber ensemble rehearsals to identify patterns of musical

thought and action. Berg found three types of activity during rehearsals: (a) initiating, (b)

assisted-learning, and (c) orienting activities. Although Berg observed rehearsals and

coaching sessions, her focus was on the peer interactions of the students. She discussed

coaching strategies as they related to the process of assisted learning, rather than the process

of coaching groups on how to collaborate.

Bononi (2000) conducted a qualitative study of a high school saxophone quintet to

understand the thought processes of beginning student chamber musicians and how they

transferred previous knowledge to solve problems during rehearsals. Bononi concluded that

students applied images of their prior large ensemble experience to their chamber music

rehearsal process. He found that student dialogue focused on problem-solving and the

students did not take charge of rehearsal processes over time as expected, possibly due to

their lack of chamber music experience.

In a chapter on practice for music students, Barry and Hallam (2002) recommended

the following strategies: use metacognition, which is the process of becoming aware of ones

approach to practicing, including thought processes and physical actions; use a structured,

systematic approach; use mental practice in addition to physical practice; study the score;

distribute shorter practice sessions in regular increments across time; and determine the goal

and amount of effort required, then commit to the level of effort. The authors suggested that

students listen often to high-quality recordings of the compositions they are learning.
 47

These studies did not focus on the particular context of string quartets within a

conservatory context. Either they studied duos (Ginsborg & King, 2007a, 2007b; King &

Ginsborg, 2011; Williamon & Davidson, 2002), high school chamber music groups (Berg,

1997; Bononi, 2000), or individual musical development (Barry & Hallam, 2002). These

studies did focus on relevant concepts that are related to my topic, such as the balance

between verbal and nonverbal communication, use of gesture, decision processes, practice

strategies, and learning processes during rehearsals. However, they did not focus on the

process of coaching advanced music students in how to apply these concepts.

Chamber Music Education

Though the focus of this next section is chamber music education, I discuss some

general literature on music pedagogy because some of the theories and concepts can be

applied to chamber music coaching.

Parncutt and McPherson (2002) presented a collection of essays on the psychology of

music performance, including aspects that contribute to the development of musicians. The

chapter on environmental influences (Gembris & Davidson, 2002) includes sociocultural

systems such as technology or music culture, institutions such as schools and the family, and

groups such as peers and classes. The authors claimed that parents and teachers are the most

important influences on a young child because they influence musical tastes, motivate

students to learn, and are role models for the child. A positive emotional climate in the

beginning stages is a key to student success.

ONeill and McPherson (2002) pointed to several theories that help to explain

motivational influences for music students. The authors concluded that expectancy-value

theory (Pintrich & Schunk, 1996) helps us understand how children come to value playing an
 48

instrument and what they might achieve from musical experiences, self-efficacy theory

(Stipek, 1998) helps us to understand how confident learners feel about their ability to

perform on an instrument (p. 43) and flow theory (Csikszentmihalyi, 1990) informs us that

when challenges are balanced with a musicians skills, the activity of musical performance is

pleasurable. These are some of the factors that motivate young musicians.

Davidson and Correia (2002) contended that the body is vital in the generation of

expressive ideas about the music. (p. 237). The authors recommended that teachers use

several techniques to help students use their bodies appropriately while performing music.

These include the following: utilize Alexander technique, create a story of a piece through

physical gestures without the instruments, assign action metaphors for each phrase (p.

247), and conduct the teacher as the teacher plays the music. The teacher can also use

metaphors to help the student with body movement, such as suggesting an image of a wave

of water pulsing through from the center of the body to the bow arm.

Kohut (1985, 1992) proposed a teaching model based on the concept of the natural

learning process, which uses mental images, trial-and-error, and imitation. Kohut suggested

that teachers use the following process: program the brain with good musical images, learn

to focus on the performance goal. . . use imitation and trial-and-error practice, [and] use body

feedback to detect and correct errors (p. 18). Kohut contended that focused, relaxed

concentration promotes learning. He suggested that Inner Game techniques (Gallwey, 1976)

such as trusting the body, quieting the mind, increasing awareness, letting it happen

(Kohut, 1985, 1992, pp. 64-66), and practicing non-judgment open students to the natural

learning process. Kohut proposed principles for developmental and remedial teaching, which
 49

include providing excellent musical images, moving from whole to parts, and moving from

known to unknown.

Kokotsaki and Hallam (2007) studied higher education music students perceptions of

the benefits of participative music making. The researchers asserted that group music

making is both a musical act and a social act. They found that students involvement in

group music making impacted development of personal skills and sense of self. Though he

focused on jazz ensembles, Sawyer (2008) proposed that musical training should place

greater importance on group collaboration. He contended that educators need to provide

greater structure than would normally be present with more experienced musicians so

students can learn how to listen, collaborate, and verbally communicate their ideas.

Several trade journal articles provide guidance on how to establish school chamber

music programs, highlighting potential pitfalls and success factors (Holland, 1964;

Rutkowski, 2000; Villarrubia, 2000). Educators such as Berg (2008) provide teachers some

strategies to help students become independent musicians such as modeling, coaching,

structuring practice, and reducing support over time (p. 48). Leshnower (2008) used the

Cassatt String Quartet as an exemplar of leadership behaviors. The author provided

examples of how the Cassatt Quartet demonstrated behaviors such as creating a vision,

communication, leadership and followership, creative thinking, trust, and teamwork (p. 30)

and then suggested related classroom exercises that teach leadership to gifted children in a

classroom setting.

An early study of the impacts on high school band students (Zorn, 1973) of chamber

music ensemble experience did not provide strong evidence of changes in performing ability

and cognitive learning, although chamber music positively affected students attitudes toward
 50

music and music participation. Larson (2010) extended Zorns research in a quantitative

study. Larsons results indicated that participation in chamber music groups in addition to

large ensemble experience positively influenced students attitudes and motivation,

especially for students identified as lower musical achievers (p. iv).

Although the literature in the section above reveals themes of how small ensemble

experience affects students learning in a variety of ways, they do not deeply explore the

strategies and techniques used by music teachers and coaches to help ensembles learn to

collaborate effectively.

Chamber Music Coaching Process

Blanche (1996) collected survey data from 47 professional string quartet coaches to

gain an understanding of the current state of technical instruction in the US and from

specific texts on string quartet pedagogy. Blanche defined a string quartet teacher as one

who focuses on ensemble technique to prepare the string quartet to function at a technical

level in which they benefit from coaching. The string quartet coach guides students in topics

such as interpretation and repertoire selection. Areas of technical focus were dynamics,

intonation, timing, tone color, ensemble, and articulation. Blanche found two key techniques

related to ensemble development: (a) precision of beginnings, endings, attacks, and releases

of tones and (b) dynamic balance between all four parts within the harmonic and melodic

textures specified in the composition (p. 76). Even though these techniques are included in

the Cavani Quartets list, Blanches focus was to create etudes for practice to achieve

precision and balance. An etude is a piece of music designed to exercise a specific aspect of

technique. My study considers the broader topic of coaching processes that support

collaboration and group dynamics in addition to techniques for precision and balance.
 51

Ginsborg and Wistreich (2010) conducted research to determine the state of music

ensemble education and assessment in U.K. higher education. These researchers applied

several theoretical frameworks, including developmental psychology, which suggests socio-

cognitive conflict can be used as a learning strategy (Piaget, 1954, 1976) and the idea that the

zone of proximal development expands with group interactions (Vygotsky, 1978) can be

applied to learning in music ensembles. Ginsborg and Wistreichs survey study found a

variety of assessment practices occurred at different stages of ensemble development and not

all methods of assessment were deemed fair or appropriate. Their review of three ensemble

rehearsal processes revealed differences in time spent in rehearsal, rehearsal strategies and

goals, and sophistication in the planning and execution process. The authors suggested

further research is needed with regard to the role of coaching for more and less experienced

ensembles (p. 4). The themes and questions of this study intersect with my study, especially

as they relate to the role of the coach. However, this study was exploratory in nature.

Therefore, further study is needed to understand the results.

In a study more closely related to my topic, Hanzlik (2010) explored the following

question: As we prepare student performers to become creative artists, can teachers foster an

environment that is not limited to music and music making but inspires a sense of social

responsibility among all participants? (p. 209). He studied how two chamber music coaches

applied their espoused values related to chamber music as they coached student chamber

music groups starting with the contention that every member of a community should have

an opportunity to experience a self-realization of his or her potential through communal

experiences (p. 221).

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Hanzlik drew heavily upon the works of Dewey (1910, 1916, 1922, 1938; Dewey &

Holmes, 1926) to develop the constructs of citizenship, One Anotherness (reciprocal

relationships, shared experiences, active participation), Collaborative Leadership and

Engaged Followership, and Thinking and Moving Together within chamber music

ensembles (p. 212). One of his key findings is that all citizens of a community must not

only uphold an ideal of respectful equality, but must also share similar definitions of what

respect means (p. 218). He found that the coach plays an important role in helping students

learn how to express diverse perspectives so that all voices are heard.

Hanzlik concluded that Citizens of democratic communities must disagree or take

risks in order for the communities to flourish and progress (p. 219). He argued that critical

thinking is essential to problem solving in a democratic collaboration process and the process

of critical reflection isnt easily learned by students. Hanzlik suggested that coaches use an

inquiry process that helps students challenge their assumptions and identify biases. Although

Hanzliks study examined coaching strategies as they relate to developing a democratic

collaboration process, it did not explore a specific set of strategies and techniques used by the

coaches as a part of an established pedagogy.

Conclusion and Research Question

To conclude, although the research literature explores a variety of topics related to

string quartets and chamber music ensembles, as well as learning processes related to

rehearsing in these types of groups, there is a gap in the literature regarding the process of

chamber music coaching used by music educators to develop chamber music students in

conservatories and college music departments. The gap is even more pronounced with

regard to how coaches help music students learn to collaborate in chamber music groups.
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This is the gap I wish to fill in the scholarly conversation. Therefore, what follows are my

research questions.

Research Question: How do members of a professional string quartet coach

advanced chamber music students?

Subquestion #1: What coaching strategies and rehearsal techniques help students to

develop effective teamwork?

Subquestion #2: How does rehearsing and studying in a string quartet enable

productive collaboration within student string quartets?

In the next chapter, I include the rationale for my choice of methodology and

techniques, based on my central research question and related subquestions.

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CHAPTER THREE: METHODOLOGY AND METHODS

In this chapter, I explain my choice of methodology and techniques, outline my study

design and data collection procedures, describe the analysis process, and conclude with a

discussion of research quality and validity.

The impetus for my data collection site choice arose from an exploratory e-mail

exchange in January, 2011 with Annie Fullard, first violinist of the CSQ, during which, she

indicated interest in my research ideas. She suggested that CSQs CSRTs might apply to

organizational groups to empower people in every walk of life to feel part of the team in a

real sense, and to address the needs of corporate leaders to function more collaboratively

without giving up their individual voices (Fullard).

Fullard sent me a three-page document that she had developed over several years.

The document lists the coaching strategies and rehearsal techniques that formed the basis of

their pedagogy (Appendix A). We talked on the phone, and I subsequently met with Fullard

after a concert that CSQ performed in March 2011. As a result of these conversations,

Fullard invited me to visit Cleveland Institute of Music (CIM) and conduct my research. In

the next section, I explain my research orientation and approach, which includes a social

constructionist perspective, interpretive inquiry, and the case study approach.

Research Orientation

I ascribe to a social constructionist view of knowledge creation (Berger & Luckmann,

1966; Pearce, 2007). A key assumption of social construction is that we create meanings

associated with the objective world through our interaction with the people around us. We

continuously interpret our reality, which changes through further experiences and social

interactions. Furthermore, our experience is influenced by historical, social, and

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environmental contexts (Crotty, 1998). Social constructionist researchers tend to focus on

the process of social interaction and the context of human interactions (Creswell, 2003). This

approach to knowledge creation matches the how-oriented nature of my research questions.

It also supports my desire to gain understanding of the interactions between teacher and

students, and within student groups.

According to Neuman (2006), qualitative or interpretive researchers study

meaningful social action, not just the external or observable behavior of people (p. 88).

Neuman states that interpretive researchers aim to transcend externally observable aspects of

human life and come to understand the inner meanings that dwell within each person. This is

an aim of my study; to understand the teaching and learning processes that take place within

and between participants in the context of a conservatorys chamber music coaching

program.

Qualitative social science knowledge is based on evidence that is embedded in the

context of fluid social interactions and is true if the evidence resonates or feels right to

those who are being studied (Neuman, 2006, p. 105). Theory, according to this framework

is a description of how a groups meaning system is generated and maintained (2006, p.

105). I sought evidence by observing and asking questions about the social interactions of

the coaching sessions. I validated the evidence by asking participants to view and comment

on video recordings of their coaching sessions as well as comment on my analysis of the

data. In my findings chapters, I describe how the meaning system within coaching sessions

is generated and maintained and present a model based on the meaning system.

Another tenet of social constructionist, interpretive social science research is that the

researcher is a part of the system she studies. I am the main the research instrument used
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in this project and therefore my perceptions, context, history, and biases contribute to my

interpretation of meanings that I find in the data (Creswell, 2003; Maxwell, 2005, p. 79).

Therefore, I included my reflections related to my interpretations in the field notes (see Data

Collection Strategies).

To address my research goals, I conducted a qualitative study to explore CSQs

coaching strategies and rehearsal techniques. I took a case study approach, using interpretive

inquiry techniques that were informed by phenomenological strategies. Phenomenology

(Bentz & Shapiro, 1998; Husserl, 2000) explores human experience as embodied in physical,

cognitive, emotional, and spiritual dimensions. I used a phenomenological lens as I

examined the experience of the coaching process from the coaches and students different

perspectives, as well as my own experience in the case studies in Chapter 5.

Schutz (1962) contended that the social scientist replaces the thought objects of

common-sense thought relating to unique events and occurrences and creates a model of a

portion of the social world that is relevant to the scientists particular problem under

scrutiny (p. 36). As a result of my analysis process, I took what was implicit in the coaches

process and made it explicit. In Chapter 6, I present a model for the coaching process which

is built upon the original document provided by Fullard (Appendix A). I included a

foundation within the model related to creating an environment for learning. I also

expanded the scope of CSRTs based on my observations and postcoaching interviews, then

organized them into categories that suggest the timing to introduce particular rehearsal

techniques.
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Case Study Approach

According to Yin (2009), a case study method is appropriate for a research project

that investigates a contemporary phenomenon in depth and within its real-life context,

especially when the boundaries between phenomenon and context are not clearly evident (p.

18). My study lent itself well to a case study approach because I investigated the

phenomenon of CSQs established coaching strategies and rehearsal techniques within a

complex environment that included coaches and students within a specific conservatory

setting. Because a case study digs deeply into the phenomenon and the context, the

researcher relies on multiple sources of evidence, which also fits my research design (p.

18).

Furthermore, even though the context of the overall case is the chamber music

program at the Cleveland Institute of Music (CIM) and the phenomenon is how the coaches

at CIM use the CSRTs with their chamber music students, I captured four subcases to

observe and understand the process of chamber music coaching in action. Stake (2006)

called the overall case a quintain. The quintain is an object or phenomenon or condition to

be studied . . . the collective target and multiple cases are studied to understand what is

similar and what is different across the cases to understand the quintain (p. 6).

The methods described by Yin (2009) and Stake (2006) helped me to organize and

analyze my data. In particular, I followed Yins guidelines for designing case studies by

defining the unit of analysis as the unique coaching session and its associated participants. I

determined propositions from my research question. Then, I applied Yins principles of data

collection: I used multiple sources of evidence, created a case study database, and maintained

a chain of evidence (Yin, 2009, pp. 114-124). Finally, I analyzed the evidence by developing
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case descriptions, compared cases for similarities and differences, and examined potential

rival explanations (Stake, 2006; Yin, 2009).

Participant Selection

Good qualitative research is emergent rather than tightly prefigured (Creswell,

2003, p. 181). I chose structured, semistructured, and unstructured processes to allow

emergent aspects to surface during the study and at the same time provide some scaffolding

to compare data across different student groups and chamber music coaches (Maxwell,

2005). I explored CSQs coaching strategies and rehearsal techniques through three main

processes: (a) I interviewed members of the CSQ and the head of CIMs chamber music

department; (b) I observed, recorded and analyzed four coaching sessions (one for each CSQ

member); and (c) I interviewed student string quartet members and their coaches individually

after their coaching sessions.

The initial participants for this study, the members of CSQ, self-selected through my

exploratory e-mail exchange with Annie Fullard. The three other members of CSQ readily

agreed to participate in this study. During my pilot study, I discovered a fifth chamber music

coach, department chair Peter Salaff, who also used CSQs coaching techniques and team

coached CIM students along with members of CSQ. I included an interview with him in this

study. According to Creswell, qualitative research takes place in the natural setting (2003,

p. 181). I conducted the research at CIMs campus, in CSQs teaching studio and other

classrooms.

I asked CSQ members to identify student string quartets for this study once the fall

semester was in session and chamber music class registrations settled. I sent recruiting e-

mails to the members of the student quartets to explain the study and confirm their
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participation (Appendix K). The inclusion criteria were that the students must be at least 18

years of age, attend either CIM or Case Western University, and be coached by a member of

CSQ. I asked CSQ members for nominations of students who could articulate their thoughts

and feelings clearly and were willing to be video-recorded and interviewed. The student

participants ranged in age from 19 to 23 years.

Data Collection Strategies

The data collection process included two sets of interviews, video recordings of four

coaching sessions, use of a stimulated recall process (O'Brien, 1993) during the postcoaching

interviews, and field notes. In this section, I include descriptions of the process and

techniques I used during each step of the process.

The interview as a qualitative research method is characterized as a kind of guided

conversation (Warren, 2002, p. 85) that requires deep listening on the part of the researcher

(Rubin & Rubin, 1995). I primarily used semistructured protocols for interviews with the

coaches and students. By using a combination of closed-ended and open-ended questions, I

collected data for comparison and also allowed data to emerge through the process (Creswell,

2003; Maxwell, 2005).

I conducted two sets of interviews. In the first set, I conducted semistructured

interviews with the coaches; members of CSQ and the chamber music department head,

Peter Salaff (see Appendix C for the interview guide). The purpose of the initial interviews

with the coaches was to gain a background understanding of their coaching philosophy and

process, and to understand how they developed and used the coaching strategies and

rehearsal techniques. The first part of the interview contained open-ended questions related

to a coachs philosophy and process. For the first part of the interview, I focused on the list
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of coaching strategies and rehearsal techniques and utilized moderately closed-ended

questions (Stewart & Cash, 2006).

The interviews with three members of CSQ took place during my pilot study in April

2011. I conducted two additional phone interviews during the summer with the cellist and

first violinist of CSQ. I conducted the final Phase I interview with Mr. Salaff during my site

visit in September 2011. I digitally recorded (audio) each interview and had the interviews

transcribed by a professional transcriptionist (Appendix L).

Next, I observed and digitally recorded (video) coaching sessions with four selected

student string quartets, each with a different coach (the members of the CSQ). I chose this

method because video recordings capture nonverbal gestures and human interactions that

cannot be captured through audio recordings or field notes. I annotated the video recording

using the NVivo analysis software and included the video as primary data for analysis (Miller

& Carney, 2009; Rich & Hannafin, 2009).

In the second set of interviews, I interviewed each of the coaches and students

individually after their coaching sessions. I conducted 20 postcoaching session interviews (4

coaches and 16 students). First, I selected video clips from the coaching sessions to show

during the postcoaching interviews. My criteria for selection was to include examples of

CSQs coaching strategies and rehearsal techniques and exclude long portions of musical

performance in order to focus on the dialogue that occurred during the sessions. I

interviewed each coach 1 to 3 days after the coaching session. In one case, due to the

coachs time constraints, I conducted her interview in two parts during the week of my site

visit. I asked open-ended questions (Appendix D) while playing the video clips, using a

stimulated recall process.

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The stimulated recall (SR) process has been used extensively to provide insight into

the thought processes of teachers and students (Busse & Ferri, 2003; Calderhead, 1981;

Edwards & Marland, 1984; Marland, 1984; O'Brien, 1993). OBrien (1993) suggested

several steps in the SR process. First, researchers should select participants based on their

suitability to this process. Participants should be able to articulate their thoughts and feelings

clearly and be willing to be video recorded. Next, the researcher should set up the camera in

the classroom or studio to fully capture the movements of the students and coach. Once the

session is video recorded, the researcher conducts the SR interview.

OBrien (1993) suggested playing back the entire video recording, allowing the

participant to push the pause button whenever they wish to describe their thought process

during the coaching session. Due to time constraints, I selected video clips to show at the

postcoaching interviews. I defined selection criteria for the video clips ahead of time to

mitigate researcher bias: (a) include examples of CSQs coaching strategies and rehearsal

techniques and (b) exclude long portions of musical performance in order to focus on the

dialogue that occurred during the session.

For the coaches and students post-session interviews, I utilized a semistructured

format (Stillman, 2000). I encouraged participants to stop the video clips to make comments.

I asked questions of the coaches regarding their choices to introduce topics, strategies, or

techniques. I asked students open-ended questions about what they noticed while they tried

out different techniques and strategies, which techniques were most helpful, and what they

learned during the session. I refrained from asking leading questions that might influence

participants answers.
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I interviewed each student 1 to 3 days after their coaching session. I asked

semistructured questions to understand their career aims, and questions related to their

experiences and learning from playing in string quartets (Appendix E). I tailored the

interview questions to the status of the group; some questions applied only to established

quartets, other questions applied only to newly formed quartets. Next, I played the same

video clips that I used with the coaches, using the stimulated recall process to understand the

students perceptions and learning from the sessions. I digitally recorded (audio) each

interview and had the interviews transcribed by a professional transcriptionist.

Institutional Permission, Informed Consent Process, and Transcription Review

I mitigated ethical considerations by using an informed consent process. I obtained

signed permission letters (Appendix J) from the Dean of the Cleveland Institute of Music and

from the music department chair of Case Western University. They both agreed to allow me

access to both CIM and Case Western students, faculty and other University resources to

conduct my pilot study and the full dissertation study.

I conducted an informed consent process with the members of the Cavani Quartet and

chamber music department chair on my visit in April 2011, and also prior to phone

interviews that I conducted during the summer of 2011 (Appendix M). I conducted an

informed consent process with the student participants in small groups in a meeting room

prior to the coaching sessions on my first day at CIM in September 2011 (Appendix N).

I agreed not to show the video recordings of coaching sessions to anyone outside of

the students and coach involved in each session. The transcriptionist, who signed a

confidentiality agreement, was the only person other than me who listened to the audio

recordings. I assigned pseudonyms to the participants for inclusion in the transcripts. The
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exceptions to this protocol were the initial interviews with members of the CSQ and with Mr.

Salaff. Because the CSRTs were the intellectual property of CSQ, they gave permission for

me to use their names in reference to this material. However, I used pseudonyms for the

coaches in all of the coaching session transcripts.

I sent transcripts for review to each participant, requesting feedback within a 2-week

period for students and 3-week period for the coaches. I received only a few requests for

changes, which I made to the transcripts prior to analysis. I sent each of the CSQ members

and Mr. Salaff a draft of portions of Chapter 4 for their review and feedback because I used

their real names in the quotes and findings in Chapter 4. This process also served as a

member validation (Neuman, 2006, p. 404) to authenticate the findings. I received written

comments from three of the five coaches and had phone conversations with the remaining

two coaches. I tracked the change requests by line and page number and responded via e-

mail with the changes I agreed to make. The coaches all approved the use of their names and

quotes in Chapter 4.

Field Notes and Mindful Observation

The process of taking fields notes provides rich description of the coaching

environment and participant interactions (Warren & Karner, 2005). I recorded my

observations of the coaching sessions by taking field notes as soon as possible after each

coaching session (Warren & Karner, 2005). I took field notes of my general observations of

CIM, the learning environment, students, faculty, and administrators, as well as unplanned

events such as master classes, recitals, and social events that I attended during my visits to

CIM. I also took photos and snapshot videos on my cell phone during my site visits.
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I included my direct observations in the field, inferences based on my observations,

and personal reflections in one set of field notes. I distinguished between these three types of

notes during the note-taking process. On the first day of my visit to CIM in September 2011,

I attended the IQS orientation session as well as a Rehearsal Techniques Seminar that the

coaches presented to all of their chamber music students. I took field notes at these two

sessions. During the rest of the week, I observed and recorded the first coaching session of

the school year for each of the four student quartets. The video recordings were another way

in which I documented my observations. I added field notes of observations as annotations

to the video within the NVivo software during the analysis.

I was mindful of my relationships with participants in this study. I built and

maintained rapport and trust with participants and at the same time maintained an attitude of

strangeness to see the context with new eyes (Neuman, 2006, pp. 390-391). I established

credibility with members of the CSQ because of our shared legacy of study with the

Cleveland and Tokyo String Quartets. I was mindful of differences in the gender, culture,

and age of study participants. All of the students were from the same generation (ages 19 to

22) as my children. I took care to treat student participants as equal adults, keeping in mind

the perspectives I may have held when I was a conservatory student.

Lessons From the Pilot Study

I discovered a fifth chamber music coach during the pilot study, department chair

Peter Salaff, who also used CSQs coaching techniques and team-coached CIM students in

partnership with members of CSQ. I included an interview with him in the full study to

further inform my understanding of the CIM coaching environment and the legacy passed

down from Salaff to the members of CSQ.

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Based on trials with the technical equipment, I modified strategies for capturing video

and audio recordings, as well as backup processes. I also decided to delay taking field notes

until after each coaching session in order to allow me to focus on managing the equipment

and to better observe the sessions. I decided to conduct the postcoaching interviews the day

after each coaching session in order to allow enough time to review the video, select video

clips, and write down questions I wanted to ask in advance of the interviews.

In the pilot study, I interviewed the students as a group. I did not get answers from all

members of the quartet because one member dominated most of the interview. Therefore, I

decided to conduct individual interviews to obtain data from the students. During the pilot, I

tested an online survey intended for the larger student population. The survey included

questions about how student groups used specific rehearsal techniques. I decided to take the

survey out of the study as the other data collection methods already produced enough data for

a rich analysis. I incorporated many of the questions originally intended for the survey into

the individual student interviews for the full study (Appendix E).

Analysis Procedures

I used a combination of manual analysis and computer-assisted qualitative data

analysis software processes during the analysis phase. I followed Rehoricks (2011)

recommended transcription formatting and manual analysis process for all interviews. I

used the NVivo qualitative data analysis software to further analyze the transcribed texts.

Each method has advantages and disadvantages. On an individual transcript level, the

manual method allows deeper thought and space to make comments away from the

computer. However, NVivo provides capabilities to annotate and code the video as well as

find patterns in the combination of all data sources (Atherton & Elsmore, 2007; Kikooma,
 66

2010). I decided to use both the manual and NVivo methods in an iterative process to yield

a multi-perspectival analysis. In the following section, I describe my analysis process for

each of the three areas of findings: Coaching Strategies and Rehearsal Techniques, Case

Studies and Cross-Case analyses.

Analysis Process: The Coaching Strategies and Rehearsal Techniques (CSRTs)

I began my analysis process with the interviews I conducted with members of the

CSQ and Peter Salaff to understand the CSRTs. First, I listened to each interview while

correcting the transcripts that I received from the transcriptionist. I read each interview

transcript two to three times, highlighted words and phrases, and wrote summary ideas in the

margins.

Next, I conducted a manual categorization of the content within the transcripts. I cut

and pasted portions of the transcripts into an MS Word table with two columns. The first

column contained interview text and the second column contained my interpretation. Each

row represented major categories, and I pasted several participants' quotes in each row. I

created three tables from the five interviews: (a) Coach's role and coaching process; (b)

Origin, development and intention of CSRT document; and (c) Ensemble, rhythm, and

communication

Next, I added my interpretations into the second column of each table. Numerous

comments came from my margin notes and highlighted text from the first pass at the

transcripts. I created two new documents from the first column of the tables and formatted

them with headers so NVivo would auto code to the major categories as I imported each

document into the NVivo database. "Coaching Strategies - Analysis" contained the content
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of the first two tables and "Coaching Techniques Analysis contained the content of the

third table.

I printed the two documents and highlighted text again. Then I imported the

documents into NVivo and began coding with the software. I used the two highlighted

documents to double check that my coding covered all of the text. As I coded, I regrouped

the codes into different categories several times. I also read, highlighted, and made notes on

the postcoaching session transcripts of the coach interviews to capture additional CSRTs. I

imported these transcripts into NVivo and applied the codes that had been defined through

the analysis of the prior data.

I generated reports from NVivo of the major categories, themes, and subcodes, which

I based on the initial interview questions with the coaches related to their coaching process.

The coaching model emerged from the major themes. I refined the codes through an iterative

process and created tables for findings Chapter 4 (Table 1, Table 2, and Table 3) and

Appendix F (Tables F1, F2, and F3). These tables contain each of the rehearsal techniques,

defined and categorized according to my analysis. I extended the tables after the coaching

sessions and postcoaching interviews, as I became aware of additional techniques that were

not included in the original document in Appendix A.

Analysis Process: The Case Studies

Each case consisted of the unique coaching session video, a postcoaching interview

with the coach, and a postcoaching interview for each of the four students. For each case

study, I completed several analysis steps: I watched the video multiple times and stopped to

write notes using the transcript function in NVivo. Next, I printed out the transcript,

highlighted passages, and wrote codes in the transcript. Then, I manually analyzed and
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coded the text of students and coachs transcripts. Then, I inserted headers in each transcript

associated with each question of the interview guides. I imported the student transcripts in

NVivo, using the auto-code feature, which organized the text of the transcripts according to

the inserted headers (the coaches transcripts had already been auto-coded during the CSRT

analysis process).

Next, I exported and merged the auto-coded node contents for each combined case,

using the following codes, which I derived from the interview questions: (a) demographics,

(b) quartet formation, (c) group dynamics, (d) rehearsal process and techniques used, (e)

effective teamwork, (f) definition of empowered member, (g) student learning, (h) success of

session, (i) video clip recall comments, and (j) student feedback on coaches. I read each

merged document, manually highlighted themes, and wrote notes in the margins.

Finally, I created research memos in NVivo with the key findings in each major code

and linked to quotes in the transcripts. I exported and printed out the research memos, then

wrote out a detailed analysis for each case, including quotes from transcripts to illustrate

findings.

Analysis Process: Cross-Case Findings

I used an Excel spreadsheet to capture the results from the student interviews to report

demographics (included in Chapter 5), group dynamics (Appendix H, Table H1), group

rehearsal processes (Table H2) and techniques used in rehearsals (Table H3). Then I created

MS Word tables of the following student learning categories: (a) like about string quartet, (b)

challenging about quartet, (c) learned about collaboration, (d) musical development, (e)

application to life in general, and (f) feedback on coaches.

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I created an MS Word table to organize the information so I could view it side by side

for all four cases (Appendix G, Table G1). The following categories were based on the

questions contained in the interview protocol: coachs intentions for self as coach, coachs

intentions for group, coachs opinion of session, and students opinions of session. The

remaining categories consisted of my general observations within several categories: length

of session, initial play-through impressions, coachs style, coachs focus during session,

coachs comments during session, and references to legacy. I created a second table

(Appendix G, Table G2) with all of the techniques used in the coaching sessions because

some coaches introduced unique techniques. I populated this table with my observations and

the postcoaching interview data.

From the side-by-side comparisons, I created diagrams and wrote research memos to

illustrate my findings. I looked at the findings through a phenomenological lens, first by

examining the findings from the coaches perspectives, students viewpoints, and my own

experience. Next, I analyzed the data to understand the participants cognitive, physical and

emotional perspectives. Then I analyzed the structures of the lifeworld within the coaching

session as related to predecessor and successor relationships (Schutz & Luckmann, 1973).

Finally, I compared the evidence to my research questions and developed models to reflect

the findings.

Validity: Addressing the Issues

A goal of qualitative research is to gain understanding of subjective experiences and

perspectives rather than to discover an objective truth. Therefore, research validity is

assessed by understanding and addressing the ways a researchers conclusion might be

wrong, referred to as validity threats (Maxwell, 2005). Potential validity threats include
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construct validity, researcher bias, reactivity, ecological, analytical, and external validity

(Maxwell, 2005; Yin, 2009).

Construct validity addresses the challenges of defining an operational set of measures

to guide data collection. Yin (2009) admonished case study researchers to define the object

of study in terms of clearly defined concepts and then identify operational measures to match

these concepts. In addition, Yin argued that the researcher should use multiple sources of

evidence, establish a chain of evidence, [and] have key informants review the draft case

study report (p. 41). I provided operational definitions of key concepts such as team,

coaching, and effective teamwork based on the literature in Chapter 2. I designed the

interview protocols to capture data related to the criteria in each definition. Finally, I

established a chain of evidence that mapped each stage of the project, from the research

questions to data collection protocols, the database of evidence, and the case study findings

in order to ensure construct validity.

As a qualitative researcher with a social constructionist perspective, I am a part of the

context of the research study. I am the main research instrument used in this project, and

therefore my perceptions, context, history, and biases contributed to my interpretation of

meanings that I found in the data (Creswell, 2003; Maxwell, 2005, p. 79). I studied at a

conservatory and have ties to the legacy of teachers who influenced the development of

CSQs coaching CSRTs, such as the Cleveland and Tokyo Quartets.

Walking through the hallways of practice rooms during my pilot study brought back

memories and emotions. I found that several memories came to me as I observed the master

classes and coaching sessions. I included these memories in my field notes and identified

them as my memories. Therefore, I carefully documented my reflections related to my

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interpretations in the field notes and analysis. I asked myself questions such as the

following: Is this observation colored by my own experience as a chamber music student?

and Am I drawing this conclusion from the data, or is it coming from my historical

understanding? I also asked a peer reviewer (another student) to look at my analysis to

validate that I saw all of the data, including data that deviated from my conclusions.

Reactivity may occur if the presence of the researcher influences the ways in which

study participants behave or respond to interview questions. As stated earlier, one way to

ensure validity is to test if evidence and conclusions resonate or feel right to those who are

being studied (Neuman, 2006, p. 105). The CSQ members and chamber music department

chair have taught for decades and are often interviewed and video recorded. A couple of

CSQ members commented to me during the pilot that just having the conversation about their

CSRTs during my initial interview heightened their awareness during the subsequent master

class and coaching session. I checked in with them during the postcoaching interviews and

asked if my presence during the study influenced their use of certain techniques during

coaching sessions. The coaches said my presence did not influence their use of specific

techniques during the coaching sessions.

During the coaching sessions, I placed the video camera on a tripod at the back of the

room behind the students and I sat in the far back corner of the room. With a couple of

exceptions, the students said they forgot that the camera and researcher were present.

However, the process of video recording and interviews did cause a process of reflection

within each coach. For example, after my pilot study some of the coaches began to think

about improving their coaching process. All four members of the CSQ told me at different

times that they formalized their thinking about the techniques.

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Ecological validity is the degree to which the social world described by a researcher

matches the world of members (Neuman, 2006, p. 405). To ensure ecological validity, I

used thick description in my field notes and in my findings. Each participant had an

opportunity to review the transcript of her or his interview and provide feedback. I

incorporated changes as requested into a corrected version of the transcripts. I reviewed the

entire Chapter 4 analysis of CSRTs and coaching model from Chapter 5 with the coaches to

ensure that my interpretations were accurate. The responses were resoundingly positive with

only a few minor corrections to the model: I really like the organization of your writing.

What you wrote is very affirming and does make us seem like real people. I hear our voices

in your quotes. . . I love all of your Tables. I am considering printing them all out and using

them in coaching (Coach A).

To ensure analytical validity, I triangulated multiple sources of data to build themes.

I compared coaching sessions conducted by four different coaches with four different student

quartets. I compared the coaches post-session interviews as a set, the individual students as

a set, and the student quartets as a set. The CSQ initial interview data and field notes

provided additional sources of data to add to the analysis.

External Validity, Generalizability, and Transferability

External validity, often referred to as generalizability or transferability in qualitative

research, asks the question of whether a cases findings apply beyond the context of the case

(Yin, 2009). There are two drivers for generalization: application to practice and a search

for truth in the form of knowledge. Yin contended that critics confuse case studies with

survey research that uses sampling methods to generalize to a larger population. He stated,

This analogy to samples and universes is incorrect when dealing with case studies. Survey
 73

research relies on statistical generalization, whereas case studies (as with experiments) rely

on analytic generalization (p. 43). With analytic generalization, the researcher relates the

findings to a wider theory. Generalizing to a theory is different from generalizing to a

population (Firestone, 1993, p. 17). Analytic generalization can identify circumstances

under which a theory applies or the process can attempt to illustrate how a theory applies to a

variety of conditions.

In an important article on the five common misconceptions about case studies,

Flyvbjerg (2006) argued that context-dependent, practical knowledge is as important as

theoretical, context-independent knowledge. He further argued that the case study helps

beginning learners to become experts and helps us understand the subtleties of reality.

Finally, Flyvbjerg concluded as follows:

One can often generalize on the basis of a single case, and the case study may be
central to scientific development via generalization as supplement or alternative to
other methods. But formal generalization is overvalued as a source of scientific
development, whereas the force of example is underestimated (Flyvbjerg, 2006)

Stake (2006) warned that policy makers and practitioners expect case research to

provide generalizations to guide practice and policy making. Stake suggested that

researchers instead propose hypotheses for future research that can be used to stimulate

debate and deliberation of social policy (p. 89). Stake further warned researchers to

include generalizations only in a tentative way and allow the reader to take responsibility

for making their own generalizations in a process of naturalistic generalization.

In another view, generalization is not from a case to a population but rather a case to

another case (Ruddin, 2006, p. 806). In case law, the court interprets the law based on a

specific case and sets a precedent for future cases. A future court must then decide if the

precedent applies to the new case (Gomm, 2000). Case-to-case transfer is often used in
 74

social science for program evaluation. Multisite cases or a multiple case study partially

addresses the transferability challenge and the researcher identifies patterns across cases to

support the argument for transferability (Firestone, 1993). Lincoln and Guba (1985)

preferred the case-to-case strategy to analytic generalization. They contended that the reader

should assess the transferability of a case by identifying differences and similarities of

context to determine if a case is relevant to a new context.

Considering these different arguments regarding generalizability or transferability, I

chose to adopt Stakes stance that it is up to the reader to determine the relevance of my case

study findings to other contexts. However, following Lincoln and Gubas suggestion, I

provide a discussion in Chapter 7 of different contexts in which this study might apply to

help the reader assess case-to-case relevance. The process I used to analyze context included

an exercise in which I applied Burkes (1945) dramatism technique, the pentad. The pentad

includes identification of the act, scene, agent, agency (how the agents act) and purpose

(motives of the agents). Once I identified the elements of the pentad that occurred during my

research process, I considered the contextual aspects. Next, I identified a series of contexts,

starting with the most similar and moving to more distant contexts. Finally, I explored my

findings relative to these contexts to enhance the discussion in Chapter 7.

In the proceeding chapter, I explained my rationale for choosing a qualitative

interpretive inquiry methodology and case study approach. I described my participant

selection process, data collection strategies and analysis procedures. In the next three

chapters, I present my findings: Chapter 4 includes the findings from the first set of

interviews with the coaches; Chapter 5 contains four case studies, which include observations
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of the coaching sessions and the postcoaching session interview findings; Chapter 6 includes

the findings from the cross-case analysis.

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CHAPTER FOUR: CHAMBER MUSIC COACHING PROCESS

In this chapter, I expand the content of the Coaching Strategies and Rehearsal

Techniques (CSRT) document provided by Fullard (Appendix A), based on interviews with

members of the Cavani String Quartet (Annie Fullard, first violin; Mari Sato, second violin,

Kirsten Docter, viola; Merry Peckham, cello) and an interview with the chair of CIMs

chamber music department and former member of the Cleveland String Quartet, Peter Salaff

(who also coaches). I conducted these interviews (with the exception of Peter Salaff) prior to

collecting the coaching session and postcoaching interview data.

First, I describe the context of the chamber music program at CIM and the origin of

the CSRTs. Next, I summarize the coaching role, goals, and process as described by the

coaches in the interviews. Finally, I present descriptions of the major rehearsal techniques,

organized in table format, by stage in a groups development, and also by the main purpose

of each technique. Because the CSRTs are the intellectual property of the Cavani Quartet, I

use their real names in this chapter to attribute their quotes.

Coaching Context at Cleveland Institute of Music

The coaches described the atmosphere at CIM as nurturing, positive, and supportive.

The small size of the school (450 students versus 700 1,000 for other U.S. conservatories1)

enables an intimate and less competitive environment. In addition, faculty members establish

a safe, collaborative environment. The coaches all expressed great respect and admiration

for each other. Because CSQ members studied with Mr. Salaff at the Eastman School of

Music, they viewed their partnership with him at CIM as a great gift. He also valued the

partnership with the CSQ:

1
Enrollment numbers found on the following websites: www.juilliard.edu,
www.bostonconservatory.edu/profile-college, www.necmusic.edu/fast-facts , www.wikipedia.com,
www.cim.edu (accessed on 11/12/2011)
 77

Of course I loved playing in the Cleveland Quartet for all the years I was in it, the
whole time. And Im very thrilled now also to be working together with the Cavanis
. . . we have mutual great respect for one another. And it is a real joy for me to work
with them. (Peter)

One of the major themes of the findings in Chapter 6 is passing on a legacy. All five

coaches attributed certain coaching techniques to their teachers and coaches. The tables of

techniques in this chapter include indicators of legacy techniques.

All five coaches characterized CIM as a unique environment in that many faculty

members share students. In a typical conservatory setting, most instrumental teachers are

reluctant to share their cadre of students with other teachers. This was not the case at CIM.

For example, a violin student may have two violin teachers. CSQ members and Mr. Salaff

intentionally team coached their student ensembles. They usually coached a group on the

same repertoire on alternate weeks.

Intensive Quartet Seminar (IQS)

There were over 30 student string quartets enrolled in the general chamber music

program. In addition, CIM held an annual Intensive Quartet Seminar (IQS). Six student

quartets were hand-picked by members of the CSQ and Mr. Salaff to join this program.

Quartets were selected to join the IQS for one semester; the coaches may or may not invite

the groups back for a second semester. My study included observation of coaching sessions

and interviews with four of the six IQS student quartets that were nominated by the coaches.

The study did not include all six IQS student groups due to time limitations.

Some of the quartets were originally put together by the coaches, others self-selected

their members. Two of the quartets in my study were organized during their freshman year

by the coaches. One newly formed quartet self-selected their members, and the coaches

assembled the fourth group. Each semester, the coaches choose special repertoire that ties
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the learning process together for all six student quartets. In the spring of 2011, IQS students

learned the six Bartok string quartets. During my visit in the fall of 2011, IQS students

embarked on a journey of studying six of Shostakovichs 2 fifteen string quartets.

In addition to studying and performing the repertoire, students learned to speak from

the stage about the music they are about to perform. CSQ considers it essential that students

acquire public speaking skills in order to educate audiences and connect with people in

unconventional performance settings such as art galleries or public schools. Musicians

typically walk onto a stage and play their instruments. The phenomenon of speaking to the

audience from the stage or in an unconventional setting has become a popular way to educate

audiences; a Google search to find preconcert talks yielded 25 million results. The coaches

also required IQS groups to perform outreach concerts in the community. The emphasis on

outreach is another hallmark of CSQs commitment to expand exposure of chamber music to

diverse audiences.

IQS groups performed in a biweekly master class conducted by the Cavani Quartet

and Mr. Salaff. After each group performed during my spring 2011 visit, I observed all five

coaches climb the stairs onto the stage and position themselves around the students. The

coaches each provided feedback, sometimes trading comments back and forth. CSQ

members noted that their teachers inspired them to take this approach to master classes.

According to Merry, We saw the Tokyo Quartet and they gave all their master classes

together and it was just so powerful to have all four voices there making comments.

The coaches inspired each other through this process: Im amazed at what my

colleagues say . . . and get so inspired by that . . . I really think that it can be a really

2
Shostakovich (1906 1975) was a celebrated Russian composer who wrote 15 symphonies, 6 concerti, 15
string quartets, three operas and numerous film scores. His works reflect themes of Russian life and the
struggles of living within the Soviet regime.
 79

interesting way to learn from one another, watching one another teach (Merry). When I

work with the Cavanis theres a sharing feeling that we have in all the classes [that] were

working off each other. Were learning from one another. And it's a really beautiful thing

(Peter). Peter clarified that though the coaches may communicate different ideas, they

supported each others views and made an effort to provide a cohesive set of ideas to

students.

Origin of the Coaching Strategies and Rehearsal Techniques (CSRTs)

Fullard developed the initial CSRT document (Appendix A) in prior years, when a

couple of chamber music students asked her if they could study the pedagogy of chamber

music coaching. Conservatories require students to study the pedagogy of their individual

instruments as a normal part of their studies. However, it is unusual for students to study

how to coach chamber music. Therefore, Fullard started to write down ideas and specific

techniques CSQ used when they coached their students. Only one or two students per year

take chamber music pedagogy as an independent study course.

Many of the techniques were passed down from CSQs teachers. Members of CSQ

gave some of the techniques catchy names, such as Shakespearean Counting, and Live,

Breathe, and Die. The original document (Appendix A) is written for students learning how

to coach chamber music groups, rather than for the general chamber music student. It

contains advice on how to engage students, how to pace a coaching session, and how to

create a positive learning environment. The coaches told me they used the CSRTs in their

coaching sessions on a regular basis, though they did not explicitly use the CSRT document

in Appendix A.
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I used the CSRT document as a basis for my initial interview questions with the

coaches. The content of this chapter is a reflection of my analysis of themes from these

interviews. I include a full description of each strategy and technique in the tables in this

chapter. Additional information about the techniques is contained in Appendix F. The

descriptions include enhancements and additions to the definitions from the original CSRT

document based on interviews with the coaches and field notes from observations. In the

next few sections, I use data from the initial interviews to clarify the role of the coach, the

goals of the coaches and the processes most often used by this group of coaches.

I visited CIM in the fall of 2011 to gather my final data for this project. My visit

coincided with the first week of chamber music classes and coaching sessions. CSQ decided

to present an introductory Rehearsal Techniques Seminar for the first time to all of their

chamber music students. They, along with Mr. Salaff, presented the 1-hr seminar in the

schools recital hall. The seminar included demonstrations of techniques by CSQ, along with

a Powerpoint presentation and discussion among members of CSQ and Mr. Salaff. The

coaches covered how to rehearse and emphasized the importance of respectful conversation

during rehearsals. The content of the seminar constituted a subset of the content from the

original CSRT document, plus ideas that came out of the interviews between me and CSQ

members from April through September 2011.

The CSQ members told me after the seminar that my research project inspired them

to formalize their work further. The coaches entered into a reflexive process after our initial

interviews during my pilot study. Their engagement in a reflexive process is evidence of my

research projects influence, similar to changes that result from a Participatory Action

Research project.
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Knowing that you were going to be there and knowing that we were going to be
basically exposing these techniques to all the new students for the very first time . . .
we [prepared] it as if we knew that we were going to try to do that on a regular basis
for all the new students, every year at the first semester . . . we would have to come
up with something that could be repeatable . . . we had to decide what our main
objectives were for each technique and do it in a concise manner and in a way that
could be . . . repeatable for our groups in their own rehearsals. And so that was a
really wonderful outcome for us. (Mari)

This whole process with you is just like going through an attic of stuff that we use,
and really starting to formulate and think of it . . . This is a gift. (Annie)

Role of the Coach

Members of CSQ described their role as facilitators for the interpretive process

(Mari), or a counselor: If youre coaching or working with a group that is very highly

developed and very experienced . . . its a very different role, maybe of a counselor (Merry).

For less experienced players, the coach is both a teacher and guide (Merry). The chamber

music coach is similar to a sports coach, who works to unify the group as a team, to inspire

them (Kirsten). Kirsten also commented that as coaches they tend to use metaphor more

often than they do as instrumental teachers.

A primary goal of the coach is to enable and inspire students to express the music.

The coach does not typically work on specific instrumental technique; that is accomplished

via private lessons with students primary instrument instructors. The coach guides students

to develop an interpretation of the music, learn how to rehearse, communicate with each

other, and to play together as an ensemble. The coach asks questions to help students think

for themselves and express ideas, such as, What do you feel about this piece? What do you

know about the piece? What are your ideas, how can you communicate this in the most

successful way? (Peter). Other questions are aimed at helping students work more

effectively together: How are you communicating it to each other? . . . Are you aware of

what's happening right next to you or across from you both visually and sonically? (Annie).
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All of the coaches described the coaching relationship as a partnership with students,

where the students voice their ideas and interpretations and coaches provide their ideas,

interpretations, and techniques for students to consider. Coaches spoke often of their desire

to pass on the legacy of ideas they received from their teachers and colleagues. [I] try to

pass on things that Ive picked up through the years that I found helpful to myself. (Peter).

Coaching Goals

The coaches articulated a number of goals for their coaching process with students.

Annie summarized her goals in the original CSRT document (Appendix A):

I try to encourage the group to begin thinking about the creative process and their
responsibility as artists and interpreters to delve deeply into all musical and technical
aspects of chamber music playing. I encourage ensembles to move towards a large
communicative goal: interpret the score, create music with each other and share their
views with the audience. I encourage the idea of supporting each other through the
music, and to view chamber music playing as a microcosm of human relationships. I
also joke around and tell a lot of idiotic stories, and encourage the group to do the
same. (Annie)

In the interviews, the coaches elaborated on these goals and described some additional goals.

I grouped the goals into four categories: (a) interpretation, (b) group function, (c) ensemble,

and (d) meaning.

Interpretation.

A major goal of the coaching process is to help students embrace the interpretive

process . . . as artists (Annie). One part of the interpretive process is to simply help them

put a piece together, by studying the score, then listening so they hear the score when they

play (Annie). The coaches all emphasized the importance of helping students to discover

their own interpretation, to give them some interpretative ideas which are a springboard . . .

to start making their own decisions (Annie). Peter expressed that basically I like to work
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with the ideas that the students have. And help them to find a way to bring them off in the

most positive, communicative way to their audience and to one another.

This process is more than an intellectual exercise. The coaches encourage the

realization of the composers intention as well as the emotional expression of the music:

Having them really have this intuitive, visceral reaction to the music. . . . Does it
move them while theyre playing? And then how does it move them, starting to find
the rhetoric to describe that and then the techniques to communicate that to each other
and then to the listener. (Annie)

Another important goal of the interpretative process is to develop a deep, empathetic

relationship with the composer.

One person that I would want to include in that relationship . . . is that relationship
with the composer. . . because really at the bottom of it, yes, we have . . . certain
things that we want to see through the music, but we also want to search for what the
musical meaning is of the composer. And that, for me, might be the top thing. (Mari)

Students need to understand what came out of the composers mind and heart as a

whole and ask questions such as, What do we know about the composer at this time in their

life? What would cause them to write something like this? (Annie). Again, the relationship

goes beyond a cognitive understanding of the life and ethos of the composer. The coaches

wanted students to empathize with the composer, by asking them to be the composer, to

look at the score as if they wrote it (Annie). The goal is to combine the intellectual effort of

score study with their pure intuitive listening. Even from such basic qualities, is it minor or

major? And if it's minor how does that make you feel? How is the listener supposed to feel?

. . . And how are you going to get it across? (Annie).

Developing the emotional and rhythmic character of the music is another major theme

in my analysis of CSRTs. During a 1-hr seminar on rehearsal techniques that CSQ and Mr.

Salaff gave during my visit to CIM, Mr. Salaff emphasized that students must determine the
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character of the music before they can decide how they will approach bowings, vibrato, and

dynamics. Kirsten commented to me later that week:

And the next day we came into rehearsal. . . and Annie said, Something Peter
mentioned really struck me in the end, this process begins and ends with exploring
the characters in the music and personality or motivation of the composer . . . the
bottom line is to examine the character. (Kirsten)

Group function.

A primary goal of the coaches is to help students function as a group or team.

Developing a group identity is the first step. CSQ asks their students to name their group,

especially those in the IQS.

This has been a Cavani tradition with our groups . . . they get to think up a name. It's
a fun process. It gives them a group identity. Suddenly they're a team. Suddenly
they exist, as this [entity], the dynamic is different, that way. And it feels
professional. (Annie)

Learning how to communicate is another important goal. Coaches facilitate the

process of communication. It is important to articulate ones own ideas in a respectful

manner and be able to compromise; to try everyones ideas. The coaches remarked that there

is a balance between speaking ones mind and remaining silent.

You have four people that are not you and theyre learning how to communicate with
one another . . . really to find ways to talk to each other, how to use the tools that we
give them to communicate and figure out what they want to say. (Mari)

. . . an ability to be aware. . . to know when youre going too far and to know if a
comments going too far or too personal, to be able to sense when you need to back
off a little bit, in fact to know when you shouldnt say anything. (Merry)

Another aspect of group function is nonverbal communication. CSQ members are

big proponents of using the body, eyes, and breath to communicate with each other during

performances.

I think something the Cavani Quartet really believes strongly in, is it's all
communication. That communication is nonverbal, but there's also a lot with eye
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contact. . . . I think for us, it's a lot more about having a lot of, like, every kind of
communication. (Kirsten)

Our style is very conversational. . . . We use eye contact in a way we would want to
talk with a person. . . . But we do use a lot of visual cues, just to communicate and let
a person know that we're listening or that we're really trying to match. (Mari)

A theme that turns up repeatedly in the coaches discussion of the techniques and in

the coaching session interviews is inspiration. Students should inspire each other and their

audience. Coaches hope to inspire their students to accomplish this goal. Peter described his

role as second violinist of the Cleveland Quartet in an example of support and inspiration for

students to follow:

Supporting and inspiring . . . And, adding atmosphere and spark and energy. So
much comes from inside and it is the way one plays off the other [claps hands] thats
so important to set up that excitement, and sparks flying. (Peter)

Ensemble.

A foundational axiom of the CSQ is that all four members of a quartet must be

proactive at all times. Therefore, they eschew the terms leader and follower because follower

implies passivity. Their goal as coaches is to guide students to see themselves as initiators

working simultaneously together to express the music. One of the coaches also used the term

inspirer to encourage students express a more proactive approach.

In Cavani-land . . . we never said that somebody was going to lead and the others
were going to follow, because we thought that following implied too much passivity
and that we didnt want people to ever feel passive while they were playing chamber
music. So the main initiator was to replace the word leader . . . but I wanted to make
it even more proactive, I guess, for my students. So instead of just saying initiator I
wanted them to become inspirers. (Merry)

Along with serving as initiators and inspirers, the coaches wanted their students to

engage in musical conversations while performing the music. The coaches noted that

chamber musicians are like actors in a play. They each have lines and cues that need to flow

as if they were in a normal conversation.

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I think what's so exciting about what we do is that it's not always, you know, one
person playing a melody, one person playing the bass line, one doing something
harmonic or rhythmic. Those roles are constantly shifting. And in some pieces more
than others . . . it's like a conversation. Different people are taking turns. And to
know when it's your turn is really important. (Mari)

Another major objective is to instill a kinetic awareness within students of the

rhythmic pulse and connection. Many of the rehearsal techniques focus on this aspect of the

ensemble. It is critically important that students pay attention to how they are listening and

how they are physically leading, how they are conveying rhythmic energy, how they are

responding to the conveyance and rhythmic energy from their colleagues (Merry). This

awareness supports students to communicate their musical interpretation to audiences as a

unified ensemble.

Whereas attentiveness to rhythmic pulse and connection is primarily a somatic

awareness, deep listening adds the aural dimension to ensemble communication. Chamber

musicians are required to listen to themselves and others simultaneously while adjusting their

playing to fit the musical moment. For example, the coaches used a technique called Live,

Breathe, and Die to enable deep listening (see Table 3 for description). In this technique,

each member takes a turn initiating a musical passage from a musical, rhythmic, and dynamic

perspective, while the other quartet members mirror what they observe. The group members

seek to imitate every physical gesture and musical nuance of the initiator:

And I've never seen a group that didn't feel like, Wow, that really changed the way
I'm listening. Then when you do this in a performance, you've got this kind of
listening going on, this give and take, this absolute spontaneity, which is the ultimate
goal. (Annie)

Meaning.

Finally, the coaches wished to impart their love of music during coaching sessions.

They spoke of creating rewarding and meaningful experiences with students. I just want
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them to have a good time delving in even deeper with the music (Mari). The coaches also

spoke of letting magic happen during coaching sessions:

I would like for . . . the experience to be that they will have . . . one of the most
rewarding experiences, realizing whatever chamber music theyre studying in a
meaningful and positive way. . . so its realizing the magic thats in the score and in a
meaningful way trying to relate that to their colleagues and their part. (Merry)

Coaching Process

Several important aspects of the coaching process emerged from the interviews. I

discuss how the coaches determined the best approach to pace sessions, how they used

dialogue during coaching sessions, and how they adapted their style to the needs of students.

The coaches created a mental plan for each coaching session with the proviso that

they would adapt the plan during the session. The coaches talked with student groups at the

beginning of each semester to understand the groups goals. Some groups wanted to enter

competitions or audition for workshops and summer programs. Other groups just wanted to

learn and perform a piece by the end of the semester. Once the coach discussed goals with

students, they could pace coaching sessions to help students achieve their goals.

The coaches all stressed that their coaching approach and process really depended on

the setting and level of the group. With regard to settings, a group may have only been

together for a week or two in a summer program, or it may have been a conservatory group

that was going to work together for at least one semester. Group levels varied depending on

a combination of factors such as instrumental playing capabilities, maturity levels, chamber

music experience levels, and the amount of time a group has been together:

So when I pace the coaching it depends on where the group is, like if its pretty rough
around the edges and everybodys playing loud and not always very well together, I
may try to get them to start listening differently and approach the style of the playing
differently. And, sometimes for me its the second or third coaching where Ill just
really try to push them through the whole linear movement, get through a whole
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movement, more linear coaching. But at first I may . . . give them some more tools so
that it will enhance the rehearsal process, see what they do with that. (Merry)

Coaches talked about balancing goals with responding to the immediate needs of

groups during coaching sessions. They sought to be aware of the dynamic underneath

whats going on (Annie). Coaches also took into consideration the students learning style

to determine whether to work on details within a small section or to move through large

sections.

For instance, Don [Weilerstein] is someone who takes one spot and you could work
on that spot, maybe a measure, in great detail for two hours. This becomes an almost
Zen-like state of coaching, repeating a mantra of musical, technical and rhythmical
approaches until the light-bulb goes on. . . . Sometimes if I feel we are stuck, I try a
different approach . . . very fast paced and highly energized, I verbally encourage the
ensemble all the way through the entire movement with a lot of physical gesturing
and even interpretive dance thrown in for good measure. (Annie)

Several coaches highlighted the importance of including everyone in the

conversation. I think that all of us . . . depending on the time and whatever, to try and

encourage them to talk about what worked for them, you know, personally and within the

group (Kirsten). The coaches expressed concern about students tendency to focus on what

went wrong in a performance. Therefore, coaches guided the conversation to start with a

positive comment:

But then when theyre done I ask them how they felt that they fulfilled that and was
there any other wonderful happy accidents that went really well and then to evaluate a
couple of things, because its so easy to just get very picky with yourself and just tear
everything apart. So I dont often in coaching ask them to evaluate too much, unless I
really go around and make sure that everybody has the same amount of time to do
that. (Merry)

At the same time, coaches did not want to single anyone out when they wanted to

make corrections or improvements. Several of the rehearsal techniques were designed to put

everyone on an equal playing field. The coaches repeatedly described various techniques as

great equalizers. For example, with Chamber Music Aerobics, in which musicians play the
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music while moving their bodies together from right to left or up and down in the pulse of the

music: It's an equalizer. Everybody has to do the same thing at the same time, you know.

So nobody's doing more than the other person. It's a democratic process (Annie).

Coaches also spoke about the judicious use of a directive versus inquiry approach

during the coaching session. Inquiry stimulates students to think for themselves and express

their ideas. However, coaches used a more directive approach when students were stuck or

had not yet learned to think for themselves, or when they needed more structure:

It just depends. You start from the place where the students are in their comfort zone
and response level, and it may mean that you help them through the process by being
dogmatic and practical, and even pushing them to analyze their own playing. And
gradually, when they feel safe enough, they start to think for themselves. . . . And
then some people come in with an attitude that they know everything already and you
have to allow them to offer their thoughts and opinions freely and then offer guidance
for a more comprehensive and deeper look into the process . . . And I try to be
empathic about troubles or issues theyre having outside the ensemble, there may be
personal issues, negative or positive . . . so knowing a little bit about the context. . . I
mean the objective is to bring out the best. (Annie)

Finally, one of the coaches said she wrote notes during coaching sessions or

performances and gives the notes to her students so they have a reference to the feedback

when they rehearse on their own. Two of the other coaches admired this practice and noted

that they found it helpful when they tried to adopt it.

The Coaching Strategies and Rehearsal Techniques

The next three sections describe rehearsal techniques in each of three categories: (a)

interpretation and expression, (b) ensemble and sound, and (c) group dynamics. I grouped

the rehearsal techniques into these categories, based on interview responses, to reflect the

main reason why a coach would use a particular technique. Each category is represented in a

table that lists the associated rehearsal techniques with a detailed description and the main

purpose of each technique. I organized rehearsal techniques within the tables in three
 90

additional groups based on my question, When would you first introduce this technique?

The stages noted in Column 2 of each table are: (a) beginners or new ensembles (early), (b)

ensembles with some experience playing together (middle), and (c) advanced and long-term

ensembles (late). Column 3 contains an indicator (X) for those legacy techniques that the

Cavani Quartet members learned from their teachers.

Each technique also includes a superscript (1, 2, 3, 4) notation that indicates the source

of the description:

1.
Included in original CSRT document provided by Fullard (Appendix A)
2.
Identified or expanded upon during interviews
3.
Included in the Rehearsal Techniques Seminar presented on September 12,

2011
4.
Observed during coaching sessions

I include additional details in Appendix F. For brevity, I highlight only the key

rehearsal techniques in my discussion. The cases in Chapter 5 contain specific examples of

how different coaches used these techniques in their coaching sessions.

Interpretation and Expression

CSQ used specific rehearsal techniques for interpretation and expression of the music

(Table 1 and Appendix F, Table F1). As mentioned in the coaching goals section,

interpretation is a primary goal of the coach.

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Table 1
Interpretation and Expression

Leg-
Rehearsal technique Stage Description Purpose
acy
Interpretation
Score study1, 2, 3 Early to Number the measures in each Understand the form,
Form and structure middle part, listen to recordings and structure, harmony and
Dynamics videos, attend live dynamics of the music.
Harmonies performances.
Gain clarity on who has
Merry's score study process
Same rhythm Find melodies, motives , small the melody, who is
subdivisions, identify how playing together, and who
buddies
motives are passed around. initiates cues.
Circle all silence
Write in cues Understand form, structure, Ensure rhythmic
architecture of piece, identify coordination.
exposition, development, Express the contours of
recapitulation, cadences, the music and pace a
grand pauses. performance.
Merrys score study:
o Same rhythm buddies
(mark places where you
have the same rhythm as
another voice).
o Circle all silence (mark
places where all voices
have a rest together).
o Write in cues (write the
rhythm or subdivisions
of another part into your
part).
Identify harmonic changes
and describe character for
these.
See dynamics as the
composers emotional
palette. Discuss crescendos,
decrescendos, dynamic
contrast how to create
musical tension and
release. Write in dynamic
scheme, a dynamic for every
measure.
Identify dynamics as character
or as an emotion, think
vocally, look at context.
Forte is an attitude Forte
means strong, proud, noble,
not necessarily just loud.
Piano = singing, mezzo piano

Rehearsal technique
Character1, 2, 3, 4 Early
Write a story
Adjectives and focus words
Emotions
Is it singing or dancing?
Tempo
Organize bowings1 Early
Score study2, 3, 4 Middle
Historical context
Art and literature
Composer's lifeworld
Expression
Conduct together1 Early
92
Leg-
Stage Description Purpose
acy
= aware, mezzo forte =
confident, forte = proud,
fortissimo = everythang you
got.
Understand how tessitura,
meaning the instrumental
ranges or registers, used by
the composer.
X Discuss characters, moods, Interpret the mood,
emotions, meaning. Use emotion and rhythmic
Merrys emotions chart or list personality of the music.
of adjectives from Karen
Tuttle.
Write a story about what the
music is expressing.
Write in adjectives that invoke
character or emotion.
Is music singing or dancing?
Discuss tempo in regard to
above, if not already tried and
provided, find metronome
marking that works for context
and individual practice.
Organize bowings only after the Specify bowings that best
group decides on the characters, express the character and
dynamics and tempo of the piece. emotion of the music.
Try different ways. Match bow
speed and pressure.
Read a biography of the Understand the
composer. What was going composers life and
on in his or her life at the time intention for a particular
they wrote the piece? piece of music. Place the
What historical events music into a historical
occurred immediately before and artistic context.
and during the time the music
was written?
What were artists creating
during this period? Does the
art reflect what is going on in
the music?
Read literature of the time
period and watch films or
videos of plays written in that
era.
Without instruments, all four Character
members conduct and mirror Tempo
each other through passage. Rhythm
Can also take turns being the Initiate rhythmic
 93

Leg-
Rehearsal technique Stage Description Purpose
acy
main inspirer and others follow, character and
similar to Live, Breathe, and interpretation
Die. Helps to teach cueing.
1, 2
Play to the center Early X Everyone sends their energy to the Group team focus
center of the quartet. The group Inspiration
can put a mascot, such as a stuffed Sending and receiving
animal in the center, or imagine a energy
magical sphere of energy in the
Reach beyond the notes
center.
on the page and music
Quartet members imagine that they stands.
are sending the energy toward the
Choreograph dynamics
center and spinning it out toward
and special musical
each other and the audience.
moments.
Variation:
Feel vibrations of the
Take away music stands and sit music.
close together to feel the vibrations
of the sound. Pay attention to
harmonies.

Words or syllables1. 2 Early Find words and or syllables that go Character

to the music. They can be Communicate musical
nonsense words or can be chosen ideas
to fit the style of the music (see Pulse and rhythmic
sing parts). connection
Cueing
Rhythmic precision
Images4 Early Draw a picture or visualize an Interpret the mood,
image in the mind that evokes the emotion, and character of
mood, emotion or feeling of the the music.
music.
Sound quality and blend
Consider the image of mixing a vat
of colors to create a unified sound.
Alternatively, consider each part is
a different colored thread in a
tapestry and each thread must be
heard.

Character vibrato1 Middle Match vibrato, discuss velocity Express the character and
and amplitude. Specify speed and emotion of the music.
amplitude of vibrato that best
express the music.
Match bow speeds1 Middle Match bow speed. Sound production and
quality
Create a unified ensemble
sound.
Character

Sing parts2, 4 Middle X Sing parts to understand the Structure and phrasing
 94

Leg-
Rehearsal technique Stage Description Purpose
acy
phrasing. Blend - balance
Sound blend and quality
Add words in the style of the
Free the sound
composers era, or the style of the
Musical conversation
music that the composer is known
for. For example, for Mozart, it
can sound like an opera. If its
Schubert, it can sound like lieder.
Play standing up1, 2 Middle Play standing up (except the Free the sound
cellist) in quartet formation. Lead Free the body whole
from the back and legs. body resonance
Kinesthetic - sensory
Variation:
Awareness
March in time to the music while
Energize
playing
Inspire

Two major strategies for interpretation are score study and character development.

The coaches expected students to study the score prior to their first coaching session. Score

study helped students to understand the form, structure, and dynamics of the music. They

gained clarity on who is playing the melody, who sustained the rhythmic impulse and how to

express the contour of the music during performance. When students came unprepared to a

coaching session, Annie said,

It's like trying to learn a play, learning only your lines and showing up and not having
any idea who says something before or after you, or even with you. Or not having
any idea where youre supposed to be and what the scene is. Or what the general
character might be. (Annie)

CSQ members provided specific techniques to help students study the score. Early in

a quartets development, the coaches ensured that students understood structural terms such

as development and recapitulation and why these are important parts of the composition:

It affects the pacing of the performance that you hope the group will arrive at by the
time the concert arrives. Like, the development is a time where the composer is
doing really exciting things with small units and building and . . . the most exciting
part in a first movement is right before the recap. That's a culmination. How can we
pace ourselves together so that it is exciting and then when the return happens we all
are feeling that sense of coming home . . . it is a good gateway into talking about
 95

what the mood is and how we can express it through our instruments under that
bigger structure of these technical things about the architecture. (Mari)

Merry used a score study system with her students, which she presented to all CIM

chamber music students at the Rehearsal Techniques Seminar at the beginning of the

semester. The three elements of the system are same rhythm buddies (find every place in the

score where you have the same rhythm as another voice and mark it in your part), circle all

silence (circle all the places in the score and your part where no one is playing), and write in

the cues (write the rhythm of the melody or subdivisions that someone else is playing into

your part). This system assists the student to listen more carefully to their colleagues and

results in cohesive rhythmic coordination during performance.

The coaches also provided techniques for understanding and expressing the dynamics

written in the musical score. The dynamics are an expression of emotional character of the

music and create musical tension and release (Annie). Coaches had students put dynamic

markings in each bar of music to pace a crescendo or decrescendo so the tension was

sustained until the composers indication that it was time to release the tension. CSQ

members often said, Forte is an attitude. Merry created a dynamics sheet that assigns

descriptions of attitudes or moods to different dynamic markings:

Every pianissimo is spectacular; there are three types of pianissimo: theres a

distant and an intimate and a suppressed energy and then I put like, piano =
singing, mezzo piano = aware, mezzo forte = confident, forte = proud, fortissimo =
everythang you got. (Merry)

For more advanced groups, the coaches encouraged students to read about the

composers life, to understand the historical era when the composition was written, and to

explore the art and literature of the time. For example, coaches suggested that students read a

Chekov play or watch a Russian movie made during the time that Shostakovich wrote his

quartets.
 96

Character development is the second major strategy for coaching chamber music. As

discussed in the coaching goals section of this chapter, many interpretive decisions could not

be made until the group had a clear definition of the musics character. Musicians use the

term character to represent the mood, emotion, and rhythmic personality of the music. The

coaches developed a number of techniques to help students interpret the character of a piece

of music. An elementary question coaches asked about character was, Is it singing or

dancing? (Annie). Students, even young ones, were asked to tell a story about the music.

Coaches then helped them to relate the story to the composers intention for the music:

It depends on the age group, sometimes you come out with complete nonsense and a
lot of stabbing and tornadoes and, I dont really care as long as theyre thinking about
it. And they feel that they have the freedom to come up with something and then I
push them to really think well, You really think the composer was thinking about a
stabbing and a tornado? Probably not. What do you think the composer was thinking
about? (Annie)

Expressing emotion is one of the primary motivations behind performing music;

therefore coaches talked a lot about emotions with students. Kirsten mentioned a list of

emotions that her teacher, Karen Tuttle, passed on to her and that CSQ used with their

students. Merry developed a handout for her students with six major emotions (happy, sad,

angry, scared, tender, excited) and associated adjectives for her students to use.

Another technique that CSQ used during their own rehearsals and they asked their

students to adopt was to write two focus words into their parts at the beginning of each

movement. One word represents an emotion or character, such as dancing. The second word

may be a technique such as Playing to the Center. Students were guided to think of these

two words as they walked onstage to perform.

An early technique that aided students in expressing their interpretation was Conduct

Together. Without instruments, all four members conducted and mirrored each other through
 97

the passage. They could also take turns being the main inspirer, and others would follow,

similar to Live, Breathe, and Die. This exercise forced students to clarify their interpretation

and learn how to initiate the rhythmic pulse of the music.

A major technique to support expression was Playing to the Center. According to

Annie, This was a big Cleveland Quartet idea, and also with the Juilliard Quartet, comes this

concept of really connecting across the quartet. Really playing to the center, all the time. . . .

it's like everyone is giving everybody else a big hug. When CSQ members played, they

envisioned a magical orb or sphere of energy in the center of the quartet. They passed this

metaphor of working with a sphere of energy on to their students in coaching sessions.

Alternatively, the coach encouraged younger students to place a mascot, such as a stuffed

animal in the center of the group, or the coach sat in the middle to help students focus on a

tangible point in the center.

And that we were to try to send our energies to that sphere and it was constantly
moving and shining, this sphere. And as we sent our energies to it, it would sort of
spin our energy and our sound together out. So that kind of made it like, we wanted
to send the energy in a special way across to each other. (Merry)

This concept of playing to the center could be used to increase nonverbal

communication and listening between quartet members. Because everyone simultaneously

placed their focus on an image in the center of the group, it was a group effort. No one

person was singled out. Playing to the center could also be used to express the character or

dynamics of a passage by choreographing movement toward or away from the center:

[For] different dynamics you might want to lead towards the center in a different sort
of way. So for example if Im having difficulty with groups feeling like they can play
softer dynamics together, I may ask them to physically lean in towards the center to
confine their bows together in a sense, and then as they have a crescendo to try to
expand and sit up more or open up their sternums and proudly send their sound out as
they get louder and louder. (Merry)
 98

The coaches all spoke of this technique in terms of sending and receiving energy.

Peter sometimes had students remove their music stands, sit very close together, and play

from memory so they could focus on feeling the energy vibrations of the music. He

emphasized that feeling the vibrations enables musicians to express and amplify harmonies.

Feeling the vibrations going into one another. That really is very powerful to really
feel the dissonances. . . . I think to put the music aside and just play by memory, so
they can really hear and feel those vibrations going through them. To feel the
dissonance, to feel the harmonies, because harmony is so important . . . to feel the
harmonies washing through you as youre playing. To help to inspire you. (Peter)

CSQ said they sang their parts during rehearsals to work through phrasing and

character development ideas. All of the coaches had their students sing or scat their parts to

determine phrasing, expression, and style. For example, if a group studied a Mozart quartet,

they might have sung their parts in the style of a Mozart opera. Sometimes they added words

to their singing to further develop an interpretation. Singing freed students to try ideas they

might not have been able to execute initially with their instruments. Once they expressed the

idea through singing, it was easier to reproduce it with their instrument.

Its important to think about sort of speaking your parts to each other in the style of
the composer. So if youre playing an Age of Enlightenment composer, like Haydn,
its probably with a lot of witty, you know, conversation. If youre doing Beethoven,
depending on what Beethoven, but its going to have a lot of drama and moodiness.
(Merry)

Another technique that the coaches used to free up the sound was to have students

play standing up. Violinists and violists can feel energy move from their feet through their

backs when they play standing up, which results in greater musical expression. The Emerson

Quartet, among other professional quartets, is known for performing their concerts while

standing up. CSQ members used this technique for the purpose of freeing up sound, rather

than advocating it as a full-time practice.

 99

Although it was not listed in the original CSRT document, I observed coaches using

metaphors and imagery as another strategy with their students to illustrate characters and

evoke emotions. For example, Annie used the metaphor of color frequently:

And thats also a good way for mixing the sound, another way to think of sort of
pouring four colors into a, a vat and stirring them around and seeing what the
collective is that comes out. . . Sometimes I use the analogy of thread, different color
threads that dont blend, but each maintain their own texture and color when a group,
when something is too mushed together. So sometimes the colors are used for
blending and sometimes it's used for keeping the voices independent. (Annie)

Coaches also used images related to the historical and cultural context of the

composer. Because all four quartets played Shostakovich in their coaching sessions, I

observed the coaches using the images of Russian characters in movies and plays, and in one

case, a drunken dancing bear. The coaches also used techniques discussed in the Ensemble

and Sound category in Table 2, such as Chamber Music Aerobics and Shakespearean

Counting, to help students interpret and express the music.

Ensemble and Sound

Most of the rehearsal techniques used by the coaches are aimed at improving

ensemble, rhythm, communication, and sound between group members (Table 2 and

Appendix F, Table F2).

 100

Table 2

Ensemble and Sound

Leg-
Rehearsal technique Stage Description Purpose
acy

Ensemble and sound (rhythmic coordination and communication)

Tune instruments4 Early Use a tuner (use iPhone or Intonation, sound quality
Droid apps if available). Tune
individually. Ensure open
strings on all instruments are in
tune with each other.

Chamber music aerobics1, 3 Early X Play the music while moving Feel pulse together
together from right to left in the Physical movement
pulse of the music, moving Breathe together
together on downbeats. Character
Especially good for slow Connection
movements.
Free the sound
Repeat and move up and Unify
down to the pulse. Equalizer
Play passage again with Empathy
movement of any kind on Helpful in group dynamics
downbeats. because its nonverbal and
everyone moves together to
Each individual in the share the rhythm
group must be able to show
rhythm and character
simultaneously and in such
a way that everyone is
inspired.

Look up every bar1, 3, 4 Early X Look up once per bar at your Connect
colleagues - EVERY BAR! Proactive
Incorporate this into Live, Visual connection
Breathe, and Die. Read and respond to visual
cues
Cueing2, 4 Early Conduct with the instruments Awareness
to indicate beginnings, endings, Pulse and rhythmic
tempo, rhythm, and phrasing. connection
Show rhythmic character Physical connection
through the instrument and Character
placement of the bow. Can Phrasing
also use the breath (chamber Rhythmic precision
music sniff) to cue. Give and respond
There is no leader or follower;
only a main initiator and the
rest of the group also initiates.
Everyone must give and
 101

Leg-
Rehearsal technique Stage Description Purpose
acy
receive cues at the same time.
Merrys ber Cue and Pre-
Cue-Cue:
Pre-Cue-Cue: Before
playing, connect with the
others in the group and
start to breathe in the
tempo and character of the
music. One activates their
awareness in advance of
the cue by feeling the
rhythmic character
internally.
ber Cue: Each person
cues her or himself by
breathing in on the beat
before their entrance.

Clapping4 Early Without instruments, clap the Cueing

rhythm for all four parts as if
the group were playing the
passage with instruments.
Right hands alone2 Early Play a passage on open strings,
using the marked bowings and
articulations in the music.
Pulse and rhythmic
connection
Pulse and rhythmic
connection
Structure and Phrasing
Cueing
Sound blend balance

Subdivide2 Early One or more players play Pulse and rhythmic

rhythmic subdivisions of the connection
notes. Character
Phrasing
Rhythmic precision

No vibrato1, 4 Early Play passage without vibrato. Intonation

Phrasing
Sound quality
Play scales in unison1 Early Play scales in unison or Intonation
octaves. Learn to adjust notes Listening
quickly.
Warm-up
Variations: Practice Cueing and
Play octaves, 5ths and 3rds Initiating
Tune with NO vibrato to
achieve ring of overtones.
Add vibrato.
One person at a time
initiates with others
matching dynamics,
vibrato, tempo, etc.

Rehearsal technique
Play slower or faster than the
marked tempo4
Play Bach chorales1
Shakespearean counting1, 3, 4
Metronome4
Tuning philosophy2
102
Leg-
Stage Description Purpose
acy
Early Play the passage slower than Awareness
the marked tempo in order to Rhythmic precision
hear rhythms and harmonies.
Phrasing
Play the passage faster than the
marked tempo to hear the arc of
the phrase better (for slow
movements).
Middle Tune with NO vibrato to Intonation
achieve ring of overtones. Practice Cueing and
Add vibrato. Initiating
One person at a time Warm-up
initiates with others
matching dynamics,
vibrato, tempo, etc.
Middle X Without instruments, count all Structure and phrasing
parts aloud as a group, in the Dynamics and rhythm
character, phrasing and Character
dynamic of the music. Ensure Feel together
the style and vocal inflection Breathe together
represents the composers Equalizer
musical intent. Unify
Variations: Flexibility
Fun
Try counting in the language of
the composer.
Stand up and count parts in
character, using hand gestures
as if having a conversation.
Middle Play the passage with the Pulse and rhythmic
metronome set to major beats connection
or subdivisions in the desired Rhythmic precision
tempo. Use of the metronome Tempo
helps to:
Bow distribution
1) Memorize tempo
tendencies ensure
consistency across the
group.
2) Organize bow distribution.
Middle Unify the approach to tuning. Ensemble
Quartets typically use a form of Expression
compromised tempered Sound quality
tuning, meaning that there are
no extreme leading tones,
except for passages in unison
and octaves. Become hyper-
aware of how 4ths, 5ths and
octaves sound. Keep in mind
balancing the voices. You
 103

Leg-
Rehearsal technique Stage Description Purpose
acy
need to be virtuoso adjusters.
(Merry)
Left hands alone1, 3, 4 Late X Perform passage without bows, Hyper - awareness
watching each the others left Intimate ensemble
hands. Everyone must lead Togetherness
with musical energy and in the Tactile
character of the music, from the
Sensing
back, elbow, hand and fingers.
Character
Sense each others fingertips.
Pulse and rhythmic
connection
Then amplify the same passage
Co-initiating
with bows.
Equalizer
Good for group dynamics
forces individuals to get
outside of themselves
(Merry)

Play different ranges Late Play a passage in a different Awareness

(tessitura) or instruments4 range than indicated by the Sound production and
composer. quality
Variation: Kinesthetic
Play passage on a different
instrument. For example, the
violist plays their passage on a
violin.

Connect right and left hands4
Late X Become conscious of the Awareness
connection between the right Sound production and
and left hands and how they quality
work together to produce
Kinesthetic
sound. Think of a desired
sound quality and consciously
produce the sound by
visualizing a connection
between right and left hands.

The coaches used the Chamber Music Aerobics technique early on in a student

groups development. Students swayed from side to side (left to right) on each downbeat

while playing a passage. Next they rocked forward and backward (up and down). Then they

moved in a way thats natural (Mari) at least once per bar (could be any combination of

movements). This exercise unified the rhythmic pulse and helped to free the sound so that
 104

students fully expressed the character of the piece. Chamber Music Aerobics is a great

technique to unify students as a team and improve group dynamics:

So in some ways it was the most fundamental, which is this feeling of regular
physical movement . . . to be able to play a passage together. I mean, fundamentally
together. And once they start to feel it physically, this sonic part comes much more
quickly. . . . It's an equalizer. Everybody has to do the same thing at the same time.
So nobody's doing more than the other person. It's a democratic process. (Annie)

Another technique introduced by the coaches early on was Look Up Every Bar. By

using this technique, students learned to establish visual connection while initiating cues. It

taught students to be proactive in nonverbal communications. This technique was a

precursor to Live, Breathe, and Die (see Table 3) and both techniques came from CSQs

teachers:

I feel like I listen more effectively when I am up and looking up as much as possible
to those Im playing with. And I have found that theres probably somewhere
between 35 and 45% of the people I work with are lookers, too. They probably listen
more effectively and communicate more effectively if theyre visually up and
looking, and communicating. So I think its always good to try to get groups to do
that especially if theyre new at playing together, because then they maybe will get to
understand better how to respond to their colleagues or even how to read their
colleagues like Oh. So and so plays a certain way, that means they want to go
slower and So and so makes a certain thing with their eyes. That means, we need
to do something else. (Merry)

Coaches introduced the basics of Cueing right from the beginning so students learned

to start and end together, and establish the tempo. The coaches emphasized that there are no

leaders or followers; there was a main initiator and everyone actively initiated together.

Merry described a technique called ber Cue (or Super Cue), in which each person cued his

or her self by taking in a breath on the beat before his or her entrance. She introduced this

technique early on. Later, she introduced Pre-Cue-Cue, which is a process of activating

awareness in advance of the cue. Students listened to the music and felt the rhythm in their

bodies before they cued themselves in.

 105

Members of the CSQ told me they consciously passed on the legacy of the CSRTs

they learned from their teachers. For example, Shakespearean Counting was a legacy

technique that the coaches frequently used with their students. Without instruments, students

counted their parts aloud as a group, in the character, phrasing, and dynamic of the music.

They ensured the style and vocal inflection represented the composers musical intent. A

couple of the coaches suggested that students could also count in the language of the

composer. Peter mentioned a variation in which quartet members stood up and counted parts

in character, or scat sang using hand gestures as if they were in a conversation. Annie

commented on when to use Shakespearean Counting:

I introduce this when a group is dealing with structure, sentence structure.

Specifically cadential moments and phrases. How to breathe, how to emphasize, and
it gives a little theatrical approach when you have to count fortissimo and then switch
to pianissimo, you have to take a little breathing time. So it forces them to understand
the dynamics in a very specific way. So it's dynamic and rhythmic and also for me,
for how to feel rubato in a passage. (Annie)

Another legacy technique, Left Hands Alone, was more appropriate for advanced

groups. Students played the passage without bows (right hands). Therefore, students

watched each others left fingers as they moved silently on their instruments, and observed

each others bodies to sense the rhythm and character together. Students sensed each others

fingertips without hearing the notes. This technique required that students already have a

good feel for the character and tempo of the music. Annie mentioned the legacy passed

down through this technique:

It's kind of an exaggeration of something that the Budapest talked about when they
wanted to play together. . . . Sasha Schneider said, "You want to eat up each other's
left hands." This came from the Cleveland quartet and then specifically Donald
Weilerstein uses this technique all the time. Don uses this all the time. And it's
unbelievable the depth with which you then can play a passage with somebody.
Especially fast passages. . . . it's this tactical kinesthetic awareness between two
people. (Annie)
 106

Group Dynamics

This last group of rehearsal techniques (Table 3 and Appendix F, Table F3), includes

specific strategies to enable healthy group dynamics, as well as some techniques that could

easily fit in the two previous sections. I included those techniques here because the coaches

mentioned them frequently when we discussed group dynamics.

Table 3
Group Dynamics

Leg-
Rehearsal technique Stage acy Description Purpose

Group Dynamics

Basics1, 3 Early X Each member takes on a Create a respectful, positive

Organize quartet job a collaborative environment.
Respectful responsibility to support
Organize the work
communication the group, such as room
everyone takes
Posture and attitude scheduler, coach liaison,
responsibility.
librarian, outreach
scheduler. Keep the energy going, enjoy
the process.
Plan rehearsal schedule
plan backwards from
concerts or outreach.
Develop bios and publicity
materials ahead of time.
Communicate with
diplomacy and respect.
Before making comments,
ask oneself, Is it true? Is it
kind? Is it necessary?
Learn how to give
compliments to each other.
Always start with a
positive comment.
Keep an open mind, listen
to what others have to say,
be constructive critique
the performance, not the
person.
Look alert do not yawn,

Rehearsal technique
How to rehearse1, 2, 3
Theatre exercise2, 4
Switch seats2, 4
Live, breathe, and die1, 3, 4
107
Leg-
Stage acy Description Purpose
chew gum, slouch or
kvetch. Pay attention even
when not playing.
Have fun! Laugh together.
Memorize at least two
knock-knock jokes.
Early Begin and end each Pace the rehearsal to achieve
rehearsal by playing maximum progress.
through a large section of
Share leadership of the
music or an entire
process, ensure every voice
movement.
is heard.
Balance rehearsals so you Provides structure so the
are playing the majority of focus is on the music, not
the time rather than personalities.
talking. A ratio of 60-70%
playing and 30-40%
discussion is a good goal.
Rehearsal spots each
individual chooses sections
of the music to rehearse
and leads the rehearsal for
a designated time (e. g. 5
15 minutes per person).
Try out several ideas and
evaluate what works best,
then let it rest a few days
and try the idea again.
Early In dyads, stand facing each Sensing
other without instruments. In Awareness
silence, one person initiates and
Move together
the other person mirrors exactly
what the initiator is doing. Fun
Middle Sit in a different seat within the Adopt different perspectives.
quartet configuration than
Hear things differently.
normal. For example, the
cellist sits in the second Sparks creativity and fun.
violinists seat, the second
violinist sits in the violists seat,
etc.
Middle X Each member takes a turn Trust
initiating a passage, musically, Inspire
rhythmically, and dynamically
Reflect
while other members mirror
exactly what they observe. Active
Includes looking up once every Breathe together
bar, matching the bow, vibrato,
Develop deep awareness and

Leg-
Rehearsal technique Stage acy Description
body movement all nuances.
Initiating members must be
inspiring and dramatic.
Shine the light2 Middle X Quartet members imagine they
are shining the light on the
person playing the main theme.
The accompaniment is not
background one must shine
a light on the melody to inspire
and support.
Variation:
Imagine passing a cup of tea
around to each member of the
quartet as they take a turn in
the spotlight.
Backs to other1 Late Play passage with backs to
each other.
Variation:
Turn off the lights and play
from memory.
4 corners of room2 Late Each person sits or stands in a
corner of the room and plays
while directing their sound,
intention and energy across the
room to their colleagues.
Variation:
Stand in the corners of the
room and walk toward each
other while playing.
108
Purpose
listening to others during
performance.
Total commitment to the
other become one with the
other.
Improves group relations and
openness to embrace new
ideas.
Try something out of ones
comfort zone.
The initiator feels supported
by their colleagues and steps
up to inspire others.
Awareness
Support
Empathy
Inspire
Give and respond
Sense others.
Breathe together.
Sensitivity
Develop relationships.
Trust
Rely on aural sense.
Different perspectives
New understandings
Develop relationships based
on listening and sensing.
Exaggerate the effort to reach
out and connect across space.
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Leg-
Rehearsal technique Stage acy Description Purpose

Strategic listening1 Late Listen only to the person to the Creative way to listen.
right then reverse process.
Training for spontaneous
Shine ones part on the person
listening and simultaneous
one is listening to.
response during
Requires that work has been performances.
done with the interpretive
Fun
process and the group is fairly
advanced.

The coaches said they talked about rehearsal basics right away with students. They

emphasized that students should create a respectful, positive and collaborative environment.

In alignment with the coaches stated goals, they encouraged students to keep their comments

toward each other positive. During the Rehearsal Techniques Seminar, the coaches

suggested that students each take on a quartet job to share responsibilities. They used

knock-knock jokes as a way of modeling humor and fun. During the interviews, the coaches

spoke of taking turns leading rehearsal spots:

Ill give them a rehearsal guideline. Okay youre going to play through the
movement, each of you is going to take 5, 10 minutes of spots and during those spots
that youre in charge of leading the rehearsal. Youre not saying, well at letter B
were going to do it like this. Youre saying, I would like to try letter B, it doesnt
feel like were in tune. Wed like to do intonation. (Annie)

Merry used a Theatre Exercise with beginning ensembles to help them learn to sense

and move together. The exercise was based on the famous Harpo Marx and Lucille Ball

(Asher, 1955) pantomime scene where they looked in the mirror and moved with each other

in unison. There is an earlier version of the same scene in the Marx brothers film Duck

Soup (McCarey, 1933). Students performed the mirror exercise without instruments; it was

fun and stretched students beyond their comfort zones.

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Another exercise mentioned by coaches and students was to Switch Seats. Students

sat in different seats than the usual quartet configuration. This exercise helped students to

adopt different perspectives and hear things differently. More advanced students might sit

with their Backs to Each Other or sit in the 4 Corners of the Room. These two techniques

helped students to sense, trust, and reach out to each other. Coaches mentioned that these

techniques focused on how musicians related to each other; the use of the spatial dimension

affected interrelationships.

Several coaches mentioned Shining the Light as a legacy technique to help students

support and inspire each other. In this technique, quartet members imagined they were

shining the light on the person who was playing the melody. It helped students to realize that

the accompaniment was not merely a background to the melody; one must actively inspire

and support their colleague. Annie asked students, How do you illuminate each other?

Were going shine the spotlight on the melody. . . .Were going to take our notes and literally

shine them like a beam of light.

The coaches used Live, Breathe, and Die (LBAD) for everything: interpretation,

expression, ensemble, sound, and group dynamics. Kirsten said, It all comes down to

LBAD, right? Merry commented, Live, Breathe, and Die, to me is my whole philosophy

of chamber music. In this technique, each member took a turn initiating a passage

musically, rhythmically, and dynamically, while other members mirrored exactly what they

observed. The LBAD technique included looking up once every bar, matching the bow,

vibrato, breath, and body movement; essentially mirroring all nuances. Every person in the

group was actively engaged.

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Merry used the term inspirer rather than initiator or leader to describe LBAD:

But then, I usually have each member take a turn being what I call the main inspirer. .
. . And the person whos the main inspirer its their responsibility to be up and to try
to inspire constantly so people can understand whats going on in their mind. And
then those others that are playing with the inspirer must live, breathe, and die for the
inspirer. (Merry)

The practice of Live, Breathe, and Die encouraged total commitment to the other.

Quartet members deepened their awareness of each other, embraced each others ideas, and

became one with the other.

Chapter Four: Summary

In this chapter, I described the context for chamber music coaching at CIM and

provided an analysis of the coachs role, goals, and process. This analysis constitutes the

coaches philosophy of chamber music coaching as well as an indication of the strategies

they used to introduce rehearsal techniques. I presented the rehearsal techniques in three

major groups: interpretation and expression, ensemble and sound, and group dynamics.

These groups indicate coaching strategies that support why a coach would introduce a

particular rehearsal technique. The techniques in each of the three groups were further

categorized based on whether they were introduced early, middle, or late in a student

quartets development. This subgrouping indicates that coaching strategies are also

influenced by students level of experience. In Chapter 5, I report the case studies of four

coaching sessions, which include my observations of the participants behaviors and

participants perceptions of the coaching sessions.

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CHAPTER FIVE: 4 CASE STUDIES

In this chapter, I provide an analysis of four cases, each consisting of a video-

recorded coaching session with a unique student quartet and coach pair. The cases include

my observations of coaching sessions and interviews with four Intensive Quartet Seminar

(IQS) quartets, each coached by a different member of the CSQ during my visit to CIM the

week of September 12, 2011. Each of the quartets played a different Shostakovich string

quartet. Two of the quartets were newly formed, one had been together for 9 months, and

one had been together for 2 years.

I present the findings in two subsections for each case: (a) a quartet and coach profile

that includes group dynamics and rehearsal processes and (b) findings from the coaching

session and postcoaching interviews. The group dynamics for each quartet is included in

each quartet profile. The students reported rehearsal processes are included in Appendix

Table H2, and rehearsal techniques used in Table H3. All participant names in the cases

were changed to pseudonyms.

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Case: Quartet A

Profile - Quartet A and Coach A

Table 4
Demographic Data for Quartet A

Years Student Ch. mus.

Year at Studied before Semesters
Student Instrument Gender CIM Primary Instr. college ch. mus. Career Plans
David First Violin M Masters 17 years Extensive 5 Orchestra
Madeline Second F Senior 15 years Extensive 6 Undecided -
Violin possibly non-
performance
Sarah Viola F Senior 7 years viola; Extensive 6 Quartet
violin before
that
Lindsey Cello F Senior 9 years cello; 8 Extensive 6 Quartet
years violin
Note: Ch. mus. = Chamber music, and Instr. = Instrument. Students provided their year in school
rather than their age. The age range for student participants was 19 23 years old.

The members of Quartet A came together 2 weeks before I observed their coaching

session. Three members of the quartet had played together the prior semester in a string trio.

The students sight-read quartet music together before the summer and subsequently

requested to be placed together in a quartet. They were invited to join IQS in the Fall of

2011. I characterize this group as highly motivated to quickly create a unified ensemble and

perform music for which they feel a great love. The group was energetic, passionate, and

expressive.

This quartet included three female members and one male member, who played first

violin. The members of this quartet were older and more advanced than members of the

other three quartets in this study. They all had significant performance experience, and had

studied chamber music with the coaches at CIM for several semesters in different groups.
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All four members indicated they were serious about working together in the quartet and

giving it their best effort. Two of the students spoke about performance anxiety and

expressed insecurities about their playing during the interviews.

Coach A commented that the group was well matched technically, that they were

musically on the same page, and they were good friends. I observed that Coach A had a

youthful, bubbly personality. Her coaching style was positive, encouraging, and energetic.

She gave attention to each of the four students at different times during the coaching session.

Her comments were specific and direct without being directive; she consistently asked for

student input on their interpretation of the music. She projected an attitude of fun combined

with serious respect for the music.

Group members acknowledged they had just started to work out a rehearsal routine

and set goals; they initially rehearsed three to four times per week. When asked what helped

the group to come together quickly as a team, the students cited mutual respect, giving and

responding to each other, and listening to each others playing carefully and deeply. Group

members respected each others musicianship and enjoyed sharing ideas with each other.

They felt it was important to talk through things, especially to articulate what they heard as

they played together.

I mean, it is good, especially at first to really talk through things and be able to
articulate how you want this thing to sound or that thing to sound, or if theres
something in another persons playing in this one particular section that youre not
quite sure about, you can articulate what youre not liking or just not sure about.
(Madeline)

The students brought techniques from their past experience such as Shakespearean

Counting, Live, Breathe, and Die, intonation work, score study, and the concept of blending

the ensemble sound. One student mentioned that she learned from prior experience that the

positive attitude one brings to rehearsal makes a difference.

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Although two students did not mention their social relationships with fellow quartet

members, one told me that the three young women were close friends and attended church

together, and had like this kind of girl group, you know, that we always hang out with each

other and watch movies and cry and eat chocolate (Lindsey). The first violinist expressed

that it was important to him to keep his social life separate; they were there to work. I

discuss this last perspective in the cross case findings in Chapter 6.

Because this was a new group, they rehearsed for only 2 weeks prior to their coaching

session. During their first 2 weeks of rehearsal, group members reported that they played

through a large section, then stopped to talk about a few passages, try out the ideas, and

returned to play the large section again. All four students expressed that it was important to

set goals for each rehearsal, and the group was just beginning to set goals to better manage

their rehearsal time.

They used four techniques during their rehearsals: Shakespearean Counting (SC);

Clapping; Singing; and Live, Breathe, and Die (LBAD). They used SC to focus on phrasing,

clapping to gain rhythmic precision, and LBAD to listen more deeply and understand each

other's interpretations. During the week of the interviews, the group tried playing with their

eyes closed to work on intonation. A couple of members mentioned that they would like to

incorporate playing Bach Chorales into their rehearsal routine as a warm-up for intonation.

Other members mentioned that they would like to try playing with their backs to each other

or in the four corners of the room.

Coaching Session Findings Case A

This student group played the first movement of Shostakovich String Quartet No. 2,

in A Major, Op. 68, at their coaching session. As we watched the video in her postcoaching
 116

interview, Coach A told me her thoughts when the group finished playing through the piece.

She wanted to let them know they were on the right track, that they knew how to put together

a piece of music and already had the tools to be successful. She wanted to validate the hard

work they had done and that they had a good grasp of ensemble playing and of

Shostakovich's music. Coach A wanted to help them dramatize their interpretation, express

the music already in them, and help them delve deeper into the music. Coach A said the

group was responsive and engaged; she found the session to be stimulating, fun and easy.

[They] share the same love for the quartet medium as a voice . . . this group really
wowed me because their group sound was so huge. And, they really decided to
perform for me even though the space was more like a rehearsal space. Thats a mark
of some very experienced players; they know that every time they get together and
play in front of another live person that thats a great performance opportunity. And
you can never practice that too many times. It just makes the moment that you step
on stage in front of a full house that much easier. And so I appreciated that a lot.
(Coach A)

In their postcoaching interviews, the students all said they thought the coaching

session went very well. They felt they were well-prepared, that each person contributed to

the success of the session, and they gave it their all. They stated that they got a sense of

direction that opened up to new possibilities for their playing. The students said they gained

clarity around the characters they wanted to express and how to express them. They valued

the outside perspective and deep, experienced knowledge of the coach. They also

appreciated that the coach established a positive and supportive environment in the session.

The students believed they improved by the end of the session and as result, they felt

energized.

I observed that Coach A began her comments after the play-through with positive,

affirmative feedback. She consistently started with appreciation and gave specific feedback

about what she liked before she launched into a suggestion. She was physically active; she
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stood up and walked over to the center of the group as she made comments. She had an

animated, and at the same time, intellectual and calm demeanor.

When Coach A asked the group to try a technique, she explained what she wanted

them to achieve with the technique. Students asked clarifying questions to make sure they

understood how she wanted them to perform the technique. At various points, Coach A

asked questions about the group's interpretive decisions. She engaged the students in

dialogue as they answered her questions. Usually the first violinist and violist answered the

questions, though the other two members also contributed to the conversation.

In the session, Coach A addressed voicing, sound, rhythm, character, and phrasing.

She worked on sequential sections of the music, asked questions, and referred to the musical

score in a dialogue process with the students, thus encouraging the students to gain a deeper

understanding of the composers intentions. Coach A used techniques to facilitate

awareness in these areas, such as SC, LBAD, playing in a different register, score study, and

clapping. She had students play sections multiple times while using a particular technique.

In particular, the coach used SC several times throughout the session. Coach A told

me she used SC to help the group balance their instrumental voices and to unify phrasing.

She also chose this exercise because it is an equalizer:

The front row I thought really projected that character maybe more than the back row.
But I didnt want to pinpoint individuals so much. And so the counting aloud is a
great group exercise. So it really just involves the whole group as, you know, as a
whole. (Coach A)

In the interviews, the students reflected that during the session they learned about

their concept of character and how to express it for this particular composition. The students

all found SC, during which each person counts their part out loud in the character and
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dynamics of the piece, to be an especially helpful technique; they immediately used it in the

next rehearsal:

What I learned yesterday was . . . how effective counting could be. We did it today.
We actually didnt do it in other rehearsals but we did it yesterday in the coaching and
then we did it today in rehearsal. And it really helps us, . . . like how we want the
music to feel, without being concerned about pitches, but the overall feeling, it really
helps with the overall feeling. (Lindsey)

During SC, the students really engaged in the exercise by using their voices with

great energy and expression. I heard the character of the music as they counted. Their

bodies moved together in rhythm with the phrases as they counted out each passage. In

addition, the students and coach sang passages to each other to demonstrate their

interpretations. SC helped the group improve their ensemble sound. Coach A had group

members change the articulation and inflection of their voice as they counted. I heard a

difference in the sound when the students played the same passage with their instruments

after SC.

The clapping technique helped the group line up rhythms and thus improved the

precision of the ensemble. I noticed that the students performed the clapping exercise with

the same energy and intensity as SC, though their play-through with instruments afterwards

did not reflect as cohesive a rhythmic character as their playing did after the SC technique.

Clapping the rhythms is not a unique technique in chamber music and was not included in the

original CSRT document. Coach A used it to provide awareness of rhythmic precision

required for a particular passage. She noted that clapping is a kinesthetic approach, whereas

Shakespearean Counting is more of an inner awareness approach. Neither the coach nor the

students felt this technique was as effective as SC:

I think counting out loud is, besides from being more interesting, I think counting out
loud also engages, kind of more pieces of the puzzle. This [clapping] . . . its like the
same thing as counting out loud but its like the dumbed down version, or something.
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I mean, it does different things and I think for certain passages its more appropriate.
(David)

The use of Live, Breathe, and Die (LBAD) inspired the students to support and listen

deeply to each other. During LBAD, in which each person takes a turn initiating the passage,

I observed that the violinists and violist turned their attention to the cellist, who actively led

the passage. Her sound projected more and the others adjusted their sounds to support the

cello line while they maintained their own energy. Although this technique primarily

addressed ensemble and sound because it revealed voicing issues, it also improved group

dynamics by expanding quartet members awareness of and sensitivity to each other.

The use of LBAD provided deep insights to the students: they reported that they

experienced a dramatic shift in their awareness. The first violinist noticed what he needed to

change in himself as well as the impact the technique had on his colleague:

I think that in terms of what was going on around me I couldve scaled back in some
places where I was playing more. . . . Ive been afraid to ask for more from people. . .
. I should do that not just, kind of for the benefit of the quartet, I think that it would
engage people more. . . . I mean it is for the people who are listening and kind of
focusing on another person, but it also has an effect on the person who is leading.
And in this case it was good for Lindsey because it got her more into the music and
more realizing what kind of line she has and playing it. And I was excited because it
just, it felt more together as an ensemble and I felt like, the energy level was just
much higher. (David)

Lindsey shared her perspective with me of this learning moment as it related to her

performance anxiety:

Honestly I felt really nervous . . . I like being in the background. . . . I still felt like,
you know, I was at the top of the pyramid. And I mean theyre supporting me but Im
still up there and visible. . . . I was so happy though, like my quartet members, they
are really, really sensitive. . . . I felt really supported by them because they really
crescendoed with me and then they helped me grow in this and really bring me out
and feature me. (Lindsey)

These two examples show that LBAD was a highly effective technique: Group

members supported each other, became aware of each others musical intentions, and they
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felt increased energy. The group gave a more cohesive performance as a result. At the end

of the session, Coach A pointed out a couple of items the group could work on themselves.

She indicated to me that she likes to leave groups with some unfinished business to work

through on their own with the tools they just learned.

In summary, Coach A used an inquiry style, with a focus on techniques such as SC to

help this newly established group of advanced instrumentalists discover their interpretation

and tighten the ensemble rhythm. Continual references to the score assisted the students to

understand the composers intention. The use of LBAD elevated students awareness of the

balance between instrumental voices and raised the groups level of energy. LBAD helped

them learn to support each other and listen more deeply while playing the music.

Throughout the session, Coach As approach was inspiring and positive. All five participants

had fun in the process.

Case: Quartet B

Profile - Quartet B and Coach B

Table 5
Demographic Data for Quartet B

Years Student Ch. mus.

Year at Studied Primary before Semesters
Student Instrument Gender CIM Instr. college ch. mus. Career plans
Jim First Violin M Junior 13 years violin, Some 4 Solo; open to
15 years piano other music
careers
Laura Second F Junior 11 years violin, Extensive 4 Quartet, orchestra,
Violin some piano and teaching
before
Matt Viola M Junior 12 years viola, Extensive 4 Quartet
plus 9 years
piano
Jonathan Cello M Junior 10 years cello, Limited 4 Quartet
plus 2 years
violin
Note: Ch. mus. = Chamber music, and Instr. = Instrument. Students provided their year in school
rather than their age. The age range for student participants was 19 23 years old.
 121

Three members formed this quartet as first semester freshman and the second violinist

joined at the beginning of sophomore year. This group spent the summer at an international

chamber music festival program where they received intensive coaching and performed for

audiences. They all had significant performance experience and two members studied

chamber music for several years before they came to CIM.

Coach B told me that she characterized them as a committed quartet and the most

cohesive of the groups enrolled at that time in the chamber music program. She described

them as virtuosic players who have a great passion, love and discipline for the art form [of

quartets] in addition to being delightful, kind, respectful, disciplined and hard-working

(Coach B). I concur with Coach Bs characterization and add that this group was the most

comfortable of the four student groups with their identity as a string quartet. Coach B further

stressed that finding the right combination of give and take, and yin and yang as well as

equal commitment was essential to the future success of such a group.

Of the four student quartets, this one was unique in that the second violinist talked

about how much she loved to play her part, that the second violinist is critical to the overall

success of the quartet, and how she shifted in and out of the second violin role. Her

perspective supports the literature that points to the importance of the second violinists role

(Blum & Guarneri String Quartet, 1986; Murnighan & Conlon, 1991). She also reflected that

all four members contributed to the unique qualities of Quartet B:

I love playing my part, second violin. I mean I think every part is very important.
Mine is the most important. . . . I really love it. And I played a lot of first violin
actually in high school. And I think it actually also helped me in playing second
violin because I dont think I just play as an inner voice, I also come out and then go
back down and then come out like I was a first violin sometimes and then go back to
second . . . . its like without one person we would be completely different. So were
all really like, valid to the group in all our different ways. (Laura)
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As noted in the following sections, the first violinist tended to hold contradictory

viewpoints of the groups rehearsal process and techniques. My impression of him was that

he was so naturally gifted that he had limited awareness of specific techniques and

approaches the group employed. It was as if he did not need to know; he just followed his

colleagues process and played brilliantly.

The students gave mixed responses to my interview questions related to equal

contributions to their rehearsal discussions. Two members said everyone contributed in

equal measure. The violist stated that the cellist and first violinist contributed the most and

that the second violinist was the quiet member of the group. Jim commented that

sometimes people might talk more, but it might not equate to contribution. He offered that

another form of contribution is to practice and know ones part well.

Jim gave me a thoughtful reflection of the group dynamics, as he noted subtle

tensions between the violist and cellist for which Jim and the second violinist become

mediators:

Our cellist, hes usually, talks the most in the rehearsal. He has a lot of ideas about
what he wants to do. But sometimes hes a little unprepared, so his ideas can be
without evidence or without support. And I like to keep that in check sometimes. . . .
Our violist is always very prepared. . . . he really knows the score really well and
everybody elses part really well. . . . And [he and] the cellist have really different
ideas a lot of times. So, they kind of, yeah, there can be some friction between them
sometimes. And me, and the second violinist kind of mediate things a lot of times.
(Jim)

Jim noted that because he liked to be right, he made an effort to hear what everyone

else had to say first, he then summarized each persons viewpoint and helped the group come

to a conclusion. He also said he preferred to show his ideas by playing rather than talking.

As I wrote this quartet profile, I noticed that the lone female voice in the quartet was
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relatively absent. She did not contribute many comments in relation to questions about group

dynamics or rehearsal processes. Jim provided insight into the female voice of the group:

She has times where she doesnt really say that much but she has times where she
suddenly has like a lot of things to say. So its an uneven distribution for her. I
would say were all very excited when she says something because shes usually a big
compromiser . . . and so we dont really hear her opinion usually. (Jim)

Finally, Jim spoke about the second violinists role in the quartet and how Laura

filled it. This evidence supports Lauras initial comment to me about the importance of her

role as well as the literature that addresses this important role (Blum & Guarneri String

Quartet, 1986; Davidson & Good, 2002; Murnighan & Conlon, 1991):

She really listens to me . . . like listen as a second violinist. You really listen to the
first violinist but you also kind of, like pull the sounds together. And I think shes
doing a really good job doing that. (Jim)

Members of Quartet B approached their rehearsal process with a sense of great

responsibility and creativity. They focused on collaboration and told me they supported all

voices to be heard in the discussion (as well as in performance). Because they were together

for over 2 years, they tried and changed several rehearsal routines over time. The group

regularly used many of the rehearsal techniques.

Although the second violinist and violist implied that their quartet had an established

process, the first violinist admitted that the group still has good and bad days of rehearsal

and they had not yet found a rehearsal format that worked in a consistent way (Jim). The

cellist reported that the format changed based on quartet performance deadlines. If they had

the luxury of time, they played through a piece several times before they began to work on it.

He noted the perils of trying to start on the details right away:

At the beginning of our quartet life, we used to jump into the details pretty quickly
and just take a piece of a movement at a time and really not focus on it as a whole
work. . . . that kind of would get us in trouble because . . . then youre making specific
decisions in rehearsals about things without letting those decisions be affected by
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something that happens in the third movement or something that happens in the last
movement. (Jonathan)

In the past, Quartet B members warmed up with Bach chorales and scales to blend

their sound. At the time of the interview, they said they arrived at their rehearsals already

warmed up and ready to start. Sometimes the group decided what parts of the music they

would work on before they started playing. Other times, they played through a movement or

two and then decided on which sections they would work. The group often divided the time

up so each person took a turn leading spots. The violist stressed that all four people must

be engaged in the rehearsal process: We don't want anyone to . . . feel like they can't or not

be engaged. So when we do that [leading spots] and make everyone think of something to

say, it makes a more productive rehearsal (Matt).

At the same time, they felt it was important to play more and talk less to allow the

interpretation and ensemble sound to emerge from unified group energy. The concept of

playing the music to communicate ideas rather than talking is reflected in the literature

(Davidson & King, 2004; Williamon & Davidson, 2002):

[When] we don't talk a lot, my group sounds its best. We figure out all the details.
The four of us get to the point where we're comfortable with how our part fits in with
everyone else and we're actually conversing with each other. That's when, like, you
can feel the group energy. So I think it takes a lot of talking to get to that point but, it
also takes the silence and just playing together to get to that point, as well. It gives it
a kind of improvisatory quality. (Matt)

In the past, the group created a story, often as detailed as a movie script, for each

piece they learned. At the time of the interviews, the students were less inclined to create a

story and instead decided on two to three adjectives that captured the mood and emotion of

each section of music. They intentionally shifted to this practice in order to allow more

individual freedom in their playing:

We spent a lot of time working on individual freedom this past summer in our playing
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. . . And so I think weve kind of backed off from that a little bit to see what its like
to play with everybody having the same feelings involved and maybe not the same
exact literature, per se, in their head. . . We talk about things like temperature. Is this
really icy? Is this section, would you be freezing, or is this something really warm?
Is this forlorn? (Jonathan)

The students reported that they sometimes recorded their practice run-throughs and

often recorded their performances to evaluate their playing. They told me they often began

their evaluation process with aspects that went well, followed by what they could improve. I

conclude that because this group had greater tenure than the other established quartet, they

adhered more closely to the Cavani process of starting with the positive aspects first.

The violist told me that of the rehearsal techniques, the group used LBAD and Left

Hands Alone most often. I heard conflicting reports on how often the quartet used LBAD.

One student said, Were doing it always, often and sometimes forgetting that its LBAD

(Jonathan). In contrast, the first violinist said,

Its funny because we used to do a lot of LBADing, but then there was a period where
we like, completely didnt do it. And then when the seminar happened, and when you
started talking about it, this past week we started doing it. (Jim)

It is possible that the reminders during the Rehearsal Techniques Seminar and my

research process helped bring this technique back into conscious use by this group, even if

they used it unconsciously in the past. Group members explained that they used LBAD when

the group got stuck, when they were dissatisfied with the way that it sounds, (Jonathan) or

to inspire and awaken awareness:

[We use LBAD when] it doesnt feel special enough or it doesnt have enough color,
its just too bland. Well do it in a sense like that to see what everybody would have
liked to do in that section. And, overall it just makes us all alive and it makes us
wake up and notice everything about what everyones doing. And that in its own way
just completely changes any session because when youre up and alive and connected
to everybody like that thats the whole point of chamber music. (Jonathan)
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The violist said they sometimes combined LBAD with Left Hands Alone so they come to

sense each others interpretation in a different way than hearing it (Matt).

Because this quartet performed a large range of repertoire, they placed importance on

understanding the historical context of the music and composer. The first violinist and violist

acknowledged that they made the largest contribution to contextual research. However, all

four members discussed the context during rehearsals and wrote papers for their other classes

based on their quartet repertoire to kill two birds with one stone (Jonathan).

More recently, the group started to use the technique of Play to the Center, as taught

by Peter. The students removed their music stands to get as close as possible without

whacking each other with our bows (Jim). This technique helped them hear harmonies and

balance, and allowed an experience of being in the same instrument (Jim). After the

Rehearsal Techniques Seminar, the group began to use SC and Chamber Music Aerobics:

We started using [Chamber Music Aerobics] for this one section of the Shostakovich
that we just didnt really have a good swing. And we tried it and it was really helpful.
It just dried up all the issues like, like putting a stop in a leak. And, also for the
general flow of the piece, like . . . just coming around the corners of phrases . . . and
being able to make those transitions together, like driving around the corner on the
street without having to stop the car. . . . And then lose the initial flow that you had
going into the turn. And so this swaying thing is really helpful for that because for
some reason your fingers, they react to the fact that your body is moving at a
consistent pace. (Jonathan)

This example of the Chamber Music Aerobics technique demonstrates embodied

learning in which body movement assists students to freely express the music (Davidson &

Correia, 2002).

Though I did not hear this from other group members, the second violinist said the

quartet used scat singing often. Perhaps the others did not mention it because it was a

natural, unconscious part of their process.

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Coaching Session Findings Case B

Quartet B played the first three movements of Shostakovich String Quartet No. 9, in

E-Flat Major, Op. 117, at their coaching session. Coach B told me that this group knew

how to look at a score and how to put things together. As a next phase in their

development, she wanted to help the group create a more polished, resonant sound and to

think about themselves as a unit and a team (Coach B). She added that the group could

also strengthen how they listened to and interacted with each other. Coach B noted that it

was easier to ask students to try various techniques in this session and all her coaching

sessions since the Rehearsal Techniques Seminar because the students saw CSQ demonstrate

the techniques. She felt Quartet B was open, receptive, and very responsive in the coaching

session. Coach B felt a great deal of respect for these students and that she had a really

great relationship with them . . . they are open to trying things and exaggerating things that

are suggested. She expressed that it was fun to coach this group.

The students reported that the coaching session was enlightening, exciting,

inspiring, helpful, and fun. They found it most helpful when Coach B focused on developing

the characters and a larger palate of sound . . . to create more colors (Jonathan). Laura

added: I think we were pointed in the correct direction of the characters and the mood . . .

But she helped bring it out a lot more. . . . And so she like, gave us a lot more ideas to work

with.

This was the longest of the four sessions (1.5 hours vs. 1 hour for the shorter

sessions). Coach B sat for most of the session. She stood up only a couple of times to

encourage one of the students to play out during his melodic line. At the beginning, she sat

still as the quartet played through three movements of a Shostakovich quartet. She wrote
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notes in her score and periodically looked up as the students performed. During her

postcoaching interview, I asked Coach B why she stayed seated with this group, as I

observed her stand up and be more energetic during the pilot study with other groups. She

told me that in this session, she chose to honor peoples personal space because the room

was smaller than for the other groups I observed. She also felt that this group doesnt need

another energy person in the middle. They have a connectivity thats happening (Coach B).

Before we watched the video clip of her opening comments to the group, Coach B

told me that as they finished playing she thought to herself:

I was thinking how really prepared they were. . . . And how much they really
understood what was going on in the score. And this great listening. And they had
really made some decisions. And . . . I wanted to make sure that I didn't just jump
into, Okay, there are a lot of things. (Coach B)

Coach B also commented that she wanted to improve her own coaching focus to introduce

an expository idea and try to keep coming back to that as well as avoid spending too much

time on one idea or section of a piece.

I experienced the play-through as strong and expressive. I observed that Coach B

began the session with positive comments and provided positive feedback throughout the

session, followed by questions and suggestions. After their play-through, she began with,

"It's really, really fantastic. I love all of your ideas and I want to try to illuminate them, [and]

give you feedback on what I'm getting from the performance" (Coach B). She added that she

wanted to focus on sound production to expand their color palette.

As she started into her comments during the session, Coach B took out her instrument

and subsequently played it often to demonstrate ideas. She also sang to illustrate

interpretations. When the students played, the coach sat with her instrument as if she were a

part of the group and rocked to the rhythmic impulse along with the students. I observed that
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Coach B's focus throughout the session was on the character, mood, and sound quality of the

music. She got right into a deep discussion of the emotions in the music. For example, she

said, "The second movement is a lament, almost vocal. It has a very Middle-Eastern, ancient

feel, a sincere sadness and reflective quality. The feeling is intense and painful." She

frequently used metaphors. For example, she suggested they create an atmosphere like in a

Russian opera (Coach B). Later on, she asked the cellist to play a musical passage like a

"walrus-y Russian" and "You've been through a journey and are coming back where you

started, but now it's a tiny bit more menacing."

Coach B brought in the historical context several times in the session. She talked

about how there is a tendency in the US to interpret Shostakovich as "acerbic and cold and

nasty and sarcastic" and that his music is not that way at all. She talked about the kind of

person he was: tired, nervous, he drank a lot of vodka and smoked, but also he had a sincere

desire to express his innermost thoughts in his quartets, and theres a touching quality to his

music. Later on, she asked the group if they'd seen any Chekhov plays. They had not, so she

suggested a video night with the IQS students to watch Russian plays and possibly a

Shostakovich opera.

Coach B used inquiry throughout the session. For example, she asked, "How are you

seeing this so far? If you composed this, what do you think is the plan of these three

movements?" The group responded with their interpretation: "It starts off very optimistic,

especially considering the quartet that came before it. . . but it has an underlying paranoiac

character" (Matt). Coach B also joked around and told unrelated stories at various points

during the session.

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Coach B used the following rehearsal techniques: Connect Right and Left Hands,

Images, and LBAD. She also suggested the group use LHA and SC in one passage at their

next rehearsal. In the technique called Connect Right and Left Hands, students are asked to

become conscious of the connection between their right and left hands and envision the

hands working together to produce sound. Students imagine the desired sound quality and

visualize a connection between right and left hands to produce the sound. Coach B told me

she consciously introduced Connect Right and Left Hands to ensure she transmitted the

legacy of the Cleveland Quartet to her students and to give the students a tool for sound

quality:

Because these guys haven't studied with the Cleveland Quartet, I feel that I need to
get this across. I need them to know these ideas and then it gets translated through
generations. . . . you can really tell when somebody's, when a quartet is connecting
with left hands and then when someone's connecting their left and right hand in terms
of sound. I thought it made a huge difference. (Coach B)

The students said this technique helped them with sound quality. They described it as

a mental kind of cooperation between hands (Jim) and to create a frequency between the

left and right hands with this almost static electric feeling between the two (Jonathan). All

four members understood the legacy that Coach B passed down in that moment of coaching.

They mentioned that they had a coaching session with Don Weilerstein during the summer

and also played in a master class with Dons daughter Alisa Weilerstein. Father and daughter

brought both these concepts into their coaching sessions with Quartet B.

I observed Coach B talk about the color she would like to hear. She demonstrated,

with her instrument, how to connect the hands together to produce the sound. She mentioned

Don Weilerstein and another teacher as she explained the technique. Later on she told me

the other teacher was Joseph Gingold, who taught future generations of string quartet

violinists and violists.

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Coach B told me she used images to support character development and interpretation

of the music. She wanted to keep underlining the point that this is art and it's

communicative and it's something you want to interpret (Coach B). She tied the images to

the historical context, such as the Chekhov plays to introduce, this weirder undercurrent of

Russian art and help students understand the culture in which the music was written. I

observed that Coach B discussed images with the students throughout the session. For

example, she asked if they had any images related to the first movement. The cellist said they

created a landscape: the violist's and his part were the solid earth and the second violin's

eighth notes represented running water over the earth. The first violinist said his part

represented the Sirens in mythology. Coach B said she liked these images and asked, Can

we add a touch of moonlight?

The students told me, Since we were imagining more of a sunnier sound, moonlight

is more of a colder, mysterious I guess (Jim). Laura thought the the moonlight like added

on like, a shimmering quality to it. However, Jim questioned whether there was a placebo

effect when they used images. He told me he wanted to hear a difference when they played

with the image of moonlight added to their prior interpretation, but he was not sure he heard

a difference in their sound in the video. Right before they played, Coach B asked everyone

to think about connecting their fingertips. I did not hear the ethereal sound in the first violin

part, but I heard a more cohesive sound quality from the group and a more ethereal sound

from the violist and cellist.

Coach B told me she used Live, Breathe, and Die (LBAD) because she wanted the

passage to be more intense, for the students to feel the harmonies, become more involved in

the nuance of it, and listen to each other more deeply. She added that she wanted them to
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participate equally in this passage. The students said that the practice of LBAD during

rehearsals and performances enabled them to be more spontaneous as a group. Each person

took a turn at initiating the interpretation. Jonathan reflected on the progressive nature of this

exercise:

And its really interesting to see how each person goes, the previous person before
them has inspired them in some way and so the way they feel about the music as we
go along its like changing, because everyones adding in something to the mix. . . .
its not really molded together. Its like unfired clay or something. And so each
person that plays, the next person is just as a result of the exercise a little influenced
by what they just heard, what they liked, what they didnt like, and by their own
ideas. And so by the time you get to the first violinist, its really something thats
collective. . . . And then, usually then you do it just to be everyone initiating and
thats kind of just like for me, I think its like the kiln. (Jonathan)

I observed that they played with a beautiful sound quality and emotional expression.

They moved in synchrony, communicating with each other through nonverbal means of body

movement and eye contact. I could feel the musicians energy and the waves of sound

course through my body. Tears welled in my eyes, and I felt overwhelmed by the beauty of

the harmonies. I witnessed the performance of what was clearly an advanced, cohesive

group of musicians. After all four members took a turn, Coach B told them what she liked

about it, then she asked them to try again, with all four initiating. Finally she told them that

she loved the friction and yearning quality between the first violin and cello parts.

In summary, Quartet B was an example of an established, advanced quartet that

defined rehearsal routines and performed different repertoire over a 2-year period. Members

expressed awareness of their roles and contributions to the group process and appreciated

their colleagues contributions. These students effectively used specific techniques during

rehearsals and coaching sessions. Coach B used an inquiry style, focused on images and

techniques such as LBAD and Connect Right and Left Hands to help the students evolve

sound quality and express the music. References to the historical and cultural context helped
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the students to better understand the character of the music. Coach B honored the legacy of

her teachers as she introduced techniques that imparted mental images for sound production.

In her coaching approach, she established a partnership of mutual respect as she helped the

students to raise the bar in their ability to produce sound and interpret the musical score.

Case: Quartet C

Profile - Quartet C and Coach C

Table 6
Demographic Data for Quartet C

Years Student Ch. mus.

Year at Studied Primary before Semesters
Student Instrument Gender CIM Instr. college ch. mus. Career Plans
Jim First Violin M Junior 13 years violin, Some 4 Solo; open to other
15 years piano music careers
Laura Second F Junior 11 years violin, Extensive 4 Quartet, orchestra,
Violin some piano and teaching
before
Matt Viola M Junior 12 years viola, Extensive 4 Quartet
plus 9 years
piano
Jonathan Cello M Junior 10 years cello, Limited 4 Quartet
plus 2 years
violin
Note: Ch. mus. = Chamber music, and Instr. = Instrument. Students provided their year in school
rather than their age. The age range for student participants was 19 23 years old.

This group came together 2 weeks before I visited to observe their coaching session.

I characterize them as eclectic in their backgrounds and experiences; they were open to learn

and try novel ideas. They impressed me as eager to do well, but uneven in their energy and

ability to create a cohesive ensemble.

This was their first semester together as a quartet, though the first violinist and violist

played together in a prior quartet, and the first violinist and cellist played together in a duo.
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They all had extensive performance experience and all had studied chamber music (with the

exception of the violist) for numerous years before coming to CIM. The violist had switched

from violin 3 years ago; he expressed insecurities about playing with his colleagues due to

his short time with the instrument and because he did not have as extensive a chamber music

background as his colleagues.

Coach C said that the violinists were a bit more developed instrumentally than their

two colleagues and that the group had lots of potential. She noted that the group had a

positive social chemistry and that mutual respect between group members would support

them to work together effectively. Coach C stated that the group needed to learn to maintain

rhythmic energy as they performed. She wanted them to become more extroverted

initiators by using their bodies as they led through the music together (Coach C). I observed

that Coach C projected a powerful, dynamic presence. She was laugh-out-loud humorous in

the way she conveyed ideas. She treated the students with exuberant love and

encouragement. Her style was primarily directive with this particular group.

Because this group had been together for only 2 weeks, they established only a

preliminary rehearsal routine, which included scales or rhythmic exercises to start, then a

play-through of a large section of music, followed by detail work. They usually finished

with a run-through of the piece. The students told me they sight read several pieces together

to listen and get to know each others playing.

Group members said their rehearsals were professional and efficient and members

used diplomacy when they made suggestions. The cellist felt that being good friends helped

the group to come together more quickly. However, the first violinist reflected an internal
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tension in that she wanted to keep social and professional relationships distinct, but maintain

social friendships with group members:

In the past with quartets, we tried to be best friends and that didnt pan out so well.
This time I think were going to try and be more diplomatic, no matter how close I
might be with one of the members . . . so far its been effective, I think, to work in a
professional manner. But I think as the semester progresses well be more
comfortable and hopefully make some breakthroughs as we get to know each other as
friends. (Liz)

The students brought several important concepts and techniques from their prior

chamber music experience. They already knew how to implement a standard rehearsal

framework, come prepared to rehearsals, and bring musical ideas. Group members decided

to use a serious approach from the beginning and get right into the nitty-gritty because they

were a part of the IQS and would receive grades for their performances. Because this quartet

had been together for only 2 weeks, they used the following techniques once or twice each:

Singing the Parts, SC, Live Breathe and Die, and Bach chorales. They employed concepts

such as everyone leading, sing the interpretation, use metaphors, talk less, and try out ideas

right away:

Somebody just comes forward with their idea. And we talk about it a little bit, not
too long, because it's better to do more than to talk more. It's better to take like, 15
seconds saying what you want to say and okay, Lets try it, lets do it and go from
there instead of . . . taking 5 minutes to explain exactly what you want. So at a
certain point you cant really say anymore to get it, you know? (Fred)

Coaching Session Findings Case C

Quartet C played the first movement of Shostakovich String Quartet No. 7, in F-

Sharp Major, Op. 108, at their coaching session. In her postcoaching interview, Coach C told

me that she wanted this group to take away three main concepts: the idea of taking turns

initiating (LBAD), cueing (ber Cue and Pre-Cue-Cue), and trying to project different

characters even more intensely (Coach C). In the 75-min session, she asked the group to try
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a large number of techniques (the most that I observed across the four coaching sessions in

this study). Coach C said she usually introduces several techniques at the first coaching

session to figure out how far I can push them, you know, what theyre capable of doing and

how quickly. By the second or third coaching session, she asked her groups questions to

understand how they rehearsed:

Ill start asking them how theyre actually rehearsing. So, Im curious about if its
one person doing a lot of the talking. . . if theyre all talking, if theyre playing more
than theyre talking, or not. And, and right now I just want them to play a lot and try
a lot of different things and then hopefully theyll get used to the language of these
different things so we can focus more on one thing at a time. (Coach C)

Coach C also depended on Peter Salaff to work on sound with her groups. Therefore, she

focused on the the nuts and bolts of how to play to and across to each other (Coach C).

All four members of the quartet expressed that they got a lot out of the coaching

session. Liz noted that she kind of threw everything at us at once and it was really

refreshing to kind of learn all of her ideologies at once. Fred commented that the group

made a huge jump in their growth as an ensemble and that Coach C really got his attention.

That was really important coaching for us as a group and, and you often experience
this big, you often experience big leaps like that, working with people. . . this was
honestly this was sort of a rare coaching for me. It's not often that you get an hour
and a half of just extremely insightful and helpful information in a row like that you
know? . . . this is the first time Ive been really attentive the whole time, just you
know completely listening to the person because of what they were saying is just so
important. (Fred)

In her interview, Coach C noticed how Fred became engaged in the session, reflecting a

mutual awareness in the coach-student relationship:

He was really trying. . . . I have a lot of hope for him just because I feel like hes
eager. You know, he wants to learn and its important to him. So, hes going to be
fun to teach in that way. (Coach C)

The students answers regarding what they found most helpful in the coaching session

provide evidence that the coachs intentions came to fruition. They reported that the most
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important learning came from LBAD combined with SC, ber Cue, and Pre-Cue-Cue. As a

result they developed greater sensitivity to each other and understood the tempo characters of

the music.

I observed that Coach C provided up front direction in how to tune and the seating

arrangements. Coach C encouraged the group throughout the session with positive

comments and humor. At the same time, she made numerous suggestions for improvement,

using a directive, yet respectful approach. When I asked her why she took such a directive

approach to tuning with an advanced group of musicians, she said,

Maybe thats all they remember is tuning. . . . Because I could see that they werent
treating the tuning with enough reverence. . . . It was a little bit of an assertion thing,
too. I sensed that they were a little uncomfortable with the first coaching and their
being filmed and I just thought lets just focus right away on just listening to those
fifths. (Coach C)

The students told me that in this session they learned about using a tempered

approach to tuning a string quartet, noting that the string quartet becomes an instrument: I

guess it sort of makes the string quartet more like a piano, like the way a piano would be

tuned. . . . This makes the quartet like an actual instrument, like all four instruments start to

be one (Pete). The metaphor of the quartet as a unified instrument provides a conceptual

framework for students to make decisions related to balance, intonation, and sound quality.

Next, Coach C asked the students why they chose their seating arrangement (cellist

on the outside). The first violinist explained their reasoning. Coach C asked the cellist and

violist to swap places. I heard a more balanced and blended sound with the new seating. The

coach noted that the sound was warmer with the cellist sitting on the inside. She said, "I

have a really strong reaction to the seating. It doesn't mean you have to do exactly what I

say" (Coach C). The group played through the first movement of a Shostakovich quartet.

Coach C then walked through portions of the movement as she introduced several
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techniques. First, she introduced ber Cue, and Pre-Cue-Cue. Next, she had the group do a

Theatre Exercise without instruments. Next, she had the group do LBAD. Finally she had

the group combine LBAD with SC.

Coach C told me that she introduced ber Cue and Pre-Cue-Cue because she wanted

them to learn how to send information across to each other, activate awareness, and sense the

rhythmic pulse in relation to each other. She asked them to cue using the large muscles of

the back and legs, from the bottom of the chair and the floor, and encouraged them to

exaggerate their movements. Coach C played with the group to demonstrate how she wanted

them to cue. On the next round, I observed the cellist and first violinist move from their

backs in preparation for their entrances; they cued themselves in.

The students learned that Pre-Cue-Cue and ber Cue is the way you set the

atmosphere before you play the notes themselves to help with the atmosphere when you play.

So obviously you need to be mentally involved as much as you are when youre playing

(Liz). They understood Coach Cs point that youre already in the character before you start

playing (Fred). These techniques provide specific evidence to support the literature on

music and gesture (Davidson & Correia, 2002; Gritten & King, 2011; King & Ginsborg,

2011).

Coach C noted that she introduced the Theatre Exercise of mirroring each other as

another type of cueing without instruments. She wanted to break down barriers because this

was a new group and some of the members were either shy or not confident. Coach C

wanted to focus them a little bit more on how they could try to relate to one anothers

leadership and trust it. She introduced the concepts of initiating, inspiring, and reflecting

and asked the students to inspire each other to reflect their energy. She demonstrated the
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exercise with the first violinist and then had group members rotate through different pairings.

I observed the students mirrored each other well. The second violinist had the most difficulty

with the mirroring process; I sensed she was not feeling rooted in her body as I watched the

video. When she viewed the video after the session, she told me,

I guess you get out of it what you put into it. I think if I for one had been more
physically demonstrative of what I was going to do, it would've been more helpful
and more applicable to quartet playing. (Abby)

What kept you from being more physically involved in it? (Dorianne)

I don't know. I just didn't notice until I saw the video. But I think the point is to
show the other person what you're going to do through body language before you
actually do it. Which is what you should also do in the quartet. (Abby)

The students learned that to be a good initiator you have to be clear (Fred) and that

they needed to initiate the movement from the floor through their whole body. Liz thought

the exercise was surprisingly relevant and wondered if it would change the groups

chemistry. Pete summed up the experience:

We never really did that hand thing before and that was really interesting to me. But
after that, I could sort of see instead of watching their hands or something, or
watching their face for the queue, I watched like their whole body for the queue. And
that was a lot different. It felt a lot easier. (Pete)

Coach C told me that she introduced Live, Breathe, and Die (LBAD) early in her

coaching process because it was her philosophy of how to approach everything in rehearsal.

She often combined LBAD with other techniques as a way to relate and respond to each

other. LBAD follows naturally from the mirroring exercise; with LBAD, students initiate,

inspire and reflect each others energy as they play their instruments. She wanted her

students to shift their frame of reference to a wider awareness and engagement with other

group members to develop trust and understanding and inspire each other:

You can play the way you want to play, but at the same time really understand whats
going on around you, so its that kind of trust so hopefully youre comfortable to play
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the best you can. . . . Youre thinking about ways to positively impact your
colleagues, too, just, not just necessarily, go with me now, but also like, how can I
help you play it even more beautifully? Or, how can we realize it even more
magically together? (Coach C)

As they took turns initiating, I saw the initiators as well as the responders move their

bodies more with the music. The sound was well blended and expressive. After they

finished the exercise, Coach C told them, It took my breath away and listed several things

she liked about how they played the passage.

Coach C told me that she thought the most successful technique of the coaching

session was the combination of LBAD with SC. In the session, Coach C stood up and

counted, using her body to express the phrase. She counted with the group and her

movements helped the group to move more as they counted. Then she had the group play the

section with their instruments before they moved on to the next initiator. I noticed that the

first violinist and cellist moved the most while counting, and the second violinist began to

move more in this exercise. When they played, all group members moved their bodies in

synchronization.

The students had not tried this combination of techniques before, but they said it

helped them understand each others conception of the passage. Because everyone knows

what everyone is thinking . . . its much easier to come to a composite of everyones feeling

on that section or even find something completely new (Fred). The second violinist felt it

really helped her to get into her body motion to communicate her intentions:

I was trying to convey the mood change that goes on in that section from very
extroverted and passionate to quiet and fading away. I noticed I did use more body
language there, because I guess you kind of have to in order to convey that mood. It's
easier if you move while you do it. . . . I think I moved more than I do usually.
(Abby)
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Toward the end of the session, Coach C moved from a directive style to an inquiry

style. She asked, "What's different for you guys about this section? Any observations?" The

violist answered first; then the coach drew the second violinist into the conversation, asking

what she thought. Coach C pointed out that this section has a chorale style and other sections

of the piece are conversational. Then she referenced the historical context and how it was

reflected in the music. Finally, she suggested musical characters and techniques for each

type of passage.

As a postscript, Coach C told me a few months later that the groups performance at

the end of the semester was electrifying. She told me that she guided them in subsequent

coaching sessions to treat the piece like it was performance art. Group members rose to the

occasion; they played with an intensity and character that was really out of the box (Coach

C).

In summary, this was the most heterogeneous of the four quartets in terms of gender,

age, and experience levels. Because this group was newly formed, Coach C used a directive

style in the first coaching session, to walk the group through several techniques designed to

develop awareness, sensitivity, and responsiveness. Her focus was to help students learn the

nuts and bolts of playing in a string quartet. Coach C used techniques such as the Theatre

Exercise, Pre-Cue-Cue and ber Cue to help the students enact physical gestures in order to

embody the music. In Coach Cs coaching approach, she used humor and encouragement to

engage and inspire the students to try out new ideas and techniques.
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Case: Quartet D.

Profile - Quartet D and Coach D

Table 7
Demographic Data for Quartet D

Years Student Ch. mus.

Year at Studied before Semesters
Student Instrument Gender CIM Primary Instr. college ch. mus. Career plans
Mia First Violin F Soph. 13 years Solid 2 Orchestra or
chamber music
Grace Second F Soph. 9 years Some 2 Orchestra and
Violin teach, maybe
quartet
Renae Viola F Soph. 10 years Some 2 Orchestra or
chamber music
Justin Cello M Soph. 14 years Extensive 2 Quartet, composer,
or film industry
Note: Ch. mus. = Chamber music, and Instr. = Instrument. Students provided their year in school
rather than their age. The age range for student participants was 19 23 years old.

Three of the members in this quartet worked together in a quartet the first semester of

freshman year, and the first violinist joined second semester of the same year. Therefore,

they had played together for about 9 months at the time of the coaching session. This group

spent a week during the summer at a US-based chamber music program where they received

intensive coaching and performed. I characterize this group as youthful and creative in

multiple dimensions. These students felt gratitude toward each other, reverence for the

music, and a desire to use music for social good in the world.

The first violinist and violist each had extensive chamber music experience before

coming to CIM. The second violinist also had significant chamber music experiences before

she came to CIM, though she reported none of them were great until she attended CIM

(Grace). The cellist (Justin) played chamber music most of his life as his mother is a
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chamber music coach. Justin coached young (middle and high school age) chamber music

groups while still in high school and used many of CSQs techniques with these young

ensembles.

Grace described the personality of her quartet as very youthful in the way that we

act, but at the same time we have the same endearing spirit of kids. Were always very

passionate about what we do. She added that the group is serious about chamber music.

They do not let artificial boundaries get in the way of achieving their goals. Coach D said

the group had well-matched personalities and playing levels and that she observed they

encouraged and supported each other. CSQ doesnt usually invite sophomores to join the

IQS, but the students demonstrated extraordinary commitment when they chose to attend a

summer chamber music program as a quartet. The students wrote CSQ an e-mail after their

summer experience, which impressed CSQ enough to invite them to join IQS.

Based on the positive experience of their current quartet, all four members expressed

a desire to play in a professional quartet. However, they wanted to keep their options open

and would be happy to play in an orchestra, teach, and play in a quartet on the side. Justin

expressed interest in film making and composition; he said he might pursue a career in those

fields. Both the Justin and Grace studied music composition. They told me they wrote

arrangements of popular songs from childrens films for string quartet in addition to other

composition projects. Group members expressed a desire to perform benefit concerts for

various causes and to share classical music with audiences that normally wouldnt be

exposed to it.

The students reflected that group members engaged as equals in the rehearsal process,

but they contributed different amounts to the discussion during rehearsals. They generally
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agreed that Justin contributed the most, the first violinist the next most, then the second

violinist, followed by the violist. Renae spoke about her shyness and how the group helped

her to become more vocal during rehearsals.

I feel like most of the time everyones participating in everything. I feel like if
anything, Im the one that doesnt do as much. . . . I feel less confident about
chamber music just in my own experience, so I feel sometimes I have to go out of my
comfort zone just to say what I think . . . Im lucky because my quartet, theyre all
such nice people . . . theyve been really like, pushing me a little bit to do well, so I
feel like its getting better. (Renae)

Justin commented about actions he took to encourage others to speak out so they did

not depend on him to contribute all of the time. He described their different personalities and

stressed the importance of balancing the energies of the group:

Theyre so used to me talking sometimes I feel like . . . Im talking too much . . . So

then there will be the occasional rehearsal where I just dont talk. And it's really
funny actually; it's very awkward because after we play, theyre always expecting me
to say something because I talk a lot. But then I just dont say anything. And then
they just sit there for a while. Then Renae is like, okay well, yeah, . . . so I think
it's good to help try to get people more involved because it translates into when were
playing, people are more involved. . . . I think that's really important especially when
it comes to performance, feeling like youre at the same energy level. Because I think
thats when you can start to create stuff, that really affects the audience rather than if
one person is really energetic. (Justin)

Another aspect of group dynamics is the fact that three members were female. Justin

reflected that sometimes there was tension due to social interactions between the females. If

they argued outside of rehearsal, he felt they sometimes brought that tension into the

rehearsal. He told me that he tried to "break down the shells" of defensiveness by making

general comments to the whole group rather than directing comments to individuals (Justin).

He concluded by saying, One of the most important things is how you socially communicate

during rehearsal and . . . the group that stays together 20 years or for a semester. Usually you

can tell depending on their social structure, and the balance of it (Justin). These reflections
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demonstrated self-awareness and intentional relationship management actions that are rare

for such young adults.

All four students gave consistent descriptions of their rehearsal process with the

caveat that it was the process they followed on a good day. First, they spent a few minutes

talking and joking around. Next, they began with a group warm-up exercise, such as a Bach

chorale or a scale, played slowly and without vibrato for about 20 min. Next, the group

discussed and decided what they wanted to accomplish during the rest of the time. Then they

played through a whole movement or large section of a piece. Each member then took a

turn, picked out a section, and made suggestions. At the end of the rehearsal, the students

sometimes or often outlined goals for their next rehearsal or coaching session. Sometimes,

they recorded their rehearsal run-throughs and listened to the recordings for learning

purposes.

The students often recorded their quartet performances and listened to the recording

to evaluate their performance. Group members told me that they started to train themselves

to start with something positive rather than dwell on the negative aspects of their

performances:

It actually starts the opposite. But Justin has been getting on us for that, so were
changing our way of reviewing our performances. . . . if you start with something
negative youre going to associate with all your performances negatively, going into a
performance and coming out of it. And we often forget that the point of a
performance is to let the audience hear the music and enjoy it. And the music comes
first. The performer comes second. So thats what we need to remember, I guess.
(Grace)

This question about how students evaluate their performances prompted Justin to

reveal a deep insight that explains the tendency for younger students to focus on what went

wrong:

Were still very young and . . . when you get to college . . . thats when you get out of
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the small fishbowl. Where youre the biggest fish, and you come into here and it's
like amazing players everywhere. And that's where you start to be like, Whoa, okay,
how am I going to boost my performance to the next level? . . . Theres a huge
confidence strike that a lot of kids go through freshman and sophomore year, where
you [had] huge confidence and you performed concertos with orchestras in high
school. And then you get here and . . . you become scared to play two quarter notes,
you know? Because if theyre not perfect, then some kid down the hall will judge
you. . . . We definitely are working on trying to like, figure out what our mental state
is when we perform. (Justin)

This group used rehearsal techniques from multiple sources, including CSQ members,

Peter Salaff, and Justins mother (who is a chamber music coach). This group worked on

their interpretation and the character of the music in several ways. They chose images to

represent the character, even drawing or painting the images. Some members wrote out a

scene or story line. The group also agreed on descriptive words to describe moods or

emotions and wrote the words in their parts.

Were all very imagery oriented in how we see things and how we hear things. So for
Shostakovich its wonderful because he wrote the same way, like he picks a specific
image. . . . And for us like, we have painted our representations of what we think a
quartet is. Grace just did a beautiful one of the first movement . . . We do drawings,
we write stories for things that have more of a story line or write scenes. . . . Its more
a way for us to understand what the other person is feeling for a certain movement,
because it can be really hard if youre just playing it, to really communicate your
ideas. But, if I know how Grace is seeing the whole character of this piece, I can
better support that and its the same in reverse. (Mia)

The students said they applied concepts from coaching sessions with Salaff when they

played Bach chorales. They used Salaffs idea of sending a ball of energy and sound around

the room as they play:

We start creating this ball of energy and shooting it out to the audience . . . so theres
like a ball of sound and we try to shoot it forward and then shoot it to the left and then
shoot it up, go back, or this way. So we try to take like, 20 measures or something or
even a Bach chorale and try to move the sound different ways around. (Justin)

The effective use of images in this case supports Kohuts (1985, 1992) teaching model,

which incorporates the use of mental images in a natural learning process.

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This quartet frequently used the technique of changing seats to gain different musical

perspectives and train their ears to hear each quartet voice. All four students mentioned this

technique as the one they most frequently used, followed by Live, Breathe, and Die (LBAD).

Switching Seats was not included in the original CSRT document, yet this quartet felt it

really helped them. The technique of Switching Seats utilized a spatial and somatic change

to incite a perceptual shift:

Im not sure if Cavani has done this, but they havent really mentioned it to us very
much. But we love switching chairs. So well rotate and eventually all of us will sit
in the first violin chair. . . . And what it does is, you hear parts differently than you
did before and I think when you keep doing that, when you get back to where your
normal seats are, you have an awareness of what everyones role is that you start to
know, Okay, my, my line is maybe not as important as I thought it was right here.
But Im going to inspire this person to play hers out. (Justin)

Two of the students said LBAD helped the group to hear each others parts and

musical interpretations without having to talk about it. In one case, the technique helped

bring out a shy persons ideas:

We do use it all the time. Mostly because we have such different ideas and everyone
has such different interpretations. And when youre playing in a group a lot of times .
. . its hard to hear exactly what everyones doing or trying to do. So when you
actually just single one person out, you can actually follow and help them or you can
take their ideas. And its a lot easier than having to stop rehearsal and [say] in this
section I want to do this and this. You can just hear it and see it. . . . And plus I
think that we really like to do this a lot for me too. Its just because a lot of times we
dont know exactly what we want or why we want it, but then, if you just play and
lead, then its a lot easier than to verbalize. (Renae)

Though the group tried SC in the past, they said the technique was useful but they did

not use it often enough. Justin said it helped to see CSQ demonstrate the exercise at the

Rehearsal Techniques Seminar so his quartet colleagues could feel more comfortable about

using their voices in a dramatic, expressive way.

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Group members reported that they frequently used Left Hands Alone while working

on their last piece. They use it for a variety of reasons, primarily to take the bow and sound

out of the mix and help them focus on how they feel the music internally,

Well it engages your eyes because you really cant hear anything. It is all on what
you see. It helps you match vibratos. Also once you do this and you dont have your
bow to assist you, you start using the rest of your body to show where you are in the
music, how you want it to be phrased. (Grace)

Justin told me about his experience in coaching younger students (middle and high

school age). He used a variation of LBAD with his students; he asked them to play scales

and send their sounds to each other. Then he had them try the same technique with a piece of

music.

Coaching Session Findings Case D

Quartet D played the first movement of Shostakovich String Quartet No. 1, in C

Major, Op. 49, at their coaching session. As we watched the video in her postcoaching

interview, Coach D told me about her thoughts as the group finished the play-through. She

wanted the students to discover how to bring their sounds out while maintaining the

sensitivity they already expressed. Coach D intended to keep her comments focused,

something she had worked on to improve her coaching skills. For this group, she intended to

focus on sound production, blend, and communication. Coach D told me that she would like

the group to play out more and be able to fill a concert hall, blend their sounds, and gain the

skill of listening from the outside, what their part needs to do for the others (Coach D).

She felt the group was very responsive in the moment to her suggestions, though she noticed

they tended to go back to their old patterns as they played further.

The students all said the coaching session was really helpful. They felt nervous at

first; as they settled down they focused on Coach Ds suggestions. Group members said they
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gained greater awareness of each other, refined their listening, improved their sound, gained

clarity on their interpretation, and learned some useful rehearsal techniques.

I observed that Coach D established a positive environment with opening comments

such as, "very nice - beautiful. Do you guys like this piece?" and then asked what they found

challenging about the piece. Coach D stayed seated through most of the session and had a

matter-of-fact demeanor. She spent much of the time talking about technical aspects, such as

the tempo and dynamic markings. She consistently stopped the group with "good" or

"beautiful" and stated what specific aspect was good before she gave suggestions for

adjustments. Coach D used primarily an inquiry approach; she read from the score and

referenced the score as she asked questions and made suggestions.

Coach D consistently tied her suggestions to the character or emotion of the piece.

When she asked them about their interpretation, the students described the character of the

piece as having a feeling of innocence. They employed an image of children playing in the

park. Coach D took that idea, expanded on it, and made suggestions to enhance the color,

dynamics, and phrasing to support the park scene. Coach D used four techniques during the

coaching session: At the beginning, she asked them to play the passage No Vibrato. In the

middle, she had them use SC. Later on, she asked them to play with the metronome. Finally

she requested they use Left Hands Alone.

Coach D told me she introduced the No Vibrato technique to help the students

discover what they were doing with the bow, because ultimately the sound is coming from

the bow (Coach D). I observed that the passage sounded like a Bach chorale without

vibrato. The instrumental voices blended well together, and I clearly heard the phrase line.

The students got the point: Part of the reason why it's so helpful is that you start to realize
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Im not initiating the sound with my left hand; Im initiating it with my right hand (Justin).

They drew additional meaning from the exercise; members mentioned Peters focus on the

pitches rubbing together, the use of Bach chorales to blend sound, and how using the bow

adds warmth to the sound:

I felt like all the pitches were rubbing against each other, which is something that
Peter Salaff always said, and I never really quite understood. But I felt like
everything was vibrating together as one chord instead of four voices. And, I also felt
like we all took more energy into showing our interpretation without vibrato. (Grace)

The students and coach all agreed No Vibrato was a successful technique for this group in

this coaching session. The concept of rubbing pitches against each other and feeling the

vibrations of the sounds as a single chord helps students to fine-tune their sensory experience

of listening to and performing music.

Coach D said she introduced the SC technique to help unify the pulse character of the

music. She thought about using this technique in advance of the coaching session because

the score at the beginning lends itself so well to that exercise (Coach D). She observed in

the video clip that the students bodies moved more when they counted out loud. I also

observed greater body movement from the students. The students liked SC because it helped

them match their internal rhythmic pulses to each other. When watching the video clip, two

students noticed that they synchronized their body motions when counting out loud. One

student would have liked to hear more character in the voices of each member. Taking away

the technical demands of playing their instruments made a difference:

Its harder for us to communicate our ideas sometimes if were not really focusing on
the fact that we have to show someone else were feeling it this way. So for that, it
was really helpful because . . . you can really hear the enunciation. Theres nothing
technical thats getting in your way of showing the other members what youre trying
to do. (Mia)
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Coach D told me she introduced the Metronome technique to illustrate the

composers intention and to help the students play with a more consistent tempo: I guess I

felt responsible that I should at some point take the metronome out (Coach D). She said the

group was hugely successful at staying with the metronome (Coach D). I observed that the

students used more body movement to indicate the ebb and flow of the phrases; the music

sounded more sustained and alive even though the tempo was slower than before.

The students understood the point that they needed to play with greater consistency of

tempo. Although they used a metronome in rehearsals for selected passages, they did not use

it throughout the piece. They discussed the composers intention during rehearsals and used

the metronome to decide whether to abide by the markings in the score, or adjust the tempo

based on their interpretation. Justin mentioned how using a metronome forces one to stay in

the present moment:

Sometimes you play through it so much . . . so you dont really live in the moment of
whats going on. You sort of just say oh, go to this note now and thats going to
happen. . . . [Using] a metronome makes you feel very grounded and okay, note by
note and feeling whats happening right now and not whats going to happen. (Justin)

Coach D introduced the Left Hands Alone technique to help the students feel the

same rhythmic pulse and to reach beyond their individual sphere of awareness. At the same

time, they needed to maintain the character of the music:

I think that passage lends itself well to that exercise. . . . It is just a slow enough pulse
that, if youre heart rate that day is a little faster or a little slower, then whoever
youre playing with, it can be hard. . .You need to be kind of aware of left hands. . . .
Its a character thing though . . . often if you ask students to do [Left Hands Alone],
they start slapping their fingers on the board so they can hear it. And then thats not
the character . . . so they [need] to touch the instrument in a way that they want it to
sound, so that its right in the character. (Coach D)

Because I sat behind the quartet, I could not directly observe their left hands.

However, I observed that their bodies moved more to indicate the phrasing and rhythm. The
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students felt surprise at the difficulty of Left Hands Alone, though they all found it helpful.

They recognized the purpose was to unify how they felt the rhythmic pulse. They became

aware of each others body movements and let go of preconceived ideas about the pulse:

It shows whats really, what the rhythmic problems are like, right away . . . when
theres no sound, then it's straight from what you feel the music should be doing, and
its sort of like a test of how unified you really are. (Justin)

I guess we started together kind of, but then after a while its so easy to just hear it in
your head a certain way without really visually seeing what everyone is doing. I just
imagine their parts happening, and then were not together. . . . I guess you really
have such a strong image of what it is already, that its hard to break that. (Renae)

Coach D suggested a final technique for the group to try during their rehearsals: Play

it Fast, in which the group takes a slow passage and plays it much faster so they can easily

feel the arc of the phrase line. Then the group should play the passage progressively slower

each time until they get back to the original tempo. At the end of the session, Coach D

prepped the students for the upcoming IQS master class. She said they should play with a

comfortable singing sound in the pianissimo sections and take advantage of the hall, along

with the composer, as the fifth instrument.

Quartet D contained the youngest students in the study, yet they had already worked

and performed together for a year. They utilized many of the rehearsal techniques in their

rehearsals as well as created their own strategies such as painting pictures to express the

character of a piece. Though young, these students expressed depth and maturity in their

interview comments. Coach D employed a combination of inquiry and directive styles. She

used techniques such as No Vibrato, SC, Metronome, and Left Hands Alone during the

coaching session to help the quartet focus on their ensemble sound and rhythmic pulse.

Coach D utilized a coaching approach that encouraged and nurtured her students.
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Chapter Five: Summary

I presented the findings of four case studies in Chapter 5. Each case included

descriptions of the group dynamics and coaching process for a unique student quartet and

coach pair (See Appendix G, Table G1 for more detail). The coaches all established an

environment that was positive, fun and challenging. Each coach introduced rehearsal

techniques during the coaching sessions that were tailored to the stage of development for

each student quartet. Each coach used a variety of rehearsal techniques: Shakespearean

Counting (SC) and Live, Breathe, and Die (LBAD) were used most often (Appendix G,

Table G2). Coaches also adapted their coaching style, areas of focus and coaching approach,

based on the students level of experience and tenure as a group.

The students reported that they were engaged and inspired to perform to their best

ability. They provided examples during their interviews of specific rehearsal techniques that

they used most often during their rehearsals. The rehearsal techniques that students reported

using most often were singing, LBAD, SC, Bach Chorales and writing words in their parts

(see Appendix H, Table H3 for detail). Further research is needed to confirm, through

observation, which rehearsal techniques are actually used during student rehearsals.

In the next chapter I present my cross case findings to answer my research question

and subquestions. I introduce a model for chamber music coaching, as well as the concept of

a generative team.
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CHAPTER SIX: CROSS CASE FINDINGS THE GENERATIVE TEAM

In this chapter I look at the quintain, which is the group of four case studies from

Chapter 5, to find evidence to answer my research questions. First, I examine the analysis

results to answer my primary research question: How do members of a professional string

quartet coach advanced chamber music students? To answer this question, I present the

evidence from the interviews and cases to derive a model for coaching chamber music.

Second, I compare the cross case findings to a set of intended outcomes for CSRTs to answer

Subquestion 1: What coaching strategies and rehearsal techniques help students to develop

effective teamwork?

Next, I address research Subquestion 2: How does rehearsing and studying in a string

quartet enable productive collaboration within student string quartets? To answer this

question, I first examine what the students said about their group dynamics and what they

learned from working in a string quartet, and present patterns from my observations that

point to new insights. Next, I present the concept of a generative team that combines ideas

from the findings to identify elements that contribute to productive collaboration. Finally, I

conclude this chapter with a section of unanticipated findings and a summary statement of

findings.

The Coaching Model

I developed a model based upon my analysis of each CSRT in light of the interviews

and coaching sessions. It is a reflection of what the coaches told me they do in their

coaching process. I also compared this coaching model with what I observed from the cases.

Figure 1 illustrates the model from an intellectual perspective (what they said they do), and

Figure 2 represents my experiential findings from the cases (what they actually did). Figure
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1 contains a foundation at the base of the model that represents the coaches philosophy of

coaching. The second level of the model represents the coaching strategies, which identify

how and why techniques are to be used. The third level of the model represents the rehearsal

techniques, or what is introduced during a coaching session. This level is further divided into

three streams of techniques, grouped by when a technique might be introduced during a

student groups development.

Figure 1. A coaching model for chamber music.

Level 1 - Coaching Philosophy: Create an Environment for Learning and Performance

Three major themes emerged from the interviews with the coaches about the type of

environment they seek to create at CIM: loving, relating, and inspiring. I illustrate these

three major themes in the next three subsections.

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Loving.

Coaches imbued the environment with love through care, kindness, nurture, empathy

and friendship. Coaches spoke of the care they have for each other. Furthermore, the

coaches aimed to model care for their students:

And then having Peter Salaff here? . . . Hes just an amazing person. Hes just a
good person. Bottom line. He cares about each and every person. Hes just so gentle
and its so important to him, and the students feel that. . . . [I] definitely would hope
that they could take that to other aspects of their lives, or that they could either talk
about it in a way or show it through their playing in a way that other people would see
that magic. . . . that [they] want to share their gift. (Kirsten)

The coaches nurtured their students, similar to how their teachers nurtured them: I

was just thrilled to be a part of this because it's a very nurturing program. And I think the

whole school is a very nurturing place (Peter). They created an atmosphere of kindness

through carefully chosen words: We encourage kindness and, and at the same time showing

their feelings, it's very important (Peter).

Coaches described how important it is to feel empathy for fellow quartet members as

well as for the composer. A heightened awareness of others is an important skill for a quartet

member. For example, Live, Breathe, and Die was characterized as a technique of getting

everybody out of themselves and putting yourself in another persons place (Annie). Peter

stressed that students empathized with each other physically in relation to the music. This

expression extended to the pain of the music, musicians, audience, and humanity:

Empathetically consoling each other in some of the really sad moments, youre
consoling one another. Youre feeling the pain that each other is sensing and feeling
together, and youre embracing each other as youre feeling that together. So theres
a certain sense of humanity or family. (Peter)

When studying the score, one must stand in the composers shoes in order imagine

how that would be, or just empathizing with the composer, knowing what they were going

through in their own lives which helps students to interpret their music in the most
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meaningful way (Peter). Peter described feeling the presence of the composer while

performing as a member of the Cleveland Quartet:

I think that sometimes, particularly with Beethoven quartets, I can almost sense his
presence. It's a strange thing to say, but I can feel him somehow. Particularly with
the late quartets . . . it's hard to put into words . . . A presence, of the composer being
there. (Peter)

Finally, playing chamber music with love for ones colleagues was likened to sharing

life experiences with good friends, to appreciate the social aspect and build a relationship

thats a lot about becoming a friend. And maybe the most powerful part of your friendship

will be when you play together, because thats very powerful (Merry).

Relating.

Coaches instill a positive, respectful, trusting, and sharing atmosphere that nurtures

relationships. Establishing a positive climate was the most pervasive theme of creating an

environment in the coaches interviews. Coaches said they endeavored to begin every

comment with what went well or to acknowledge hard work and accomplishment.

As a teacher I think . . . the way one says things are so important. . . . that we say
things in the most positive way . . . I think it can be very hurtful to make a [negative]
comment to someone. . . . so, it's very important that we find ways to give the
message in the most positive and informative way to one another. (Peter)

The coaches said they asked students to contribute something positive about a

performance or play-through. As mentioned in the coaching process section of Chapter 4,

coaches worried that students would focus on their mistakes to the exclusion of what went

well, so they were careful to help students value their accomplishments. Along with focusing

on the positive, coaches emphasized that respect is required in all communications. In

Chapter 4, I illustrated how the context of the coaching environment is one of mutual respect

between the faculty members of CIM. The coaches asserted that students must learn to
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communicate with respect for each other, or they would face challenges to group dynamics at

rehearsals. An atmosphere of respect engenders safety, which frees students to learn.

Always begin with a positive comment or enthusiastic observation because that really
does create an atmosphere of respect. And then people are open and ready to learn
together. And those are the two main things that I think that we try to facilitate,
really. Because then a lot of stuff can happen on its own if they have those basic
things in place. (Mari)

Trust is a necessary ingredient to enable open communication during rehearsals and

risk taking during performances. Trust is a natural result of a positive and respectful

environment, it enables students to be receptive to new ideas. The coaches said they wanted

students to play music together in the most meaningful way that feels connected and filled

with trust, so that its not just scary (Merry). Trust provides a structure that frees musicians

to express the music more fully during performances:

It also means that when we go into the live performance when were performing for
people, can we trust that we will not only do the stuff that we litigated in our rehearsal
but in fact that we might do it even more spectacularly than weve ever done it. . . .
And hopefully the more you have the trust, its like a structural feeling. You feel
liberated then by that structure. (Merry)

As the teachers at CIM modeled the act of sharing, students emulated them by

supporting each other. Coaches and students learned from each other in the form of give

and response. The environment of love, respect, sharing, and support freed students to try

out new ideas. The coaches created a bond with students from a position of mutual love for

the music that sustained them through frustration and challenge:

And, there's a level of love and respect set up for the music . . . you walk into the
room with that. So it's very rare when you have somebody who's not receptive
because that's been set up. I dont know whether you would call it a vibe, or
whatever . . . but it's in the back of my mind all the time, how much I love this music.
And that were sharing this together, it's kind of a bottom line. . . . I have to bring that
back, especially if I get frustrated if somebody in the group is not getting something,
to just keep going back to that. (Annie)
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Inspiring.

In Chapter 4, I discussed the coaches goal to inspire their students and encourage

students to inspire each other. The coaches strive to establish an environment that inspires

everyone through commitment, empowerment, humor, and fun. Students made a

commitment to play together in a string quartet for at least a semester. Often the

commitment extended to the entire time they were students at CIM. That commitment

included regular rehearsals, individual preparation, and a tacit agreement to try out each

others ideas with all of ones energy and ability. One of the coaches told a story about the

Juilliard Quartet that illustrates a level of commitment that inspires colleagues:

[There] was a good story that we heard from Earl Carlyss who was in the Juilliard
Quartet. And that they would really try each other's ideas. They were at that point
performing so often that they had the luxury of trying each other's ideas in
performance. . . . There was something that the two violinists really were in
disagreement about. So he said, Okay, tonight we'll do it your way. Tomorrow
night, we'll do it your way. And then talk about it at the end. And they both tried
each other's ways so convincingly, that they each changed their minds and liked the
other ones better. . . . And we would say to ourselves and to our students, to really
try each other's idea with that much commitment. (Kirsten)

Annie used the term empowered throughout her initial interviews. I subsequently

asked the other coaches how they empower their students. The coaches indicated that having

ones voice heard empowers students. The coaches said they encouraged students to

contribute ideas and speak their mind:

They have ideas. . . . Some of the freshman and sophomores, they dont feel like they
have time to have ideas because theyre so busy trying to audition for school, and get
in, and be good. And they forgot why theyre doing it in the first place. So,
sometimes youll get the response, we didnt talk about it, and I say, okay, lets talk
about it. (Annie)
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A trademark characteristic of CSQ is that they used humor and had fun while

coaching. The coaches emphasized the importance of creating a fun environment in which

students grow. Annie said,

This is one of the things I love about the quartet, it's always been this way. We have
always had a really good sense of humor. A sense of the absurd, were not afraid to
be a little silly and maybe a little nonsensical. (Annie)

Level 2: Coaching Strategies

The second level represents the coaching strategies. Each vertical column represents

a categorization of how and why techniques were used, based on the coaches interviews.

For example, a coach may introduce techniques at a coaching session to work only on

ensemble and sound (the middle column) because she or he wants to impress a key idea

about sound production or rhythmic coordination during the session. Alternatively, a coach

may introduce techniques in all three columns in order to touch upon multiple areas of focus.

The vertical columns have dotted borders to indicate that various techniques may be used for

more than one purpose, as noted in the tables in Appendix F.

Level 3: Rehearsal Techniques

The third level represents the rehearsal techniques, which are represented in table

format in Chapter 4 (Tables 1, 2, and 3) and Appendix F (Tables F1, F2, and F3). The first

substream in this level includes techniques for newly established ensembles or less advanced

musicians. The second substream in this level includes techniques for more advanced

musicians, and the third substream includes techniques for the most advanced or well-

established ensembles. I used dotted lines to indicate that a rehearsal technique may be

introduced at different stages of a groups development than indicated in Figure 1, depending

on the factors described in the Coaching Process section in Chapter 4. Therefore, the

grouping into beginning, middle, and advanced substreams is an approximate judgment.

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The Coaching Model An Integrated, Experiential View

Figure 2 depicts an experiential model of my cross-case coaching session findings. It

represents an integration of my observations and experience of the coaches enacted coaching

process. The circle represents the field in which the coaching session occurred; it correlates

to the coaching philosophy foundation level in Figure 1. I observed that the coaches

established a field of positivity (loving), in which the students awareness and sensitivity

(relating) were heightened, and students were encouraged to inspire and reflect (inspiring)

energy between group members. The triangle represents the major focus of the coaching

sessions: the coaching process facilitated interpretation and expression of the music; the key

aspects of interpretation included character development, ensemble, and sound quality.

Figure 2. An experiential view of the coaching session.

A side-by-side case analysis summary is provided in Appendix G, Table G1. The

cross-case findings support the findings from the initial interviews with the coaches; I
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observed them enacting the elements of the coaching model in Figure 1. The following four

subsections provide evidence from the case studies to support my assertion.

Positivity (Loving)

Each of the coaches established a field of positivity through their use of affirmative

and encouraging comments throughout the sessions. As soon as the students finished playing

the music they prepared, the coaches all began with positive comments. Two coaches told

me they wanted to make sure they acknowledged at the beginning the hard work that their

student groups had already accomplished. Another coach said she wanted to connect with

and encourage the students right away.

The coaches stopped the students after they performed each section of music with

consistent statements such as, great, beautiful, or awesome! Usually, the coaches told

the students what worked before they made a suggestion for improvement. The coaches

consistently acknowledged small successes. For example, when the group or individuals

got a point as demonstrated by their playing, Coach A responded with, "That's it.

Terrific!" and articulated what she liked about it.

The coaches all used inquiry as part of their process. They used questions that

modeled the type of communication needed for successful group interactions, as described in

the coaching model, by starting comments with phrases such as, "I wonder if," "What do you

think about...?" "Would you try ...?" As I noted in the case study, coach C used a more

directive approach in her session and moved to inquiry toward the end of the session. All of

the coaches used humor to some degree, and two coaches inserted playfulness into the

sessions. All of the coaches included stories, either about their own learning experiences or
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tangentially related stories. I experienced the coachs behaviors in the sessions to be kind,

caring, nurturing, and empathetic.

The students provided specific feedback about the coaches that indicated they also

saw these qualities in their coaches. For example, in Chapter 4, Peter said he liked to work

with the students ideas. One of the students confirmed that Peter behaved accordingly:

Hes very open minded and doesnt want to change anything that we have come up with,

but he just wants us to have a bigger range of ideas, like by experimenting (Jim). In an

example that represents students experience with Coach B, Laura said, [She] is really,

really outgoing. She makes things really fun . . . this is with all of them, but especially [with]

her, I see the character coming from her. Liz told me, With Coach A . . . I loved her so

much. She had a lot of great ideas and always proposed them in such a sweet way and

Coach D is extremely cerebral and working with her is always a treat because shes, you

know, so smart and really nice. This evidence supports the construct of a loving

environment, which aligns with the foundation of the coaching model.

Awareness and Sensitivity (Relating)

The coaches used several techniques to help students gain greater awareness and

sensitivity to each other. For example, Coach C introduced the Theatre Exercise to help

students learn to mirror each others physical movements. Then she added the concepts of

ber Cue and Pre-Cue-Cue to help students apply what they learned to the cueing process.

As illustrated in Case C, these three exercises opened awareness to the embodied aspect of

playing an instrument through the use of gesture. The techniques enabled energetic

connections between members of the group.

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Three of the four coaches used Live, Breathe, and Die (LBAD) in the coaching

sessions (see Appendix G, Table G2). Coach C intentionally introduced LBAD to follow the

theatre and cueing exercises in order to establish a new groups skill to initiate, inspire, and

reflect each others energy. The exercise helped to develop trust among group members.

Coach A used LBAD to open her more advanced students awareness to each others musical

lines. Her students reported that as a result of this technique, they adjusted their voices

relative to each other for a more balanced sound. Coach B used LBAD to help her advanced

group listen to each other more deeply and be able to express the music with greater

intensity. The students experienced how each person influenced the next persons

interpretation until a combined interpretation emerged.

In each of the coaching sessions I observed that the coaches showed respect for the

students by asking students about their decisions, asking them for their ideas, and by trying

ideas the students suggested. For example, Coach A asked about the interpretation choice the

group made in a certain passage:

I wanted to ask them why they had made a particular decision because it was
purposeful that their [bow] stroke [was] different at one point. And I was prepared to
either be fine with it if they had a really valid reason or to maybe lead them into a
discussion about, how they got to that point of deciding on a longer stroke because for
me, when I listened to it in the place it really didnt make sense. So, to maybe think
about that a little bit, and I knew that they would probably have some good reasons.
(Coach A)

One of the students commented about this example of inquiry and dialogue with

Coach A in her interview:

And, I guess . . . we were kind of heading in one direction but she suggested
something different so we had to think about that now, and think about whether we
like our way better or her suggestion better. (Madeline)

So if you decide you like your way better, what will you do? (Dorianne)

Well probably talk to her about it and say we like our idea better and this is why.
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And often if you do like your idea better and you have a very, very good reason for
that, the coach will be fine with that. (Madeline)

Therefore, the evidence supports the coaching models foundation of relating, which

includes respect, trust, give-and-response, awareness and sensitivity to others. Furthermore,

the techniques of the Theatre Exercise and LBAD are included in the Group Dynamics

category and Cueing (ber Cue, Pre-Cue-Cue) is in the Ensemble and Sound category in the

coaching model.

Inspire and Reflect Energy (Inspiring)

The third aspect of creating an environment for learning and performance is inspiring.

According to the model, inspiration comes through commitment, empowerment, humor, and

fun. I provide several examples here in which the coaches directly or indirectly addressed

these aspects of inspiration.

Though the other coaches used the term initiator in their coaching sessions, Coach C

used the term inspirer in place of initiator throughout her session. She said an objective of

each technique she used in her session was to help her students adopt the role of inspirer.

The students became comfortable with the role of inspirer as the session progressed. The

members of the three groups that used LBAD in the sessions (Quartets B, C and D) reported

feeling energized and inspired by their colleagues as each took a turn initiating while the rest

of the group reflected the initiators energy.

I observed several instances in which students tried new ideas with conviction similar

to the story about the Juilliard quartet told by Kirsten. For example, Coach A experimented

with the cellist, asking her to play in a different register than indicated in the music. When

the cellist played the section with conviction, Coach A jumped up and said, That was

great! and explained what she liked about it and concluded with, That was terrific!
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As described in Case B, the coach used images such as moonlight to help the students

express an ethereal quality in the music. The image of a drunken vodka bear moved the

cellist in Case C to give a boisterous performance of his melodic line. The images of breezes

in the park combined with No Vibrato gave the students in Case D inspiration to play their

slow movement with a beautiful silken sound.

The coaches used LBAD to empower their students to express their interpretations in

a spontaneous way to their colleagues. I observed that LBAD was an effective technique to

enable students to express ideas without requiring them to talk about their interpretation

before playing. Matt observed that there is an embodied aspect to this technique, You're

doing everything in your power to lead your group into doing the musical ideas that you

have. I find that you end up breathing a lot and leaning towards the group members that

you're trying to pull in. Finally, as noted in Appendix G, Table G1, all of the coaches used

humor and told stories at various points during the coaching sessions. I heard laughter

throughout these sessions; the humor was never sarcastic nor did it make fun of people. I

experienced it as humor coming from kindness.

Interpretation and Expression: Character, Ensemble, and Sound Quality

The case evidence shows that the coaches focused primarily on interpretation and

expression, with the exception of Case C, in which the coach balanced interpretation with

the nuts and bolts of playing in a quartet (Coach C). Though the coaches sometimes talked

about technical aspects such as bowings, foremost in all of the coaches words and actions

was the expression of character. In the sessions, the coaches emphasized that the primary

goal of interpretation is to convey the composers intention by understanding and interpreting

the musical score. The sessions all included multiple discussions about the character as
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related to tempo, sound quality, and expression. As discussed in the section on Coaching

Goals in Chapter 4, the coaches felt that understanding and expressing the character of the

music was the most important aspect of the interpretation process.

The coaches brought up the cultural and historical context of the music, and talked

about the composers life. The students responded with comments that indicated they had

studied the score and read about the composers life. Many participants used metaphors and

images to assist in the interpretive process. Students and coaches also sang phrases

throughout the sessions to indicate their interpretation. This evidence demonstrates that the

category in the coaching model of Interpretation and Expression accurately includes

character development, score study, historical context, singing parts, and images.

Three coaches used Shakespearean Counting (SC) to help students discover and

articulate the character of a passage. The technique takes away the demands of playing an

instrument and frees students to focus on rhythm, articulation, and dynamics. The students

reported that SC helped them match internal rhythmic pulses to each other and use their

bodies to communicate their intentions. Coach A mentioned that she used SC as a way to

work on interpretation without singling anyone out.

Coach A used Clapping and Coach D used the Metronome to help the students isolate

and become aware of the rhythmic dimensions of tempo character. Coach D used Left Hands

Alone to help students unify the rhythmic pulse. She impressed the importance of

maintaining the character of the music even though there is no sound with Left Hands Alone.

The students in Quartet D found the Metronome and Left Hands Alone to be very helpful.

The students in Quartet A found Clapping to be somewhat helpful but not as helpful as SC.
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The coaches used several techniques to blend voices and enhance sound quality.

Coach D used No Vibrato with her students to achieve a more consistent sound and

emphasize the chorale-like quality of the musical passage. Students said they became aware

of the chorale-like quality of the music, as they remembered that the sound primarily comes

from the bow. In addition to using images, Coach B had her students Connect Right and Left

Hands to experience an electric connection between their fingertips to express different

sound colors. Finally, LBAD also served the purpose of helping students express the

character of the music and improve sound quality. All of these techniques except LBAD

(which is included in the Group Dynamics category) are included in the coaching model

category of Ensemble and Sound.

The coaches expressed a desire to intentionally transfer the knowledge and practice of

the rehearsal techniques to students. The findings in the cases show that the students learned

the rehearsal techniques by name and employed several of them on a regular basis in

rehearsals. Many of the students reported that they used the same rehearsal techniques in

coaching sessions on separate occasions with different coaches. Furthermore, they provided

several examples of how they incorporated their understanding of rehearsal techniques into

their musical process as an ensemble. The introduction of the Rehearsal Techniques Seminar

at the beginning of the school year served to reinforce the major rehearsal techniques.

Therefore, the findings provide evidence of transfer of the knowledge and practice of the

rehearsal techniques to students.

Coaching Process A Progression of Styles, Foci, and Approaches

The coaching session evidence points to a progression of different styles, areas of

focus, and approaches that the coaches adapted to students needs (see Figure 3). Quartet C
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was the least experienced ensemble and Coach C used a directive style with some inquiry.

She focused on the nuts and bolts of string quartet playing and provided enthusiastic

encouragement throughout the session. Quartet D was more experienced as a group with one

year together, though the group included relatively young members. Coach D used an

inquiry style with some directive aspects. She focused primarily on sound production to

enable the group to perform in a concert hall and provided guidance and encouragement to

the group.

Though new as a group, Quartet A was comprised of more advanced students. Coach

A used an inquiry style and focused on interpretation and ensemble. She approached the

group as an encouraging partner and coach. Quartet B was the most advanced group with the

potential of becoming a professional quartet. Coach B used an inquiry approach and spent

most of the session focused on interpretation and sound colors. She adopted an approach of

partnering and guidance. We can see across the cases a progression in style of directive

toward inquiry, from basics to interpretation and nuances, and in the approach from

encouragement to partnering. In summary, the models depicted by Figures 1, 2 and 3, plus

the accompanying evidence that describes CSQs coaching process, address my main

research question of how members of a professional string quartet coach their advanced

chamber music students.

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Quartet C New/Mixed Experience

Quartet D Established/Less Experienced
Style: Directive + Quartet A New/Experienced
Inquiry Inquiry + Quartet B
Focus: Nuts & bolts Directive Inquiry Established/Experienced
Enthusiastic Sound Interpretation & Inquiry
Approach: encouragement production
ensemble Interpretation & sound
Guidance & Encouragement color palette
encouragement & partnering
Partnering & guidance

Figure 3. Progression of styles, foci, and approaches used by coaches with student groups

who have different levels of experience.

Coaching Techniques and Strategies Compared With Intended Outcomes

As a final step in my analysis of the CSRTs, I synthesized ideas from the model to

create a summary of intended outcomes for using the CSRTs, which includes the outcomes of

(a) awareness, (b) rhythmic connection, (c) shared interpretation, (d) shifting perspective, (e)

listening deeply, and (f) becoming the other. I added an additional outcome that the coaches

did not explicitly describe prior to my observations: (g) embodying expression. My

observations of the coaching sessions and the postcoaching interviews with the students and

coaches (Appendix G, Tables G1 and G2) validated the coaches intended outcomes. I give

examples in the following subsections of how the intended outcomes of the rehearsal

techniques were met. These findings address my research Subquestion 1: What coaching

strategies and rehearsal techniques help students to develop effective teamwork?

My operational definition of effective teamwork is as follows: The process of

working and performing together in which the group experience contributes to the growth
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and personal well-being of team members and the groups performance meets group

members and the audiences standards (Hackman, 1990, p. 7). I contend that the intended

outcomes support this definition of effective teamwork.

Awareness

All of the coaches helped the students gain awareness by referencing the score

throughout the sessions. Coach B spoke about the historical and cultural context to help

students expand their concept of the character of the music. Coach C devoted a large part of

her coaching session to help the students gain somatic awareness and awareness of others

through techniques such as the Theatre Exercise, ber Cue, and Pre-Cue-Cue. Coach B used

the mental image of Connecting Left and Right Hands to raise awareness of internal kinetic

connections and Coach D used Left Hands Alone to increase students awareness of the

kinetic relationship between members of the group. Coach C used LBAD to raise awareness

and emphasize the importance of inspiring and responding to each other.

Rhythmic Connection

Coaches A, C, and D successfully used SC to help students unify their rhythmic

connection. Coach A used Clapping less successfully to align rhythms. Coach D used Left

Hands Alone and the Metronome to align rhythms and establish the composers intention for

tempo. Three of the coaches used SC to assist students in clarifying their interpretation,

which included phrasing, dynamics, and articulation. Three of the coaches used LBAD to

help students become aware of each others interpretation and then allow a common

interpretation to emerge. Coach C combined SC with LBAD to arrive at a common

interpretation, first counting without instruments and then playing the passage with

instruments.
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Shared Interpretation

All four quartets used Singing and LBAD during rehearsals to unify their

interpretations. Three of the four quartets used SC, and the fourth quartet decided to start

using SC again after the Rehearsal Techniques Seminar provided a reminder to them.

Quartets B and D wrote adjectives in their parts to evoke moods and characters. Quartet D

created stories and painted pictures to come to a shared interpretation.

Shifting Perspective

The students in Quartet D utilized Switch Seats and 4 Corners to understand different

perspectives. One quartet tried closing their eyes while playing. Coaches and students

employed LBAD most frequently to understand each others parts and interpretations.

Because Quartet B was more advanced and well established, they used Backs to Other to take

away the visual dependency and force the use of other senses while playing.

Listening Deeply

Coach C started her coaching session with a careful tuning process to instill a

reverence in her students for this essential and basic listening skill. Coach D used Left

Hands Alone to push students to sense each others rhythmic pulse and character without the

advantage of sound. She used No Vibrato to help students listen for the blend of sound and

rhythmic pulse. Coach A used LBAD to help quartet members adjust voicing levels and

Coach B used LBAD to help students feel the harmonies and listen deeply to each other.

Quartets B and D used Bach Chorales as a warm-up exercise during rehearsals to enhance

listening skills and balance voices in the ensemble. The two established quartets also used

slow work to enhance listening. Furthermore, Quartet B rehearsed in pairs and Quartet D

utilized a form of Strategic Listening.

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Becoming the Other

The most effective technique to engage quartet members to become the other was

LBAD. The intention of LBAD is to mirror every move and nuance of ones colleague and

to metaphorically die for them. The metaphor of dying for another can also be seen as a

process of becoming them. In the section on the generative team, I provide examples of

students comments on how LBAD shifted them into a state of unity with the other members

of their quartet. Coach C employed a simpler version of this process with the Theatre

Exercise, in which students mirrored each other with a goal of becoming one with each other.

Embodying Expression

Though the coaches did not explicitly describe the concept of embodied expression,

they utilized numerous techniques to aid students to use their bodies to express the music.

The body is where emotions originate (Damasio, 1999; Pert, 1997); the expression of the

music comes through the instrument as an extension of the body. Techniques such as

Singing, SC, Clapping, and Theatre Exercise use the body or voice without instruments.

Coach C introduced cueing techniques such as ber Cue, and Pre-Cue-Cue to encourage

students to move from their backs, as well as feel supported by the power of their legs. The

students used rehearsal techniques such as Play Standing Up, Backs to Other, Eyes Closed,

Play Different Instruments, 4 Corners, and Chamber Music Aerobics to employ kinesthetic

learning for a variety of purposes. Each of these techniques requires body movement or

positions that are out of the normal string quartet configuration.

During the coaching sessions, the employment of LBAD was the most explicit

example where coaches asked students to direct their energy toward the initiator of the

musical passage. Coach C made the same request with the Theatre Exercise. Coach B talked
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about an energetic connection between left and right hands, and Coach A asked students to

feel electricity running through their fingertips. Members of Quartet D told me that the No

Vibrato technique in their session evoked memories from coaching sessions with Peter in

which they imagined rubbing pitches together and feeling the vibrations of the sound.

Quartet D utilized a technique in which they visualized a ball of energy and projected it to

different parts of the room as they played a piece. In a coaching session with Peter, Quartet

B played without their music stands, sitting as close together as possible in order to

somatically feel the sound vibrations as they played. This technique is a form of Play to the

Center, which Coach B said is aimed at helping students direct their energy across the quartet

to their colleagues. After considering these examples of energy transfer and the somatic

aspects of musical expression, I added embodied expression as an implied outcome.

In summary, I compared the coaching model with the coaching process findings to

answer my research question: How do members of a professional string quartet coach

advanced chamber music students? I found that the coaching process employed by CSQ

validates the model espoused by the coaches (Figures 1 and 2). The coaches achieved their

intended outcomes of the CSRTs with the addition of an implied outcome of embodied

expression. I provided evidence associated with the rehearsal techniques that demonstrate

individual and group growth and well-being as included in the definition of effective

teamwork. The cases provided evidence that group performance met group members and

the audiences (in this case the coaches) standards.

Student Learning: Impact on Group Collaboration

In this next section, I draw conclusions from interview data collected during the

postcoaching interviews with students as related to learning and group dynamics to partially
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answer my second research subquestion: How does rehearsing and studying in a string

quartet enable productive collaboration within student string quartets? I asked the students

what they loved about playing in a quartet and what they learned from working in a quartet.

I grouped responses into six categories: repertoire, social activity, freedom to create

something new, attention and discipline, social justice tool, and deep sharing.

When asked what they liked about playing in a string quartet, the students most often

said they loved the repertoire and sonority of four string players. Many composers reserved

their most personal expression for their quartet compositions (Rounds & Lafayette String

Quartet, 1999). The students reflected a deep and inspired understanding of the composers

cultural context and the demand the composer places on the four people who walk onto a

stage to convey the composers intent.

Many of the students reflected that, everything is chamber music (David). They

applied chamber music concepts to orchestral performance, sonata playing, and even

unaccompanied solo pieces:

Ive actually found it to be very helpful when Im playing sonatas or even concertos,
because when youre in a string quartet its completely necessary for you to listen to
what other people are doing. You cant play in a string quartet if you dont do that.
And so then when I go to play a concerto . . . I start listening to what the orchestras
doing and responding to that. (Madeline)

Playing in a string quartet is a social activity. In Chapter 4 in the section on Loving,

the coaches said they hoped their students considered their fellow quartet members to be

good friends. The students told me that they enjoyed the relationships, sharing, support, and

comfort of belonging to a string quartet. Practicing solo repertoire is a lonely endeavor;

rehearsing in a small group adds an interactive dimension and connection to the work:

I love doing things with other people. . . . It just inspires me more. Like practicing
alone isnt as much fun for me as practicing in rehearsal because I have three other
people and were laughing and were having a great time. And you dont feel so
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alone. (Laura)

Some students, such as Liz, felt that playing in a string quartet created a social arena in her

life. She saw how the interaction with different people had the potential to impact her life in

a meaningful way: It has just kind of opened that sort of social sphere for me. Its another

way of making friends (Liz).

Quartet B had the opportunity to travel and perform outside of the US. These

beginning experiences of professional quartet life stimulated musings about that lifestyle.

Jonathan remarked that Its just so much fun . . . and you get to travel and youre not by

yourself and you have this like, companionship with these three other people. It seems like

the best job you could hope for. Several of the students observed that they also loved sight-

reading string quartets as a social activity.

The students said they enjoyed the sense of freedom that comes with playing in a

quartet. They felt the excitement of being a vital contributor with the ability to combine

novel ideas to create something unique:

[I enjoy] the excitement of being so vital to the group sound. In an orchestra you can
do whatever you want and no one will notice. But in a chamber group its so
important that everyone contributes the same energy and knows the piece. (Liz)

Studies of orchestra musicians reflect Lizs attitude toward playing in an orchestra

(Allmendinger et al., 1996; Atik, 1994). However, Lizs statement does not align with the

comments made by other students that one can apply chamber music principles while

performing with an orchestra. Some of the students found an opportunity to take personal

responsibility for playing as if their part in an orchestra did matter, even if no one will

notice (Liz).

They felt a sense of independence as a group that, when it comes together its just

amazing how freeing it feels (Mia). They enjoyed the magic of creating something new
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together, including new compositions. The students learned to pay attention during

rehearsals. They learned that collaboration requires respect, experimentation, and

compromise. Working together in a string quartet improved discipline and time

management. Playing in a quartet also helped individual students to have a more realistic

perception of their own playing. Quartet playing helped train their ears to hear themselves

and others differently:

Its really sort of brought my ears out of myself into the group as a whole. And so,
instead of just focusing on my part, I sort of hear my part 50% and then everybody
else 50%. I made the mistake of just trying to listen to everybody else and not even
thinking about my part, which doesnt make it sound well. You still have to think
about your part, but it should really be 50-50, I feel. (Pete)

Several of the students, especially those in the established quartets, expressed

gratitude that they were fortunate enough to be in a quartet with their particular colleagues.

Sharing often extended beyond musical discussions and performances, as described in the

individual case studies. Grace expressed her special connection with colleagues and how

they shared a personal gift with each other:

Music is a very personal endeavor and we all feel it differently . . . I think its so hard
to find three other people who are willing to share such a personal thing . . . Im really
lucky to have found these three people to work with. . . . So I think being in a quartet
is the greatest musical gift. (Grace)

The students also spoke of sharing the burden of performance and that trust is

required to create something of meaning together. One student related it to a journey with

ones best friends: Its nice to have companions on stage to be playing this really great

music. Its not all in your own hands. You share the burden of portraying something

accurately and expressively together (Jonathan). A few students talked about performance

anxiety in their interviews. Performance anxiety is a common and well-studied phenomenon

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(Wilson & Roland, 2002). Playing in a string quartet alleviated anxiety for a couple of the

students:

Actually I dont like performing on my own. Its just, I get very self-conscious and I
dont like a lot of people staring at me. . . . in a string quartet, its much more
enjoyable because . . . youre not just thinking, oh gosh, everybody in this room is
looking at me and listening to what Im doing. You dont have energy to do that
because youre focusing on three other people as well. (Madeline)

The students felt musically inspired when playing in a string quartet. They learned

leadership, listening, and communication skills. Students said they enjoyed the process of

learning from each other; they considered their colleagues to be their teachers. This finding

reflects a point that Peter made in the Rehearsal Techniques Seminar: We are all teachers for

each other in the learning process.

Although the coaches required all four quartets to participate in outreach activities as

a part of the IQS program, only Quartet D talked about their outreach ideas. The group

planned to share music in a way that impacts social justice, We have all these plans on

doing benefit concerts for certain causes and just being able to spread some things out to

people who dont usually have influence from classical music (Grace). This topic is an area

for further exploration, as discussed in Chapter 7.

In summary, the findings indicate that studying and rehearsing in a string quartet

enabled students the freedom to make group musical decisions and the ability to bring ideas

together in order to create something unique. Students learned discipline and how to pay

attention. They shared deep meaning with each other and felt they belonged to something

greater than themselves. Furthermore, the evidence from the case studies indicates that the

CSRTs supported these aspects, which in turn, enabled productive collaboration in the

student quartets.
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Generative Team

I use the term generative to mean the capability to originate and evolve ideas,

relationships, and processes. I add this definition to my earlier definition of a team

(Appendix B), to derive generative team. I asked students at the beginning of each interview

to define effective teamwork, what it means to be an empowered member of a string quartet,

what they learned about collaboration from working in a string quartet, and how they applied

these concepts to their lives in general. The findings indicate that the concept of

collaboration, as it applies to string quartets, is broader and deeper than the concept of

cooperation. Cooperation is common effort or an affiliation with common benefit

(Webster, 2012). The findings suggest that collaboration goes beyond cooperation; the

collaboration process merges the ideas, energies and expressions of the participants.

The findings from the questions above, added to the findings related to specific

CSRTs used by these quartets point to several elements the generative team. The elements of

a generative team are (a) positivity, (b) caring communication, (c) empowerment, (d)

commitment, (e) shifting perspective, (f) becoming the other, (g) leaving a legacy, and (h)

expressing energy and love. These characteristics are depicted in Figure 4.

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Positivity
Expressing Caring
energy & commui-
love cation

Leaving a Em-
legacy Generative Team powerment

Becoming Commit-
the other ment
Shifting
per-
spective

Figure 4. The elements of a generative team.

Positivity

The students at CIM embodied the coaches credo as described in Chapter 4:

Learning and creativity emerge from a positive environment that includes healthy

relationships, kindness, care, trust, and respect. As illustrated in the case examples, I

directly observed the coaches as they established a positive environment in the coaching

sessions with consistent encouragement and positive feedback. I heard from the students that

they adopted these practices in their rehearsals: You know you want to be positive with one

another but yet you always want to be honest. . . . You dont want to say something's good

when something's not good. But you can be tactful about it (Sarah).

Students also learned to see the beauty in imperfection and to let go of self-judgment.

One student perceptively expressed that she learned to see the beauty in a musical

performance that contains mistakes:

As a musician I think I've struggled with perfectionism. And I think being in a string
quartet has helped me with that because its not always perfect, and I think that's part
of what makes it so beautiful. . . . The past couple years [I've heard] a lot of
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professional quartets and I don't think I've heard a perfect performance, but they
sound so beautiful, you know. . . . I almost wonder if they sounded perfect would it be
as beautiful. So I think this kind of helped me with that. (Sarah)

Another student learned to accept herself and let go of self-judgment: And then I

think its made me more, I guess, aware of my own personal flaws and how to accept that

and just keep going (Renae). All of the students agreed that working together in a team

should be fun and that it is fun with a group that has a healthy group dynamic: What makes

my group work so well right now is our sense of humor. Like, were able to have a lot of fun

and be funny and laugh but then get into the zone right away (Lindsey).

Caring Communication

As reflected in the coaching process in Chapter 4, in my observations of the coaches

behavior during coaching sessions, and the coaching philosophy represented in Figure 1, the

coaches modeled how to communicate with empathy and care in their interactions with

students and with each other. The student interviews revealed many instances where the

students practiced positive communication behaviors. The students emphasized that

communication should be positive, honest, sensitive and respectful. They believed these

behaviors are essential to quality teamwork and are bidirectional. One must be able to

present your thought[s] in a way that is very respectful and constructive (Madeline). At the

same time, one must be able to accept constructive criticism (Lindsey). Caring

communication requires a careful choice of words and tone of voice. The students spoke at

length about what they learned about communicating with care:

You really have to be careful about the words you choose to be accurate in what you
mean, but also to leave it as a suggestion, rather than You need to or You should.
How about, Would you consider? or, How do you feel about? . . . I think
language is so important in dealing with people period. (David)
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These perceptive reflections echo the comments that the coaches made in Chapter 4

regarding the communication skills they would like students to develop through their work in

a string quartet. The students told me that they applied these concepts to their lives in

general. Not only is it important to converse with respect and kindness, its important to

speak ones mind with friends and colleagues. David told me, Its nice when you can

express your ideas in a nice way and not impose them on other people necessarily. But I also

think its not good to always be passive. These comments echo Peters point (Chapter 4)

that there needs to be a balance between communicating with kindness and expressing ones

ideas with conviction. Davids comment also reflects one of CSQs imperatives that quartet

members be active rather than passive.

Working in a string quartet pushed the students to explore awareness of the self and

to figure out how to achieve a balance between sensitivity to others and maintaining ones

own voice: Its amazing how sensitive you really do have to be to other people . . . to

accommodate them without surrendering too much of your own personal voice, finding a

way to make all that work together (Mia). One student envisioned how a team can create

something greater than the whole by supporting each persons creative freedom with

sensitivity and receptivity:

Everybody who's on the team has their own feelings about what they want to
accomplish, but is also sensitive to everybody else's creative freedom and understands
that it takes all these ideas and the morphing of them together to actually make
something worth anything. So [teamwork is] being able to bring something to the
table but at the same time being so receptive to what everybody else is looking for, to
create something that's bigger than any one of you. (Jonathan)

The experience of working in a string quartet helped students to learn to bring out the

best in others. Students accepted personal responsibility to support others to blossom:

Everyones own merits will come across differently and you have to. . . look for them in
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people sometimes. . . . you should really try and bring them out, just for any group that

youre in (Renae). Students also took personal responsibility to grow their self-esteem.

One student learned to transcend her sensitivity to feedback from others by applying these

communication approaches to herself:

I used to be incredibly sensitive as a person. And whenever someone said one small
comment I would take that so seriously. But now Im able to gather that as Oh, this
is something I should, you know, think about and theyre trying to help me be better.
Yeah, I feel like . . . being in a string quartet has really helped me in that. (Lindsey)

Empowerment

When I asked the students what it meant to them to be empowered, many were not

sure what the word meant. I clarified the term without giving them a full definition because I

did not want to influence their answers. I specifically used the term empowered because

Annie used it in the original CSRT document and in several of her interviews. The students

answers can be grouped into four aspects of empowerment: having an equal voice, awake

and alive, open to others ideas, and more than one right way.

The coaches mentioned several techniques that are equalizers (e.g., Chamber Music

Aerobics). Ironically, some of these techniques either do not use the instruments (e.g.,

Shakespearean Counting) or are completed in silence (e.g., Left Hands Alone). These

techniques promote a different voice to be expressed from within each musician and require a

different type of listening attuned to sense anothers intention and energy.

The students wanted to have an equal voice and contribute equally to rehearsals so

they could convey a clear, consistent idea to the audience during performances. A student in

Quartet B commented that there are always the essences of everyone's idea in the final

product" (Matt). Another student characterized empowerment as a shared presence on the

stage and equal power among group members in which ones musical ideas are heard during
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performances. The students in Quartet D asserted that everyone in their group owned the

rehearsal process and contributed to every idea. Renae expressed their process:

Its like everyone is involved. Like no ones really dominating. Its very equal.
Yeah, I think as long as everyones completely open and honest . . . I guess as long as
everyone doesnt feel the need to like, silence any of their thoughts. (Renae)

Several students contrasted playing in a string quartet with playing in an orchestra. In

a quartet, each person has a voice, whereas in an orchestra one must sublimate his voice to

the conductors direction. The students said they valued the importance of healthy

relationships and balanced contributions to rehearsals:

To find balance between just sitting back and letting other people speak and also
contributing . . . It really has to be an equal collaboration of all four people. . . . Its
very, very important to keep that balance of opinions and contribution. (Mia)

The cellist of the most advanced student quartet provided a definition of being

empowered in a quartet that reflects everything his group has learned in practicing the

rehearsal techniques for over 2 years:

Being empowered in a quartet for me would be, being so awake and alive to
everything that's going on with everyone and what's going on inside of me when
we're playing. And being able to pick up on what someone over here wants to do or
where someone's leading us in this direction. . . . And also being able to communicate
an idea and being able to get everybody onboard with it. I think that those two things
are what makes you empowered. (Jonathan)

This powerful statement describes the feeling when his quartet engaged in Live,

Breathe, and Die as a continuous process during rehearsals and performances. During

rehearsals, Jonathan said the ability to articulate and express ideas led to a cohesive

interpretation of the music. From this, I infer that Jonathan desired to experience a state of

present-moment awareness within himself and everyone around him, which gives life to the

music.
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Most illuminating about the interview with Jonathan was his admission that he

underwent a shift in understanding the definition of empowerment from dominating the

conversation to providing receptive support. He told me that he worked to not slip back into

old patterns of misunderstanding that might lead him to dominating behaviors:

I think that in the beginning . . . if someone wasnt very strong with their opinion I
was very dominating. And, I guess that felt empowering. But its definitely changed
as I realized how amazing it is when you really step back as far as you can and allow
everyone to have their individual freedoms about the music. And when you can see
someone elses language its like discovering a new composer. (Jonathan)

This statement also reflects how each quartet members contribution to the

interpretation is a type of partnership with the composer; each has his or her own language.

Several concepts emerged from the data on the topic of openness to others ideas.

Students said it was important to them to have common goals and that their ideas mattered.

They wanted to express ideas with respectful honesty, and be able to disagree in a

nonjudgmental way. It was important to play off each others ideas to reach a conclusion and

to try out all ideas with conviction.

For these students, collaboration is the process of people being able to think things

through, not only on your own but with other people at the same time, and to be able to come

to a conclusion about things, along with these other people (Madeline). Bringing different

people together with multiple viewpoints requires a set of common goals that act as

guideposts during rehearsal discussions. The students said they felt empowered when the

group allowed them to speak their mind with a balance so everyone was heard. They felt

respected and that their ideas mattered:

To feel empowered, Id feel like people are actually listening, that what Im saying
actually matters. And that when I put forward an idea that somebody isnt just like,
Oh okay, well try that just to humor you. Because youre an idiot. No. People
respect you and you feel what you say actually matters. (Fred)
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Students desired to feel free to express ideas honestly and be able to disagree with

their colleagues, knowing that you really can propose ideas and suggest things and that they

will respect that, even if thats not what you finally decide to do (Madeline). Furthermore,

to try out everyones ideas and to see four equal parts of a whole come together inspired

these students. It is important to play off each others ideas.

Students spoke of how a successful team must take care to instill these behaviors in

their rehearsal protocol. Students repeatedly said they tried out ideas immediately. They

took care to try an idea as if it were their own; evidence that messages such as Kirstens story

about the Juilliard Quartet in Chapter 4 hit the mark on the students rehearsal process.

Trying out everyones ideas often requires humility and the ability to put aside judgments:

I guess things that help me feel empowered are . . . when we listen to each other's
ideas. And, you know, sometimes someone may say something that you think, Oh, I
dont agree with that. And sometimes like, you don't agree with it . . . but you try it
right away. And sometimes I've had it happen where I'm like, Oh, I won't agree with
that. And then I'll try it and it sounds really good. So, [to have] humbleness maybe,
to accept that you may not be right. (Sarah)

The students told me that the biggest challenge with string quartets is the process of

coming to an agreement over interpretations. Personality clashes can make the process more

difficult. Several students noted that there is more than one right answer; therefore it is

important to be willing to give way to anothers idea:

That is definitely the hardest part, is trying to find compromises. Especially, with
four people at conservatory because were all very opinionated in what we want to
do, you know? And it's not like my idea is right and hers is wrong. Theyre both
right. It's just were two different people viewing it in two different ways. . . . And,
so at a certain point you have to say, Well is this about me or is it about the group?
And which one is closer to what the group sound is? (Fred)

In his statement, Fred demonstrated he could ask himself questions to discern what was for

the good of the whole. He became aware of his own potential for narcissism, which is a

normal part of the maturation process (Bentz, 1989).

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The perspective that there can be more than one right answer or solution also

helped students to be a more empathetic friend: Everybody can be right. And so I always

think about that as a person, like, with my friends. If I disagree with someone on something,

I can be empathetic and understand why they would think that way (Lindsey). One student

expressed the importance of knowing when to stand up for an idea and when to back down.

It takes courage to stand for something important to oneself when faced with opposition:

And you have to know when to back down a little bit and let the other person do what
they want to do, and you have to know when, You know what? I really actually do
want this to happen, so Im going to step up and make sure it happens. And it was
always, If I step up and do this, is it really going to piss people off? Or are they just
going to forget about it a few seconds later? (Fred)

Commitment

The stories of long-standing professional string quartets attest to the strong

commitment required to ensure a groups longevity (Snowman, 1981; Steinhardt, 1998). The

students in this study gained an understanding of the level of commitment required to be

successful in a string quartet through their studies with CSQ. Students learned being in a

string quartet is like a marriage: They must depend on each other, maintain connection, and

work through challenges. They experienced the tension between the time demands of

playing in a dedicated quartet and other competing commitments. The students also

appreciated the rewards of playing in a quartet; it was fun.

Students enjoyed the cooperative effort during rehearsals and said they found it

exciting and fun to play in a string quartet. Students came to depend on each other; they

developed a high level trust that extended to their performances.

I love the teamwork it takes. I love the commitment that you need from each person.
And I love, you know, feeling that in rehearsals and in performances. Everyone's
there and, we're all kinda probably gonna make mistakes. But we just go with it and
go with each other and support each other. (Sarah)
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Students told me that even if they played a background part in a particular passage,

they felt a responsibility to play it in a way thats uplifting to an entire group [and] that has

deep meaning to it (Jonathan). In particular, one student gained confidence in her abilities

when she practiced with the expectation that her colleagues depended on her to support them

during performances: I guess chamber music just really exposes everything. . . . so you

really have to be confident and just know that your notes will be there so you can support

people. Its changed the way that I practice (Renae).

The members of the two established quartets told me they moved beyond the feeling

of dependence on each other to a state of interdependence. They expected a certain standard

from each other and were always pushing each other (Matt). The students said they did

so with a deep respect for each other; as a result they motivated each other to rise to new

levels of artistry. Students said they maintained a positive energy connection with their

current group members. When asked what they disliked or saw as challenges with playing in

a string quartet, the students said that when there were issues with their prior groups, they felt

disconnection and a lack of commitment from others:

I guess when I dont enjoy playing in a quartet is when one or more people really
want to do it, and then one or more people just couldnt care less. And that can be
incredibly frustrating because youre constantly being dragged down by this person
who just doesnt want to practice their part. They dont care what you have to say.
They dont want to make any suggestions either. (Madeline)

Group members of the younger established quartet (Quartet D) felt challenged by the

time commitment to work in a quartet. They felt they needed to make good choices

regarding quartet commitments to perform and get involved in projects. Working closely

with a small group of people for long hours can cause stress and friction. One student shared

an insight she gained about weathering difficult times in a string quartet during an intensive

summer chamber music program:

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My teacher once told me being in a string quartet is like being married with all of the
disadvantages and none of the advantages. . . . So you're rehearsing hours and hours
and hours a day. And it was so rewarding and so much fun. But, you know, there
were some rehearsals where, you had just been around each other so much that you're
frustrated and someone didn't get enough sleep, but you just like, work through it.
So, those hard times, I guess you could say I like the least. But at the same time it's
those things that make it so rewarding. (Sarah)

Shifting Perspective

As described in the previous section, some of the rehearsal techniques are designed to

radically shift students perspectives (e.g. Switch Seats, Backs to Each Other, 4 Corners).

The experiential nature of the learning jolts students into a different value system in which

seeing the world from different vantage points becomes a rehearsal routine.

When trying out new ideas, students adopted openness and humility, and appreciated

different perspectives: Collaboration is just more and more about the kind of openness and

humility you have to go in with and just the appreciation that everyone's different.

Everyone's going to have different ideas and you just have to make it work (Sarah).

Students learned to hear differently, see different perspectives and compromise: and I see

interpretations I never would have considered or seen before. And it just broadened my

horizon for music (Grace).

The ability to shift perspectives or hold multiple perspectives at the same time paves the way

to become the other.

Becoming the Other

As discussed in the prior section on intended outcomes of the rehearsal techniques,

several techniques provide an avenue for quartet members to become the other with their

colleagues, the composer, and the audience. In addition, the evidence from the interviews

shows that students learned to become the other through deep listening and by embodying the

personality of the group. However, the evidence also illuminated a major paradox: the
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balance between being good friends and maintaining professional distance. This latter

finding will be discussed in the following section of unanticipated findings.

This idea of contributing energy to the whole, sharing something special, and

connecting with others helped these quartet students to become one with the other in a way

that is not possible in larger musical ensembles:

With string quartet playing, the best part is you have to be so in touch with everyone
around you that you almost feel like one person. Which is something that rarely
happens. In orchestra it definitely doesnt happen. Instead of connecting with
everybody around you, youre connecting with the conductor . . . and it's kind of rare
that you get these opportunities to be so in touch with other people that you almost
feel like youre the same person in a way. (Fred)

Some of the students discussed how important it is to listen carefully to each other

while playing. Deep listening enabled colleagues to be responsive in the moment to each

other; thus quartet members felt they could influence each others playing: You know that

everybody is listening to what youre doing, as well as to what theyre doing and as well as

to what everyone else in the quartet is doing (Madeline).

The biographies of famous quartets indicate that each has a quartet personality

(Snowman, 1981; Steinhardt, 1998). One of the students said she felt a sense of belonging

and that she embodied the personality of her quartet:

Being in my quartet makes me feel as if I have a place in the music world. It also
makes me feel like Im not alone as a musician. . . .And I also feel like I embody the
personality of our quartet and I represent the quartet that Im in when Im just
walking around school or something. (Grace)

Students also spoke of their relationship to the audience. Though they did not speak

in terms of becoming the other, they reflected an attitude of service toward the audience. In

addition, as reported in Case D, the hall where a quartet performs becomes a fifth instrument

as if the hall is a living, breathing partner in making the music.

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These examples support Schutzs (1964) concept of the mutual tuning in relationship

as discussed in Chapter 2. The students formed a We presence that included a

simultaneous consciousness of inner and outer time, space, and sound. Techniques such as

LBAD helped them to merge with each others and the composers stream of consciousness.

These expressions of empathy and unified consciousness also support the coaching model

philosophy with regard to the aspects of loving and relating (Figures 1 and 2).

Leaving a Legacy

The theme of passing on ideas from teachers of the past arose throughout the

interviews with all of the coaches and several of the students. The chamber music coaching

environment at CIM was steeped in this idea of preserving, enhancing, and passing on a

legacy of ideas. Several rehearsal techniques came from the CSQs teachers. Each coach

took care to attribute an idea, technique, or quote to one of her or his teachers or colleagues.

CSQs main quartet coaches and mentors were members of the Cleveland, Tokyo, and

Juilliard Quartets. The coaches mentioned individuals from these quartets repeatedly. They

also quoted or mentioned individual teachers, such as Raphael Bronstein, Joseph Gingold,

and Karen Tuttle.

It is notable that Peter Salaff was a mentor and colleague of the CSQ. Peter

mentioned members of the Juilliard and New Music Quartet as his main teachers. Other

influences included the Budapest Quartet, which the music world credits with bringing

awareness and appreciation of string quartet music to America (Brandt, 1993). Finally, CSQ

drew inspiration from the famous mime sequence between Lucille Ball and Harpo Marx

(Asher, 1955; McCarey, 1933) for the Theatre Exercise. CSQ members and Mr. Salaff

coached approximately 30 string quartets (120 students) per year at CIM. Their chamber
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music program spawned several professional chamber groups, including the Calliope,

Aeolus, and Linden Quartets.

Schutz (Brodersen, 1964; Schutz & Luckmann, 1973) introduced concepts of

structures of the life-world with regard to social relations. Social relations include the Thou-

orientation, which occurs through direct interaction, and a They-orientation, which occurs

with a contemporary with whom one has no direct interaction. A Thou-orientation can be

one-way. Therefore, when two people have a reciprocal relationship, it is considered to be a

We-orientation (Brodersen, 1964).

We carry memories of We-relations with predecessors, which constitute direct

experiences of social reality with the other that we draw upon. However, Schutz says, This

world is definitively concluded (Schutz & Luckmann, 1973, p. 88). We can orient ourselves

to the social world we experienced with the predecessor. The predecessors past actions can

provide motivation for our own current and future actions.

With regard to the element of leaving a legacy, the coaches had We-relations with

their teachers that provided motivation to develop and teach the CSRTs to future generations.

In each coaching session, I observed concurrent structures of the lifeworld of the session.

The coaches and students experienced a face-to face We-relation in the moment. At the same

time, coaches mentioned contemporaries such as Yo-Yo Ma who represent a They-relation to

the students. In certain cases, such as Case D, her predecessor relations with teachers such as

Don Weilerstein motivated the coachs actions during the session.

In the case of someone such as Weilerstein, who was a teacher and mentor of the

CSQ, there is both a predecessor relationship and a current We-relationship. He still coaches

chamber music, and some of CSQs students received coaching from him, though they
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learned techniques that the CSQ coaches passed on to them from a predecessor relationship

with Weilerstein. Schutz (Brodersen, 1964) furthermore contended that we cannot conceive

the future life-world of our successors. Therefore, members of the CSQ can make choices to

intentionally pass on coaching strategies and rehearsal techniques from prior generations but

they cannot predict how the CSRTs will be carried forward.

Expressing energy and Love

Annie told me that coaching and performing chamber music is all about energy and

love. The coaching model in this chapter (Figure 1) includes loving as a foundation to the

coaching process. The findings chapters include numerous examples of love expressed

through action and communication. Students and coaches shared a love of the music and the

genre. They expressed love towards each other. I experienced a palpable expression of love

in the coaching sessions and the interviews.

Martin Buber (Buber & Kaufmann, 1970) says that the longing for relation is

primary and is seen in the earliest stages of human development (p. 78). Thou (You) has

no borders (p. 55); You describes a relationship rather than an object. According to Buber,

the consciousness of the individual evolves through a series of relations to You. Self-

awareness comes out of the relation and relation to You is what makes us human. The

coaching process can be seen as a set of You relationships between members of the quartet,

between the coach and students, and between the musicians and the composer. As described

earlier, boundaries dissolve as the students immerse themselves in the music and in the

process of becoming the other.

As mentioned in the literature review, Schutz (1964) suggested that performers step

into the stream of the composers and each others consciousness by utilizing a mutual
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tuning-in relationship. The tuning-in process requires a heightened awareness and an in-the-

moment connection between the performers, similar to being in the flow (Csikszentmihalyi,

1997), groove (Dempsey, 2008), or collective virtuosity (Marotto et al., 2007). The case

studies revealed several examples that could be described as a mutual tuning-in relationship.

I included several examples in this chapter of how student quartet members

consciously directed energy toward each other or the audience through techniques such as

Play to the Center and LBAD. The coaches used the word energy throughout their

interviews. The students described their experiences in the coaching sessions in terms of

how they sensed an energy shift as a result of trying a technique. They also said they

intentionally used energy during rehearsals. I interpret from these findings that the

participants experienced energy somatically through the senses. The literature on

entrainment and resonance support the concepts mentioned above as related to energy.

Entrainment occurs when two independent rhythmic processes interact and eventually

lock in to a common periodicity (Clayton, Sager, & Will, 2003). Entrainment is the process

in which the rhythms displayed by two or more phenomena become synchronized, with one

of the rhythms often being more powerful or dominant and capturing the rhythm of the

other (Bluedorn, 2002, p. 149). Musical entrainment can also be described in somatic and

phenomenological terms. For example, in a study of professional musicians listening to

music, musicians were able to feel melodies in their muscles as if they were playing what

they heard, a concept known as kinesthetic listening (Keil, 1995).

Furthermore, several research studies point to alignment of brain waves while

performing music. Recent studies have focused on music and the human mirror neuron

system open an exciting new arena for neuroscience research related to human entrainment.
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Human mirror neuron research is still in a very early stage, yet a number of studies have

drawn conclusions around the neuroscience of social communication, intention,

understanding, and empathy (Carr, Iacoboni, Dubeau, Mazziotta, & Lenzi, 2003; Gallese &

Goldman, 1998; Iacoboni, 2009; Iacoboni et al., 2005; Molnar-Szakacs, Kaplan, Greenfield,

& Iacoboni, 2006). Overy & Molnar-Szakacs (2009) suggested that imitation,

synchronization, and shared experience may be key aspects of human musical behavior (p.

490). Based on their research, the authors concluded that the brains functioning is

intimately connected with the body . . . and the brain has evolved to interact with and to

understand other brains (p. 492).

Resonance and entrainment are closely related. Resonance is the reinforcement or

intensification of sound due to sympathetic or synchronous vibration of some body or air in a

space, when a frequency of oscillation equal to or close to its own frequency is forced upon

it (Thygesen, 2008, p. 64). Resonance between people can be defined as an energetic

connection between two human bodies, in which each person sends electro-static vibrations,

some audible, into the areas surrounding their body. We gain awareness of these vibrations

through our senses on several levels. According to Levi (2004), human beings send,

receive, and store information in all parts of the body and that physical intelligence expands

the traditional notion of brain-centered activity to include sound-wave imprinting on human

cells (p. 22). Levi (2004) defined collective resonance as a felt sense of energy, rhythm, or

intuitive knowing that occurs in a group of human beings and positively affects the way they

interact toward a common purpose (p. 3). The shared process of the student groups

activated the phenomenon of resonance, as illustrated in the case studies in Chapter 5.

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Unanticipated Findings

I encountered three findings of concern that did not fit the coaching model or my

expectations regarding group dynamics given the positive environment in the coaching

sessions and at CIM. These findings are (a) contribution to rehearsals, (b) gender and group

participation, and, (c) the paradox of good friends versus professional distance. A fourth

finding related to adult development theory emerged as I reviewed the cross-case findings in

this chapter.

Contribution to Rehearsals

I asked the students several structured questions about their group dynamics

(Appendix H, Table H1). The students gave mixed answers to the statement that everyone

takes equal responsibility for interpretation, rhythmic initiation, balance, and phrasing. A

few members spoke at length about the different roles that quartet members played during

rehearsals. For example, in Quartet A, one member tended to focus more on intonation,

whereas another student focused on technical matters in her own part. One person studied

the score in detail and brought her insights to the rehearsals, whereas another stepped back to

look at the whole musical arc of the piece. These findings correspond to the Rehearsal

Techniques Seminar document advice on quartet jobs and the scholarly literature on roles

within string quartets (King, 2006; Murnighan & Conlon, 1991; Young & Colman, 1979).

The violist in Quartet D responded with "neutral" to the question of equal

contributions among group members. She said the group still worked on this aspect of

balanced contribution to musical interpretation. The cellist in Quartet D said, "I strongly

agree that we all believe that. But doing it? Thats another thing" (Justin). He clarified that
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he would still answer strongly agree because everyone takes the attitude that they are

equally responsible.

A couple of the students said they would have supplied quite different answers to the

same questions for quartet groups from their past. They gave examples where the level of

contribution was different for different members because of personality clashes. For

example, when there was tension, quartet members did not bring forward their ideas for fear

of negative response or fear of hurting someone else's feelings. This finding warrants further

study.

Gender and Group Participation

Throughout the interviews, I noticed that only one out of nine female students spoke

with confidence in the interviews. Some of the less confident women were apologetic, some

were shy, and others candidly expressed their insecurities. I noticed similar behaviors in the

coaching sessions. Though some of the shy or insecure women offered comments in the

sessions, their voices were almost inaudible. In contrast, six out of seven male participants

spoke with confidence in their interviews and the males tended to dominate the coaching

session conversations. This finding is puzzling because the CSQ members are all female and

though two members are slightly less extroverted, they all presented themselves as excellent

models of strong, articulate women. In the coaching sessions, the coaches made efforts to

draw out the shy students. This finding may be a reflection of the age group and

developmental stage rather than a gender issue.

Another interesting finding relates to the two quartets with three female and one male

member (Quartets A and D). As noted in the case studies, one of the female members of

Quartet A told me about their girls club and a female from Quartet D mentioned that the
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close social bond with her female group members sometimes got in the way of productive

collaboration. Both males told me that they experienced some of the tensions that came up

as a result of the girls club and they (the males) made efforts to alleviate those tensions.

Though a few studies touch on the topic of gender in chamber ensembles (Davidson & Good,

2002; Murnighan & Conlon, 1991; Poulson II & Abraham, 1996), further study is needed to

take a deeper look at gender dynamics within chamber music groups.

The Paradox of Good Friends, Versus Professional Distance

The students worried about how to set appropriate boundaries between their social

relationships and the professional demeanor required to work effectively together. They

wanted to better manage their own stress and not let stress affect their relationships with

other members. Mia commented that respect is the key to finding a balance in being

someones friend within the context of a professional relationship. She believed she could

carry this concept forward into other areas of her life

Sometimes it feels like that might be the better option to keep it more professional
because then nothing else can get in the way. But I wouldnt give up my friendship
with these guys for the world so, for me . . . the most challenging thing is knowing
where to draw the line between being really good friends and being just very
professional colleagues. . . . but I think its something that quite a few people in the
world right now with standard careers [face] . . . because theyve never had the
chance to build that understanding of having respect for somebody and being
professional, and yet being their friend and being there to listen to them in a
professional setting. And so that . . . is something that will carry me through the rest
of my life. (Mia)

Young Adult Development

During the coaching sessions and student interviews, I observed characteristics of the

students behaviors, considering their age range of 19 to 23 years, that caused me to wonder

about the human development aspect of chamber music coaching and rehearsal processes.

For example, an aspect of developmental theory is the ability to consider different

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perspectives when making meaning of experience (Cook-Greuter, 2002; Wade, 1996). The

students used several rehearsal techniques to help them experience different perspectives.

Vygotsky (1978) contended that the social and communicative aspects of experience

lead to human development. Techniques such as LBAD help students to transcend their

tightly held interpretations and surrender to the other. They expressed empathy toward each

other during the coaching sessions. The students told me about their approaches to

communication that reflected self-awareness and sensitivity toward others. These

observations provide some support for human development constructs. However, further

discussion of the adult development implications is out of the scope of this study.

Chapter Six: Summary of Findings

This study examined the coaching process of the Cavani String Quartet with their

advanced string quartet students at the Cleveland Institute of Music. The findings suggest

that coaches have four main goals for their process: interpretation, group function, ensemble,

and meaning. Furthermore, the findings point to a model for chamber music coaching,

founded on a coaching philosophy that includes the elements of loving, relating, and

inspiring. The coaching philosophy leads to the creation of an environment for learning and

performance. The case study findings supported and further clarified the elements: to create

an environment of positivity in which students inspire and reflect each others energy. In this

environment, the students gained awareness and sensitivity through the use of the techniques,

which strengthened the process of relating within the group.

The model includes three categories of coaching strategies: interpretation and

expression, ensemble and sound, and group dynamics. The techniques are further delineated

as to when they should be introduced with regard the stage of a groups development. The
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case studies pointed to a progression of styles and approaches tailored by the coaches to the

development level of the instrumentalists within the group, the tenure of the group, and the

ages of the students. The case studies validated the intended outcomes of the CSRTs:

awareness, rhythmic connection, shared interpretation, shifting perspective, listening deeply,

and becoming the other. An additional outcome of embodied expression emerged from the

case study data.

The findings from the student interviews point to elements of a generative team:

positivity, caring communication, empowerment, commitment, shifting perspective,

becoming the other, leaving a legacy, and expressing energy and love. The case study

findings supported these elements. The unanticipated findings with regard to contribution to

rehearsals, gender and group participation, the paradox of good friends versus professional

distance, and young adult development point to the need for further research. In the next

chapter, I discuss the findings as they relate to the literature and identify my contributions to

the scholarly conversation.

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CHAPTER SEVEN: DISCUSSION

Contributions and Implications

The primary goal of this research was to gain a deeper understanding of the CSQs

process of coaching advanced student string quartets. A secondary goal was to understand

how the coaching process helps student string quartets learn to work effectively together. I

also set an intention to draw connections between the chamber music coaching process and

how organizational teams learn to work together. The study was designed to fill the gap in

the literature with regard to the process of chamber music coaching and in understanding

how chamber music coaches help students learn to collaborate.

My study addressed one primary and two secondary research questions. First, how

do members of a professional string quartet coach advanced chamber music students?

Second, what coaching strategies and rehearsal techniques help students to develop effective

teamwork? Finally, how does rehearsing and studying in a string quartet enable productive

collaboration within student string quartets? Findings from the case studies and interview

data from 21 participants resulted in a chamber music coaching model, which I described and

validated in Chapter 6. The chamber music coaching model answers my primary research

question. The findings from my comparison of CSRTs to intended outcomes answer my

second research question. The findings related to the third question produced the elements of

a generative team.

In this chapter, I discuss the key findings as they relate to the scholarly literature, and

I point to the research and practice implications. First, I discuss the key findings as related to

the literature of the chamber music coaching model. Second, I discuss the key findings

concerning student collaboration processes and relate the findings to the literature. Next, I
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summarize the contributions of this study to scholarship. Finally, I conclude with sections on

implications for research and practice, limitations of the study, and a closing reflection.

Discussion of Key Findings Related to the Chamber Music Coaching Model

The chamber music coaching process presented in Chapter 4 and the chamber music

coaching model presented in Chapter 6 provide a detailed representation of CSRTs for

chamber ensembles. The foundation elements of loving, relating, and inspiring support the

conclusions from Gembris and Davidson (2002), who suggested that the school and family

should provide a positive emotional climate for successful learning. My findings support

Edmondsons (1999) conclusions in that the coaches established a foundation of

psychological safety for interpersonal risk taking (p. 354).

Specific techniques such as ber Cue, Pre-Cue-Cue, Live, Breathe, and Die (LBAD),

and Chamber Music Aerobics provide empirical evidence to support existing research on

music and gesture (Davidson & Correia, 2002; Davidson & Good, 2002; King & Ginsborg,

2011). In particular, the rehearsal techniques were the same or similar to many of the

techniques recommended by Davidson and Correia (2002). The use of the eyes as a means to

communicate musical ideas and maintain connection among quartet members during

performance was an important aspect in the findings, which also supports the literature

related to gesture.

Techniques such as LBAD, Shakespearean Counting (SC), and Chamber Music

Aerobics moved the students into a flow state (Csikszentmihalyi, 1997) to form an emergent,

integrated interpretation of the music. The students descriptions and my observations of the

impact of these techniques support the findings from the literature related to finding the
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groove or flow (Davidson & Good, 2002; Dempsey, 2008; Marotto et al., 2007; Sawyer,

2006).

Hanzlik (2010) addressed the coaching process from a perspective of how the coach

helps chamber music ensembles to use democratic processes. He concluded that the coach

helps students to learn how to express varying perspectives so that all voices are included.

He recommended that coaches use an inquiry process to model critical thinking skills. The

findings from my study support these conclusions. The coaches in my cases primarily used

inquiry processes. In addition, techniques such as LBAD and Switch Seats encouraged

students to adopt different perspectives and to honor all voices.

The coaching model breaks new ground because it is comprehensive. Although the

scholarly literature related to chamber music has addressed some elements of creating a

positive environment for learning, it has not covered in depth how coaches can intentionally

create the environment. The current literature on rehearsal techniques and coaching

processes has not put forward a complete model that includes a large range of techniques

with descriptions of the purpose and process for each technique. Another aspect of chamber

music coaching not addressed in the literature is the empirical comparison of specific

techniques used in coaching sessions with the coaches intended outcomes addressed in

Chapter 6. Furthermore, King (2006) noted that students face the problem of what to do to

improve (p. 280). The coaching model provides specific techniques that students can use to

improve.

SC literally highlights the concept of a musical conversation (Sawyer, 2003b).

Techniques such as the mirroring Theatre Exercise, ber Cue, Left Hands Alone, SC, and

LBAD provide a focused means to practice the conversational dimensions found by

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Davidson and Good (2002) as well as the six modes of communication found by Seddon and

Biasutti (2009). In this regard, my study complements and expands on the findings of these

two studies.

A topic in my findings that is not directly addressed in the literature is the idea of

moving energy across the group and into the audience as exemplified by Play to the Center

and the concept of moving a sphere of energy around the room or hall. This topic warrants

further research as it touches on the use of gesture in music, but from a mental and energetic

perspective.

The case study findings support my definition of chamber music coaching; I observed

the coaches helping their students to learn processes in order to express the music at a high

level of performance. The coaches utilized experimentation, reflection, and dialogue

throughout the coaching sessions. Ginsborg and Wistreich (2010) suggested that further

research was needed to understand the role of coaching for more and less experienced

ensembles (p. 4). The model presented in Chapter 6 (Figure 3) shows a progression of

coaching styles and approaches based on the cases. The model shows a progression in style,

moving from a directive style toward an inquiry style, in the focus from basics to

interpretation and nuances, and in the approach from encouragement to partnering. These

findings might stimulate further discussion in the scholarly community on the topic of music

education to address Ginsborg and Wistreichs question.

Hackman and Wagemans Theory of Team Coaching (2005) warrants discussion as it

relates to my findings. A key contention of their theory is that coaching interventions that

focus on task performance rather than relationships result in greater team effectiveness. My

findings indicate that relating is a primary aspect of creating a positive environment for
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learning in the coaching sessions. Therefore, many of the techniques are aimed at

relationships. In the case of chamber music coaching, team effectiveness is enhanced

through a focus on relationships. I contend that making music in an ensemble is a relational

activity. My personal experience of work in corporate teams indicates that those activities

are also relational. Perhaps the coaching interventions that focused on relationships in

Hackman and Wagemans studies were not constructed to equalize group members as do

techniques such as Shakespearean Counting or LBAD.

Hackman and Wageman (2005) included a temporal aspect to their model that

prescribes motivational coaching at the beginning, strategy-focused coaching in the middle,

and educational coaching at the end of a teams work cycle. My findings support their

contention that appropriate coaching interventions should occur at the right times during a

teams work cycle. The chamber music coaching model specifies that certain techniques are

more appropriate during the early, middle, or late stages of a groups development, though

the coaches provided a caveat that each student group is different and therefore the timing for

each technique or strategy depends on the group. The case study findings also point to a

progression of coaching styles and approaches that follows the temporal aspect of Hackman

and Wagemans model.

Discussion of Key Findings Related to Student Collaboration

Much of the literature concludes that ensembles tend to depend less on talk and

instead play through the music to convey interpretive ideas (Davidson & King, 2004;

Ginsborg & King, 2007a, 2007b; Williamon & Davidson, 2002). The findings from my

study support Davidson and Kings (2004) recommended guidelines for successful

rehearsals, especially with regard to adopting a warm-up routine, ensuring equal engagement
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of group members, balancing work and fun, and balancing the structure of practice sessions.

The students in my study established strong social ties and worked to create a positive socio-

emotional environment during rehearsals. The findings differed in one area: the students of

the two established quartets said goals were important, but they did not all agree that they

had clearly established goals. This question might be of interest for future exploration.

The findings from the student interviews also supported Jrgensens (2004) model of

rehearsal strategies, even though the model is aimed at individual practice. The students

employed mental strategies such as score study, playing strategies such as slow practice of

small sections, and planning and preparation strategies, such as each person leads a spot for

five minutes. I found evidence to support Kings (2006) findings of eight team roles from

the interviews with students, though I did not directly observe students in their rehearsals.

With regard to teamwork, the findings support Butterworths (1990) ingredients for

team success, such as shared purpose, self-management, shared accountabilities, consistent

levels of awareness, and team behavior norms. The findings also support the conclusion that

trust and control enable creativity and risk taking during rehearsals and concerts

(Khodyakov, 2007). Techniques from the model such as LBAD and Shakespearean

Counting enabled the musical conversation (Sawyer, 2003b, 2004) and flow

(Csikszentmihalyi, 1990, 1997; Sawyer, 2006) within the student groups.

The findings support Barretts (1998) concept of the musical dialogue through

dynamic synchronization. The students comments reflected maturity in the areas of

empathy and a mutual orientation to one anothers unfolding (p. 613). My study findings

take the concept further because the use of techniques such as LBAD, provide an intentional

way to practice dynamic synchronization. Barrett purported that jazz musicians hang out
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together in order to share knowledge and codes of conduct. The students in my study shared

knowledge and codes of conduct in a similar way by participating in the larger context of the

IQS program and outside summer chamber music programs.

The data supported the paradox of the second violinist and the paradox of

confrontation and compromise (Murnighan & Conlon, 1991). However, the findings were

inconclusive with regard to the paradox of leadership versus democracy. Murnighan and

Conlon concluded that although quartet members espoused democracy during rehearsals,

actual observations by the researchers revealed that the quartets did not practice democracy.

The students in my study also espoused democracy, but I did not observe rehearsals and

therefore cannot confirm Murnighan and Conlons finding.

The interview findings supported Ishak and Ballards (2012) action team model.

Students of the established quartets described their rehearsal, run-throughs, performances,

and postperformance evaluation in terms that echoed Ishak and Ballards stages of

preparation, simulation, production, and adaptation. Though Dempsey (2008) researched

jazz musicians during jam sessions, he described how each musician built off the prior

musician to produce an emergent result. The findings related to the use of LBAD and the

students group rehearsal processes extend Dempseys concept to a classical chamber music

context.

The above-mentioned literature addresses some of the findings with regard to the

elements of a generative team that I proposed in Chapter 6. However, I break new ground by

assembling the elements together to describe a unified vision of what constitutes a generative

team. The empirical evidence from my study supports these elements. I suggest that the
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concept of a generative team can apply to other types of teams. However, future research is

needed to validate this concept in other contexts.

Contributions to Scholarship and Considerations of Transferability

As discussed in Chapter 3, I decided to take the stance that the reader has the

responsibility of assessing this multiple case study to determine if it applies to other contexts.

I provided rich detail of the coaching process and case studies in Chapters 4 and 5, as well as

the coaching model in Chapter 6, to enable readers in an assessment of the findings.

However, I promised to provide some discussion based on my own side-by-side analysis of

different contexts in which my study might be considered to apply. The table in Appendix I

includes a detailed analysis that I conducted of different context scenarios. My contribution

to the discussion follows here as well as in the limitations of this study section.

The context of this study was the act of coaching chamber music in a music

conservatory. The coaches developed the rehearsal techniques in the model that I presented

in the findings, and the students were the most advanced students within the conservatory.

Scholars might want to consider if the model and concepts in Chapter 6 would apply to other

contexts. First, I consider two near contexts and two medium-near contexts, meaning the

contexts shared many similar characteristics with my study.

In the first near context, the coaches are the same people (members of CSQ), but the

coaching takes place with younger students or nonmusic majors. I contend that the results in

this first near context would be the same, based on anecdotal comments during the coaches

interviews. CSQ travels around the US and presents workshops at public and private primary

and secondary schools. They coach young chamber music students in CIMs preparatory

division and college level students from Case Western University who are nonmusic majors.
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I also observed a coaching session with nonmusic majors during my pilot study. The coaches

told me they used the same CSRTs in these different contexts. In the second near context, I

considered the scenario in which members of CSQ coached nonstring instrumentalists, such

as wind players, within CIM. Though this scenario would need to be tested and some of the

rehearsal techniques adjusted for the different instruments, I believe it is likely that many of

the findings would be replicated.

For the first medium-near context, I considered a scenario in which the coaches have

been trained by CSQ members to use the coaching model in my findings. These coaches

would take the model back to their conservatory or music department and coach advanced

students with similar capabilities to the students in this study. This scenario is plausible and

it likely exists. CSQ has trained several professional string quartets that now have

residencies at music schools or university music departments. These coaches are likely to

use the same or similar model to my findings. A future study is needed to test this scenario.

The second medium-near context considers adult amateur musicians with either CSQ as

coaches or coaches trained by CSQ. This scenario would set the stage for a most interesting

study to determine how much of the model applies to adult amateurs and how participants

view the rehearsal techniques with regard to helping them collaborate more effectively.

I also considered two medium-far contexts in which chamber music coaches learned

the coaching model from a book and a final far context in which a coach trained by CSQ

used aspects of the model with organizational teams. I cannot make claims related to these

contexts; further study is needed to explore whether they are even feasible. I considered one

far context: workshop settings with nonmusicians who work together in teams. From my

business experience, I can see how the concept of the generative team applies to
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organizational teams. There may also be a way to translate some of the rehearsal techniques

to experiential exercises for teams of nonmusicians. Further research is required to explore

these ideas.

With this study, I examined the chamber music coaching process at a music

conservatory to understand the coaching process and how the coaching process helps

students to learn to collaborate. Several key findings emerged from the data to produce and

validate a chamber music coaching model. The model is important to the scholarly

conversation in three key ways. First, it provides a comprehensive view of techniques and

strategies. Second, the model provides a set of intended coaching process outcomes and

aligns specific techniques to the outcomes. Third, the model was empirically tested with the

case study findings.

The findings point to an additional model that shows a progression of coaching styles

and approaches based on the age and experience of the students. This contribution begins to

fill a gap identified by Ginsborg and Wistreich (2010), though more study is needed. The

scholarly conversation around music and gesture is enhanced by the findings from my study

that illustrate the concept of moving energy within and beyond ensembles. The unexpected

findings raise important questions with regard to topics such as contributions toward

rehearsals, gender, and communication within student ensembles, and adult development as it

relates to conservatory students in the young adult age group. Finally, I presented the

concept and elements of a generative team, which contributes to the scholarly literature on

music ensembles and possibly to teams in general. The elements of a generative team need

to be further tested in other contexts.

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Limitations of This Study

This study has several limitations. First, the coaching model is specific to the CSQs

coaching strategies and rehearsal techniques. Though many of the techniques in the chamber

music coaching model are studied by other scholars, some of the techniques were invented

by CSQ. Therefore, as discussed in the prior section, additional study is required to test

whether the unique techniques apply outside of the current studys context with this set of

coaches within CIM.

This study was limited to conservatory students, aged 19 to 23 years. Younger

students were not included, though the coaches made reference to using the same coaching

processes and techniques with their younger students. Older students were not included

either, though CSQ members coach older students, amateurs, and professional chamber

music groups in other settings with the same techniques and strategies. CSQ also coached

chamber music groups with nonmusic majors at Case Western University. Even though I

observed one student quartet from Case Western during the pilot study, I did not include

them in the full study. Furthermore, the four student quartets chosen for the study were a

part of the elite Intensive Quartet Seminar (IQS). A set of less advanced students or students

less committed to performing chamber music might have resulted in different findings. The

study was limited to string quartets. Though many of the findings and concepts of the model

are likely to apply to other types of ensembles, further study is needed to validate the model

with other types of chamber music groups and coaches.

This study utilized qualitative methods with a small sample population size within a

short time period. Therefore, as discussed in Chapter 3, the findings cannot be generalized

against the larger population of chamber music students. My findings related to student
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collaboration were derived from interviews rather than direct observation of the students

rehearsals. In addition, students described their experiences with coaches outside the CIM

chamber music program. My findings reflect their reported perceptions of these experiences;

I did not validate these perceptions through observation. Therefore, it is possible that what

students told me about their rehearsal processes and interactions is different from what

actually occurred during rehearsals and coaching sessions in other settings.

Future Research and Implications for Practice

The findings from this study point to several opportunities for future research. The

strong sense of inheriting and passing on a legacy that arose in my findings can be further

studied by conducting similar research with members of the Cleveland Quartet (CSQs

teachers) as well as CSQ students who formed professional quartets and currently teach at

other music schools. A study to see if CSQs students follow the same coaching model as

CSQ would help to confirm the validity of the model in other coaching contexts.

Follow on studies can be conducted at CIM to understand the coaching process with

younger students, students that are not in the IQS program, music and nonmusic majors at

Case Western University and other types of chamber music ensembles. Areas that I could

not validate, such as whether the communication and rehearsal processes that students

espouse actually occur can be studied by combining the same interview protocol with

observations of student rehearsals. At the same time, the data related to rehearsal

contributions, which received mixed responses, can be expanded and validated through direct

observation of rehearsals.

The topic of progression in coaching styles and approaches based on age and

instrumental capabilities warrants further study. The model presented in Chapter 6 (Figure 3)
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is only a starting point for further exploration. Further study using this model may have the

potential to benefit music education. Finally, the coaching model could be taught to chamber

music coaches not associated with the CSQ to determine if the techniques are effective in

other music schools and in non-school environments such as with older professional and

amateur musicians.

The use of gesture among musicians continues to be a topic of study in the scholarly

community. Future research can explore the exchange of energy between ensemble members

or the energy exchange between performers and audience members. The research can

examine this phenomenon from a variety of approaches, including neuroscience, physiology,

and phenomenology. Another area of potential research is the use of chamber music as

social justice tool. The students at CIM perform outreach concerts to bring music to an

underserved population or to raise funds and awareness around a social justice issue. This

topic has the potential for far-reaching impacts on the students and the communities in which

the students are involved.

At the end of Chapter 6, I touched upon a few unanticipated findings. First, there is

an opportunity to study the implications of early adult development theory as applied to my

findings. Because this topic was not within the scope of my study, future research can take a

deeper look into the human development process for students in a conservatory setting. One

potential avenue for study could compare students who are in non-music programs with

students in chamber music programs.

Next is the topic of gender as it relates to communication processes within ensemble

rehearsals. Only two generations ago, string quartets were primarily comprised of males.
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Now most chamber ensembles contain a mix of genders. Further study focused on this topic

might point to concerns of human development, culture, or structural inequality.

Finally, I found that several students had concerns about the paradox between being

good friends with fellow quartet members and maintaining a professional distance to ensure

an effective rehearsal process. It would be interesting to explore this question with older,

established quartets as well as student groups as the findings may be different depending on

the age of members and stage in a groups development.

As I discussed in a prior section of this chapter, it is important to understand why

Hackman and Wagemans (2005) theory eschews a focus on relationships. Future studies

can be conducted to examine the interventions that focus on relationships to determine which

interventions are designed as equalizers. Additional research could then be conducted to

determine how interventions that are designed as equalizers impact team effectiveness.

Although I proposed the concept of a generative team in the context of chamber

music ensembles, a study of student teams in nonmusical settings such as business schools,

as compared the students from this study, could provide a way to test the concept. I believe

the findings and limitations of this dissertation open pathways for research in many different

disciplines. These suggestions for further study provide a starting point for researchers.

The coaching model may be useful to chamber music coaches in music departments

of colleges and music schools. The few books on the topic of chamber music rehearsal cover

only a portion of the techniques included in my chamber music coaching model. The

coaches in this study reviewed Chapter 4 in its entirety and told me that they plan to use the

tables with their students. They may wish to produce a training course or a book for chamber

music coaches with this material. As a result of my pilot study, the CSQ produced a 1-hr
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seminar on rehearsal techniques that is reproducible. The seminar represented the first time

they formalized a presentation of the rehearsal techniques. The concept of progression of

styles and approaches may lead to new ways to educate music instructors. With further

research, the preliminary model of coaching styles presented in Chapter 6 (Figure 3) may be

expanded and used as a template for training music educators.

Some aspects of the coaching model may be applied to team coaching in

organizations. After the initial analysis for this study was complete, I introduced three

techniques (Chamber Music Aerobics, Theatre Exercise, and LBAD) during a leadership

development workshop with one of my clients. The response was positive, and the

techniques worked well with a nonmusical group of adults. For example, with LBAD, group

members took turns initiating the song Happy Birthday with different accents, tempos and

body gestures. However, this idea for a practical application requires further research.

Concluding Reflections

This research project was a journey home for me. The CSQ members, Peter Salaff,

and the leadership at CIM welcomed me as a researcher and former colleague. I knew their

language and lifeworld because I lived it in my early life. I experienced many moments of

nostalgia as I walked the halls lined with practice rooms at CIM. A particular joy for me was

my conversations with students. I discovered that I have a passion for the undergraduate age

group and a desire to help these students on their respective journeys.

As I analyzed the huge volume of data that I collected for this study, the chamber

music model took shape. The model is comprehensive; scholars will enjoy dissecting or

testing it and practitioners may find it useful. Much of the analysis and resulting findings in
 216

Chapter 6 raised questions for further research. It is my hope that I can collaborate with

other researchers to answer some of these questions.

There is an important issue at stake in the United States. Much of the research related

to chamber music occurs outside the US. Many of our symphony orchestras are bankrupt or

struggling. In the US, we face continuing reduction and elimination of budgets for music

education in the public schools. This means that only those who can afford private lessons

have access to music education. It is my sincere desire to see this trend reversed so that all of

our children can learn to play a musical instrument and have the experience of playing in a

chamber music group.

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APPENDICES

Appendix A

Cavani String Quartet Coaching Strategies and Rehearsal Techniques

(Document provided by Annie Fullard to me on February 2, 2011).

COACHING TECHNIQUES

INDEPENDENT STUDY CHAMBER MUSIC PEDAGOGY (A.F.)

COACHING STRATEGIES & TECHNIQUES
These coaching strategies and techniques are greatly influenced by the profound teachings of
the Cleveland, Juilliard and Tokyo String Quartets, as interpreted synthesized and expanded
upon by the members of the Cavani Quartet past and present.

THE BASICS:
Ensemble members need to do the following preparation:
BRING A SCORE AND PART WITH MEASURE NUMBERS
BRING A PENCIL
LISTEN TO A RECORDING
KNOW THE COMPOSERS ERA
LEARN TWO KNOCK- KNOCK JOKES
BRING AN OPEN MIND

EXPOSITION:
Tuning:
Everyone should tune individually to a tuner and then test strings, one string at a time,
Then play all together
Strings only: E strings and C strings should be IN TUNE and Resonant
Strings and Piano: Tune to piano

For Young Ensembles:

Ice breakers:
Favorite ice cream flavors, hobbies, astrological sign, favorite color, animal, books -
anything that makes everyone feel comfortable, at ease and smiling.

After play-through:
ALWAYS BEGIN WITH A POSITIVE COMMENT OR ENTHUSIASTIC
OBSERVATION
CREATE AN ATMOSPHERE OF RESPECT FOR EACH OTHER AND LOVE FOR THE
MUSIC.

For Older Ensembles:

Ask each member of ensemble to evaluate performance: they should always begin with some
aspect that they felt worked well, and then some aspect, as a group, that could be improved,
and finally, something they could do better as an individual. This empowers each group
 242

member to express their opinions and come up with perceptive and helpful evaluations, in a
respectful atmosphere. These observations guide the rest of the coaching.

Draw reference to context of composers life and work, as well as historical and socio-
economic, political and artistic movements that surrounded composer

Discuss the integral need for a team-work approach: the freedom of having no conductor
means everyone in the ensemble is equally responsible for interpretation, rhythmic initiation,
balance, phrasing, and maintaining the musical conversation.

Conversation means looking up at least once per bar , and showing rhythmic character.
DEVELOPMENT: (problem solving)

ENSEMBLE RHYTHM & COMMUNICATION:

1) Chamber Music Aerobics -moving together, simultaneously from right to left and
then up and down -in pulse of repertoire being studied , moving together on
downbeats.
Play passage again with movement of any kind on downbeats
Movement and rhythmic initiation are key factors of successful chamber music
playing.
Each individual in the group must be able to show rhythm and character
simultaneously and in such a way that everyone is inspired.
2) Shakespearean Approach to Counting-counting aloud as a group in character and
dynamic of music- in other languages is also fun
3) Left Hands Alone- Perform passages without bow, watching each the others left
hands. Everyone must lead with musical energy, from back, elbow, hand and fingers.
Then amplify same passage with bow
4) Conduct Together- Each member takes a turn conducting others through passage
(others conduct as well and mirror).
5) Find words and or syllables to feel rhythms together-this may lead to silliness!
6) Live ,Breathe & Die- Each member takes a turn initiating a passage , musically
rhythmically, dynamically while other members mirror exactly what they observe.
This involves looking up at least once per bar and trying to match all nuances, with
bow vibrato and movement. Initiating members must be giving, inspiring and
dramatic!!
7) Concentrate on looking up once per bar- EVERY BAR!
8) Play passage with backs to each other
9) Play standing up
10) Everyone Play and Lead toward center of the group
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ORGANIZING and BALANCE:

1. *Score study find melodies and motives , small subdivisions, cadences ,grand
pauses
Write everything in part.
2. Know form, structure, architecture of piece, and harmonic motion
Ask ensemble to identify harmonic changes and describe character for these.
Ask ensemble to identify exposition, development, recapitulation
Ask ensemble to identify how motives are passed around

3. Discuss characters, moods , meaning, rhetorical devices-write in adjectives that

invoke above and unify ensemble
For example: Is music singing or dancing?
4. Discuss tempo in regard to above, if not already tried and provided, find metronome
marking that works for context and individual practice.
5. Discuss crescendos, decrescendos, dynamic contrast how to create musical tension
and release. Write in dynamic scheme, a dynamic for every measure!
6. Identify dynamics as character or as an emotion, think vocally, look at context.
(M.P.)
Forte is an attitude Forte means strong, proud, noble, not necessarily just loud.
Piano represents speaking voice.
Identify pps: i.e. distant , or suppressed energy or intimate
7. Organize bowings, try different ways, help group to come to its own conclusion
8. Strategic Listening- Listen only to the person to your right then reverse process
9. Match bow speed, pressure.
10. Match vibrato, discuss velocity and amplitude. Try passage without vibrato.
11. Intonation- use scales as warm-up, all octaves and unison and then octaves, 5th and
3rd.
Tune with NO vibrato to achieve ring of overtones, add vibrato, learn to adjust
notes quickly. Use Bach Chorales.

CODA:
PACING A COACHING
Some ensembles do well with small sections of music repeated until there is understanding,
improvement and change. They will in turn then apply this transformative approach on their
own, to other sections.
Some groups do well with fast- paced, information packed coaching touching on many
aspects of the music and indeed the entire movement.
Try to focus on group activities not individual, get everyone in ensemble to participate
equally. If one individual needs attention find ways of having everyone participate in
process.
i.e., First violinist in string quartet plays everything at tip good time for live ,breathe and
die when the individual has to match anothers style and technique they will figure this out
themselves , in a fun process of give and take.
 244

Or just have everyone turn their bows upside down

Try to end coaching with a successful play-through of small section or phrase, motive so
there is a definite positive achievement. Get very excited about the groups progress!
Have group verbally outline goals for next rehearsal or coaching

PERSONAL COACHING GOALS

I try to encourage the group to begin thinking about the creative process and their
responsibility as artists and interpreters to delve deeply into all musical and technical aspects
of chamber music playing. I encourage ensembles to move towards a large communicative
goal: interpret the score , create music with each other and share their views with the
audience. I encourage the idea of supporting each other through the music, and to view
chamber music playing as a microcosm of human relationships.

I also joke around and tell a lot of idiotic stories, and encourage the group to do the same.
 245

Appendix B

Glossary of Musical Terms and Key Concepts of This Study

Term Definition
Bar A bar (or measure) is a segment of time defined by a given number
of beats of a given duration. Typically, a piece consists of several
bars of the same length, and in modern musical notation the number
of beats in each bar is specified at the beginning of the score by the
top number of a time signature (such as 3/4). (Wikipedia, 2011)
Beat The beat or pulse in a piece of music is the regular rhythmic pattern
of the music. Each bar should start with a strong beat and each bar
should end with a weak beat. These may be known as the down-beat
(strong, at the beginning of a bar) and the up-beat (weak, at the end
of a bar). Up and down describe the gestures of a conductor.
(NAXOS, 2011)
Bowings The technique or manner of managing the bow in playing a stringed
musical instrument (Webster, 2011). The bow is normally held by
the musicians right hand.
Chorale A chorale is a German Lutheran hymn-tune, a number of which
were composed or arranged by Luther himself and adapted in later
centuries to various harmonies, the most famous of all by Johann
Sebastian Bach. (NAXOS, 2011)
Coaching A Socratic based dialogue between a facilitator (coach) and
participant (client) where the majority of interventions used by the
facilitator are open questions which are aimed at stimulating the
self-awareness and personal responsibility of the participant
(Passmore & Fillery-Travis, 2011, p. 74)
Coaching, Helping the chamber music group to learn and develop the
Chamber Music processes by which musical performances are expressed, through
experimentation, reflection, and dialogue.
Coaching Strategy The combination of coaching style, selected rehearsal techniques
and areas of focus used by the coaches to guide their students during
a coaching session.
Coaching, Team Helping the team improve performance, and the processes by
which performance is achieved, through reflection, and dialogue
(Clutterbuck, 2007, p. 77)
Collaboration A relational process in which people communicate diverse
perspectives with honesty and care, share a common mission, and
contribute passion, ideas, and energy to create a shared outcome.
 246

Term Definition
Crescendo Crescendo (Italian: growing, becoming louder) is frequently used as
a dynamic instruction to performers. (NAXOS, 2011)
Cue Anything said or done, on or off stage, that is followed by a
specific sound, word, or action: An off-
stage door slam was his cue to enter. (Dictionary.com, 2011)
Development 1) Structural alteration of musical material through change or
section (of a transformation. 2) The second section in a sonata form. (LACO,
piece) 2011)
Dynamics Dynamics are the levels of sound, such as loud or soft, in a piece of
music.
Etude A piece of music designed to exercise a specific aspect of technique
Forte, mezzo- Forte (Italian: loud) is used in directions to performers. It appears in
forte, fortissimo the superlative form fortissimo, very loud. Mezzo-forte is half or
medium loud (NAXOS, 2011)
Fingerboard The part of a stringed instrument against which the fingers press the
strings to vary the pitch (Webster, 2011). The musician normally
uses the left hand on the fingerboard.
Generative team A team that has the capability to originate and evolve ideas,
relationships, and processes. Elements of a generative team are
positivity, caring communication, empowerment, shifting
perspective, commitment, becoming the other, leaving a legacy, and
expressing energy and love.
Group A group is effective when its output meets the standards of the
effectiveness recipient of the output, the process of working together enhances
the capability of members to work together interdependently in the
future and the group experience contributes to the growth and
personal well-being of team members (Hackman, 1990, pp. 6-7).
Harmony Harmony describes the simultaneous sounding of two or more notes
and the technique governing the construction of such chords and
their arrangement in a succession of chords. (NAXOS, 2011)
Metronome The metronome is a device, formerly based on the principle of the
pendulum, but now controlled more often by electronic means,
which measures the equal beats of a piece of music, as a guide to
players. (NAXOS, 2011)
Movement (of a A movement is a section of a more extended work that is more or
piece) less complete in itself, although occasionally movements are linked
together, either through the choice of a final inconclusive chord or
 247

Term Definition
by a linking note. (NAXOS, 2011)
Note, tone, or A note in English is either a single sound or its representation in
pitch notation. American English refers to a single sound as a tone,
following German practice. (NAXOS, 2011)
Phrase A phrase in music, on the analogy of syntactical use, is a
recognizable musical unit, generally ending in a cadence of some
kind, and forming part of a period or sentence. (NAXOS, 2011)
Piano, mezzo- Piano (Italian: soft) is generally represented by the letter p in
piano, pianissimo directions to performers. Pianissimo, represented by pp, means very
soft. Mezzo-piano means half or medium soft. (NAXOS, 2011)
Pianoforte The pianoforte, known generally as the piano, was developed during
the 18th century. A keyboard instrument, it is distinguished from the
harpsichord by its hammer action, with hammers striking the strings
when keys are depressed. (NAXOS, 2011)
Recapitulation 1) A restatement of thematic ideas. 2) The third section of sonata
(recap) form in which there is a restatement of material from the opening
exposition, often with further modifications. (LACO, 2011)
Rehearsal A specific practice taught by the coaches in coaching sessions and
Technique used by students during their rehearsals.
Rhythm In the performance arts, rhythm is the timing of events on a human
scale; of musical sounds and silences, of the steps of a dance, or the
meter of spoken language and poetry. (Wikipedia, 2011)
Rubato Rubato (Italian: stolen) is a direction to allow a player a measure of
freedom in performance. (NAXOS, 2011)
Scale A scale is a sequence of notes placed in ascending or descending
order by step. (NAXOS, 2011)
Scat Singing in which the singer substitutes improvised nonsense
syllables for the words of a song, and tries to sound and phrase like
a musical instrument. (Dictionary.com, 2011)
Scroll A scroll is the decoratively carved end of the neck of
certain stringed instruments, mainly members of the violin
family. (Wikipedia, 2011)
Score A musical score is written music that shows all parts. A conductor's
score, for example, may have as many as thirty different
simultaneous instrumental parts on one page. (NAXOS, 2011)
 248

Term Definition
Team A group of people that form an intact social system within a larger
social system, with boundaries and an identity, a common purpose,
mutual accountability, interdependence, and a commitment to group
performance goals.
Teamwork, The process of working and performing together in which the
Effective group experience contributes to the growth and personal well-being
of team members, (Hackman, 1990, p. 7) and the groups
performance meets group members and the audiences standards.
Tempered tuning Temperaments are the various alterations of strict tuning necessary
for practical purposes. Equal temperament, now in general use,
involves the division of the octave into twelve equal semitones, a
procedure that necessitates some modification of intervals from their
true form, according to the ratios of physics. (NAXOS, 2011)
Tessitura The general pitch level or average range of a vocal or instrumental
part in a musical composition. (Dictionary.com, 2011)
Timbre Tibre is the quality of a musical note, sound, or tone that
distinguishes different types of sound production, such as voices
and musical instruments, such as string instruments, wind
instruments, and percussion instruments. Timbre is also called tone
quality and tone color. (Wikipedia, 2011)
Vibrato Vibrato is a periodic variation in the pitch (frequency) of a musical
note. On stringed instruments, the finger used to stop the string is
wobbled on the fingerboard to produce a vibrato. (Wikipedia, 2011)
Work Group Intact social systems, complete with boundaries, interdependence
among members, and differentiated member roles . . . they have one
or more tasks to perform. . .[and] operate in an organizational
context (Hackman, 1990, p. 4)
 249

Appendix C

Initial Interview Guide for the Coaches

Related to the list of Rehearsal Techniques below (Annie Fuller, First Violin of the Cavani
Quartet, provided the list on February 2, 2011), ask the following questions in a group
interview with the Cavani String Quartet.
1. Whats the role of the chamber music coach?
2. The title of your document is Independent Study Chamber Music Pedagogy (A.F.)
Coaching Strategies & Techniques to clarify, do you use this to teach your
students to become chamber music coaches? How do you help them learn to coach?
Do you give this document to student string quartets as well?
3. Do all of you teach these same rehearsal techniques to your students? (If not, are there
additional techniques that should be added to this list?)
4. How were these techniques developed? Over what period of time?
5. How did you decide which techniques to keep in the list? Was there a trial and error
process?
6. Is there an order for introducing these techniques? Are they listed in this order below?
7. How do you decide when to introduce a technique?
8. Do you use all of these techniques during your rehearsals, or are some techniques
designed for groups that are just starting out and therefore you do not use them?

For each technique in Appendix A

Cavani String Quartet Coaching Strategies and Rehearsal Techniques, ask the following
questions:
A. How often do you use this technique in your coaching sessions (never, rarely,
occasionally, sometimes, often)?
B. What is the objective of this technique help student string quartets develop?
C. When do you first introduce this technique?
Questions on A.F.s Personal Coaching Goals (repeat similar questions for each CSQ
member once theyve defined their personal coaching goals):
1. Do you have your student coaches define their personal coaching goals? Do you have
some examples of what theyve written?
2. Which techniques in the list tie to these sub-elements of your personal coaching
goals?
a. Begin thinking about the creative process and their responsibility as artists and
interpreters to delve deeply into all musical and technical aspects of chamber
music playing.
b. Move towards a large communicative goal: interpret the score, create music
with each other and share their views with the audience.
c. Supporting each other through the music, and to view chamber music playing
as a microcosm of human relationships.
 250

Appendix D

Guide for Coaches Postcoaching Interviews

Interview Questions for the chamber music coach after the researcher observes and
records the coaching session:

1) Where do you see this string quartet is in their development as an ensemble?

2) What do you think was their main take-away from this coaching session?
3) What was your main take-away from this coaching session?
4) Show portions of the video from the coaching session, which reflect various techniques
from the list. Ask what the coach was trying to achieve by introducing individual
techniques as she or he views the video clips.
5) Final question: did my presence during the coaching session influence your choice of
strategies and techniques?
 251

Appendix E

Guide for Individual Student Interviews

1) What year are you in this program?

2) How long have you studied your main instrument?
3) How much chamber music experience did you have before college?
4) How many semesters of college level chamber music study have you completed?
5) What are your career aspirations?
For those who have studied with Cavani before but this is a new quartet combination:
What has helped you to come together quickly and work effectively?
What has helped you get to know each others playing?
On a scale of 0 100% how bonded or jelled were you at your first rehearsal? Where
are you today? What contributes to that level?

For those who have not studied with Cavani and this is a new quartet:
What have you learned from your past quartet experiences that you can apply to this
new quartet?
What would you like to learn about quartet playing from the Cavani and Mr. Salaff?

Some questions about how your string quartet works together:

6) Each group member is empowered to express their opinions in a respectful atmosphere
(strongly disagree, disagree, neutral, agree, strongly agree).
7) Everyone in the ensemble takes equal responsibility for interpretation, rhythmic
initiation, balance, phrasing, and maintaining the musical conversation (strongly
disagree, disagree, neutral, agree, strongly agree).
8) Its important to have fun and a sense of humor during rehearsals (strongly disagree,
disagree, neutral, agree, strongly agree).
9) We have fun during rehearsals (strongly disagree, disagree, neutral, agree, strongly
agree).
10) We support each other to learn, grow and do our best as a team during rehearsals
(strongly disagree, disagree, neutral, agree, strongly agree).
11) We support each other to learn, grow and do our best as a team during performances
(strongly disagree, disagree, neutral, agree, strongly agree).

Rehearsal Planning Process (for established groups):

For each statement, indicate the frequency of each activity as it applies to your string quartet:

12) Our group outlines goals for our next rehearsal or coaching (never, rarely, sometimes,
often).
13) Our group records run-throughs or sections of the piece during rehearsal and we listen
 252

to the recording to evaluate our performance (never, rarely, sometimes, often).

14) Our group records our performances and we listen to the recording to evaluate our
performance (never, rarely, sometimes, often).
15) When we evaluate our performances, we begin with some aspect that we felt worked
well, and then some aspect, as a group, that could be improved, and something we
could do better as individuals (never, rarely, sometimes, often).

Techniques:
What techniques do you use the most (note if they mention any of the techniques in the list
below)
a. How often do you use this technique (never, rarely, sometimes, often)?
b. How does this technique help you as a group?
16) Chamber Music Aerobics - moving together, simultaneously from right to left and
then up and down - in pulse of repertoire being studied , moving together on
downbeats.
17) Shakespearean Approach to Counting- counting aloud as a group in character and
dynamic of music - in other languages is also fun
18) Left Hands Alone- Perform passages without bow, watching each the others left
hands. Everyone must lead with musical energy, from back, elbow, hand and fingers.
19) Conduct Together- Each member takes a turn conducting others through passage
(others conduct as well and mirror )
20) Find words or syllables to feel rhythms together.
21) Live, Breathe & Die - Each member takes a turn initiating a passage, musically
rhythmically, dynamically while other members mirror exactly what they observe.

Experience of the session:

How did you think it went overall?

What was the most helpful thing you learned in this session?
What will you do differently during your next rehearsal?

Final questions:
22) What do you enjoy the most about playing in a string quartet? What is the most
challenging about playing in a quartet?
23) What have you learned about collaboration from being in student string quartets?
24) How has studying the art of playing in a string quartet improved your musicianship?
25) What can you apply to your life in general from what youve learned as a member of a
string quartet?
 253

Appendix F

Coaching Strategies and Rehearsal Techniques Additional Detail

The tables below contain further detail related to the rehearsal techniques as presented in
Chapter 4.
Each technique has a notation that indicates the source of the description and purpose in the
tables below:
1.
Included in original CSRT document provided by Annie Fullard (Appendix A)
2.
Identified during interviews
3.
Included in the Rehearsal Techniques Seminar presented on September 12, 2011
4.
Observed during coaching sessions
A rehearsal technique may be introduced at different stages of a groups development
depending on several factors. The grouping into beginning, middle and advanced stage
(column 2) is an approximate judgment. The designation reflects the most common answers
I received to when? The same applies to the why designations. A rehearsal technique
may be used for more than one purpose. I indicate which purposes apply to the technique in
the remaining columns (column 5 = interpretation & expression, column 6 = ensemble &
sound, column 7 = group dynamics). Column 4 contains an indicator (X) for those legacy
techniques that the Cavani Quartet members learned from their teachers.

Table F1

Techniques for Interpretation and Expression

Interpre
tation Group
& Dy-
Leg- Express En- namic
Rehearsal Technique Stage Purpose acy -ion semble s
Interpretation
Score study1, 2, 3 Early Understand the form, structure, X
Form and structure to harmony and dynamics of the
Dynamics Middle music.
Harmonies Gain clarity on who has the
Merry's score study melody, who is playing
process: together, and who initiates
Same rhythm cues.
buddies (mark
Ensure rhythmic coordination.
places where
you have the Express the contours of the
same rhythm music and pace a performance.
as another
voice).
Circle all
silence (mark
places where
all voices have
 254

Interpre
tation Group
& Dy-
Leg- Express En- namic
Rehearsal Technique Stage Purpose acy -ion semble s
a rest
together).
Write in cues
(write the
rhythm or
subdivisions
of another part
into your part).
Character1, 2, 3, 4 Early Interpret the mood, emotion X X X X
Write a story. and rhythmic personality of the
Adjectives, focus music.
words
Emotions
Is it singing or
dancing?
Tempo
Organize bowings1 Early Specify bowings that best X X
express the character and
emotion of the music.
Score study2, 3, 4 Middle Understand the composers life X
Historical context and intention for a particular
Art and literature piece of music.
Composer's
Place the music into a
lifeworld
historical and artistic context.

Expression
Conduct together1 Early Character X X X
Tempo
Rhythm
Initiate rhythmic character and
interpretation without using
ones instrument.
Helps to teach cueing.
1, 2
Playing to the center Early Group team focus X X X X
Inspiration
Sending and receiving energy.
Reach beyond the notes on the
page and music stands.
Choreograph dynamics and
special musical moments.
Feel vibrations of the music.
1. 2
Words or syllables Early Character X X
Communicate musical ideas.
 255

Interpre
tation Group
& Dy-
Leg- Express En- namic
Rehearsal Technique Stage Purpose acy -ion semble s
Pulse and rhythmic connection
Cueing
Rhythmic precision
Images4 Early Interpret the mood, emotion X X
and character of the music.
Sound quality and blend
Character vibrato1 Middle Express the character and X X
emotion of the music.
Match bow speeds1 Middle Sound production and quality X X
Create a unified ensemble
sound.
Character
Sing parts2, 4 Middle Structure and phrasing X X X X
Blend - balance
Sound blend and quality
Free the sound
Musical conversation
Play standing up1, 2 Middle Free the sound X X X
Free the body whole body
resonance.
Kinesthetic sensory
Awareness
Energize
Inspire

Table F2 Techniques for Ensemble and Sound

Interpre
tation
& Group
Leg- Express En- Dy-
Rehearsal Technique Stage Purpose acy -ion semble namics
4
Tune Instruments Early Intonation, sound quality X
Chamber music Early Feel pulse together X X X X
aerobics1, 3 Physical movement
Breathe together
Character
Connection
Free the sound
 256

Interpre
tation
& Group
Leg- Express En- Dy-
Rehearsal Technique Stage Purpose acy -ion semble namics
Unify
Equalizer
Empathy
Helpful in group dynamics
because its nonverbal and
everyone moves together to
share the rhythm.
Look up every bar1, 3, 4 Early Connect X X X
Proactive
Visual connection
Read and respond to visual
cues.
Right hands alone2 Early Pulse and rhythmic connection X
Structure and Phrasing
Cueing
Sound blend balance
Clapping4 Early Cueing X
Pulse and rhythmic connection
Cueing2, 4 Early Awareness X X X
Pulse and rhythmic connection
Physical connection
Character
Phrasing
Rhythmic precision
Give and respond
Subdivide2 Early Pulse and rhythmic connection X
Character
Phrasing
Rhythmic precision
No vibrato1, 4 Early Intonation X
Phrasing
Sound quality
Play scales in unison1 Early Intonation X X
Listening
Warm-up
Practice Cueing and Initiating.
Play slower or faster Early Awareness X X
than the marked tempo4 Rhythmic precision
Phrasing
Play Bach chorales1 Middle Intonation X X
 257

Interpre
tation
& Group
Leg- Express En- Dy-
Rehearsal Technique Stage Purpose acy -ion semble namics
Practice Cueing and Initiating.
Warm-up
Shakespearean Middle Structure and phrasing X X X X
counting1, 3, 4 Dynamics and rhythm
Character
Feel together
Breathe together
Equalizer
Unify
Flexibility
Fun
Metronome4 Middle Pulse and rhythmic connection X X X
Rhythmic precision
Tempo
Bow distribution
Tuning philosophy2 Middle Ensemble X X
Expression
Sound quality
Left hands alone1, 3, 4 Late Hyper awareness X X X
Intimate ensemble
Togetherness
Tactile
Sensing
Character
Pulse and rhythmic connection
Co-initiating
Good for group dynamics
forces individuals to get
outside of themselves
(Merry).
Play different ranges Late Awareness X X X
(tessitura) or Sound production and quality
instruments4
Kinesthetic
Connect right and left Late Awareness X
hands4 Sound production and quality
Kinesthetic
 258

Table F3 Techniques for Group Dynamics

Interpre
tation
& Group
Leg- Express En- Dy-
Rehearsal Technique Stage Purpose acy -ion semble namics
Basics1, 3 Early Create a respectful, positive X X
Organize collaborative environment.
Respectful Organize the work everyone
communication takes responsibility.
Posture and Keep the energy going, enjoy
attitude the process.
How to rehearse1, 2, 3 Early Pace the rehearsal to achieve X
maximum progress.
Share leadership of the
process, ensure every voice is
heard.
Provides structure so the focus
is on the music, not
personalities.
Theatre exercise2, 4 Early Sensing X
Awareness
Move together
Fun
Switch seats2, 4 Middle Adopt different perspectives. X X
Hear things differently.
Sparks creativity and fun.
Live, breathe, and die1, Middle Trust X X X X
3, 4
Inspire
Reflect
Active
Breathe together.
Develop deep awareness and
listening to others during
performance.
Total commitment to the other
become one with the other.
Improves group relations and
openness to embrace new
ideas.
Try something out of ones
comfort zone.
The initiator feels supported by
their colleagues and steps up to
inspire others.
 259

Interpre
tation
& Group
Leg- Express En- Dy-
Rehearsal Technique Stage Purpose acy -ion semble namics
2
Shine the light Middle Awareness X X X X
Support
Empathy
Inspire
Give and respond.
Backs to other1 Late Sense others. X X
Breathe together.
Sensitivity
Develop relationships.
Trust
Rely on aural sense.
Different perspectives
New understandings
4 Corners of room2 Late Develop relationships based on X X
listening and sensing.
Exaggerate the effort to reach
out and connect across space.
Strategic listening1 Late Creative way to listen. X X
Training for spontaneous
listening and simultaneous
response during performances.
Fun
 260

Appendix G

Cross-Case Analysis Summary

The following two tables summarize observations across the four cases. Table G1 contains direct observations combined with

answers to interview questions. Table G2 contains observations of specific coaching strategies and rehearsal techniques in the

coaching sessions.

Table G1
General Cross-Case Analysis
Topic A B
General observations New quartet
of student quartets Oldest student group
Great individual talents,
virtuosic
Very expressive, resonant
sound
Treated the play-through like a
performance
Shared love of the genre
Length of session 60 minutes
Initial play-through First movement Energetic
tempo and character
Powerful and expressive
Group was well-prepared.
I could feel the vibration of
the sound through my body,
especially the cellos sound (I
Quartet
Most senior established quartet
Virtuosic ensemble
Professional potential
Same age all juniors
Shared love of the genre
90 minutes
3 movements
Powerful and expressive
C D
New quartet
Mixed ages and playing levels
Different career orientations
Coach used the largest variety
of rehearsal techniques of the 4
sessions.
I had to leave 15 minutes
before the end of the session.
75 minutes
(Recorded only 60 minutes)
1 movement
Established quartet
Youngest group
Shared love of the genre
Highly creative
Committed to social justice
60 minutes
First movement slow and
sustained character
Sensitive and expressive
Ensemble was not quite
together throughout.

Topic A B
was sitting right behind her).
Coachs intentions for Let them know theyre on the
group right track.
Validate the hard work already
completed.
Dramatize their interpretation.
Delve deeper into the music.
Coachs intentions for As a result of this research
self as coach project, the coaches are more
intentional and explicit when
introducing the techniques.
Rehearsal Techniques seminar
is a result.
Coachs style Inquiry
Encouraging
Used the score throughout.
Active, standing up much of
the time, moved into the
center of the group to make
points.
Moved body with the music in
a seated position.
Sang to demonstrate.
Gentle use of humor.
Quartet
Let them know how well-
prepared they were.
Create a more polished,
resonant sound.
Think about themselves as a
unit and a team.
Strengthen listening skills.
Strengthen how they interact
with each other.
Inquiry
Inspirational
Used the score throughout.
Active but restrained, seated
most of the time.
Moved body with the music in
a seated position while holding
her instrument, as if another
member of the group.
Used her instrument to
demonstrate.
Sang to demonstrate.
Inserted humor, silliness and
stories.
261
C D
See how far the group can be Discover how to project
pushed what they are sounds while maintaining
capable of doing and how sensitivity to each other.
quickly. Fill a concert hall.
Need to be able to give Blend sounds.
information and then listen. Gain skill of listening from
Learn to maintain their the outside.
rhythmic energy.
Learn concept of taking turns
initiating.
Learn cueing.
Project characters more
intensely.
Introduce her philosophy of Keep comments focused on 2-
chamber music, including 3 main ideas.
concepts of initiating,
inspiring and reflecting.
Use a progression of
techniques to illustrate her
philosophy: Theatre Exercise,
Cueing, LBAD.
Directive with some inquiry Mix of Inquiry and gentle
Encouraging & fun Directive
Used the score throughout. Encouraging & nurturing
Active, standing up much of Calm and matter-of-fact
the time, moving around and Used the score throughout.
into group. Seated the entire time
Moved body with the music, engaged though restrained (the
sometimes seated and most restrained of the
sometimes standing. coaches).
Used the groups instruments Sang to demonstrate.
to demonstrate by sitting in Gentle use of humor.
with the group.
Sang to demonstrate,
sometimes added words.

Topic A B
Coachs opinion of Group was responsive and
session engaged.
Session was fun, stimulating
and easy.
Students opinion of Session went well.
session They were prepared.
Each person gave their all.
Gained a sense of direction.
Gained clarity around
characters and expression.
Felt energized.
Improved as a group.
Observations: Voicing, sound, rhythm,
Coachs focus during character and phrasing
session Some comments directed to
playing in the concert hall
which is the 5th instrument.
Observations: Coachs Positive and appreciative and
comments during encouraging
session. Gave specifics about what she
liked before giving
suggestions.
Suggestions made in the form
of questions: I wonder if?
Would you try?
Referenced composers
Quartet
Group was open, receptive and
responsive.
Great respect for these students
Fun to coach this group
Enlightening, inspiring,
exciting, helpful, fun
Created a larger palette of
sound.
Found ways to express
characters and mood more
fully.
Character, mood and sound quality
Positive and appreciative
Gave specifics about what she
liked before giving
suggestions.
Referenced historical and
composers context.
Used inquiry to understand the
students interpretation of the
music.
C D
Inserted humor, silliness and
stories.
Students were eager and
willing to try out many new
techniques.
When the group did LBAD,
they were all really getting it -
at some points magical: this
is what it could be with this
group.
Refreshing, engaging
Lots of ideas and techniques
Huge leap for the ensemble
Gained greater sensitivity to
each other.
Gained understanding of
tempo characters.
Learned that through tempered
tuning the quartet becomes
one instrument.
The nuts and bolts of string
quartet playing:
Tuning, seating arrangement,
cueing, initiating and
mirroring.
Character and sound
Positive and encouraging
Gave specifics about what she
liked before giving
suggestions.
Referenced historical and
composers context.
Used inquiry to understand the
students decisions: how are
you seeing this?
262
Students were very responsive
in the moment.
The students tended to return
to old patterns and needed
reminders.
Helpful
Nervous at first, then settled
down
Gained greater awareness.
Refined listening.
Improved sound quality.
Gained clarity of
interpretation.
Learned some useful rehearsal
techniques.
Character and sound quality
Tempo, ensemble
Some comments directed to
playing in the concert hall
projection.
Positive and encouraging
Gave specifics about what she
liked before giving
suggestions.
Referenced composers
context.
Many suggestions were
technical in nature (e.g.,
bowings and tempo).

Topic A B
context.
Explained why she wanted
them to try each technique.
Asked the group why they
made certain decisions.
References to legacy Yo-Yo Ma
Quartet
Inserted humor, silliness and
stories (not specifically tied to
the music).
Members of the Cleveland
Quartet (Weilerstein & Salaff)
Joseph Gingold
Mstislov Rostropovich
C D
Explained why she wanted
them to try each technique
Inserted humor, silliness and
stories (not specifically tied to
the music).
Sasha Schneider (Budapest
Quartet)
263
Tied suggestions to the
character of the music.
Study of Shostakovich Quartet
with a Russian teacher
(unnamed) from the Boston
Symphony
Abraham Loft (Fine Arts
Quartet)

Table G2
Techniques Used in the Coaching Sessions
Technique A B
Shakespearean Used several times during
counting (SC) session most successful
technique used in session.
Coach used to balance
instrumental voices and unify
phrasing.
Coach used for inner
awareness of character and
rhythm.
Coach did not want to
pinpoint individuals.
The students found it very
helpful to understand
character and expression.
Students engaged in the
exercise with great energy and
expression.
They also sang to express an
interpretation during the
discussion.
Quartet
C D
N/A Combined SC with LBAD
Considered the most
successful technique for this
session (by Coach C).
Coach counted along with the
students. Each student took a
turn initiating the counting and
then playing the passage.
Students came to understand
each others concept of the
passage.
Students learned to use their
bodies to communicate their
intentions.
264
Coach used it to unify the
pulse character of the music.
Coach used it because the
score lends itself to SC.
Students said it helped them
match internal rhythmic pulses
to each other
Students thought SC was
helpful because they did not
use instruments.
Students noticed when
watching the video they
synchronized body movements
while doing SC.
One student thought the group
could have been more
expressive with their voices.
 265

Technique A B
Live, breathe, and die Coach used it to help the
(LBAD) cellist project her line more
and other group members to
become aware of each others
parts.
first violinist learned to temper
his volume for better balance
among the voices.
Cellist felt supported and
gained confidence to project
her part.
Highly effective in helping
members become aware of
each others parts and to
balance the group sound.
Quartet
Coach used to help the students
express greater intensity, feel
the harmonies, and listen to
each other more deeply.
Coached used because LBAD
requires equal participation.
Students recognized the
embodied aspect of LBAD.
Students saw how each person
influences the next persons
interpretation until a combined
interpretation emerges.
C D
LBAD is Coach Cs N/A
philosophy of chamber music
she always introduces it
early.
Coach combined with other
techniques as a means to
emphasize awareness and
response.
Coach used it to shift students
frame of reference and gain
wider awareness, develop trust
and understanding, and inspire
each other.
Combined LBAD with SC
(see above).
Coach said it was highly
effective.

Images Coach did not really use
images. Used metaphors and
descriptors:
o Earthiness, folksiness
o Searing intensity I
could almost cook steak
on it.
Coach used images extensively
to support character.
development and interpretation
Coach used to impress this is
art and its communicative.
Several images throughout the
session. For example, students
described a landscape. Coach
had them add moonlight to their
image.
First violinist was skeptical that
the added image made a
difference in the sound.
Used the image of a dancing
drunken vodka bear in one
passage to illustrate the
character for the cello melodic
line.
Coach and students: childhood
memories in the park and a
slight breeze. Referenced the
happenings in the park
throughout coaching.
Told story from a Russian
coach of drunken alligator
walking through Red Square in
Moscow. (Story related to
character for both Cello C &
Ds melodic lines). Sang the
same passage in which Coach
C asked her student to play
like a dancing vodka bear.
Later, on a trip to Moscow,
someone gave Coach D an
inflatable alligator.
 266

Quartet
Technique A B C D
Left hands alone N/A Suggested the group use it in a N/A Coach used to help students
(LHA) specific passage at their next feel the same rhythmic pulse
rehearsal and increase awareness of each
other.
Coach wanted the group to
maintain the character while
using LHA.
Students found it difficult but
helpful.
Students learned to unify the
rhythmic pulse.
Students let go of pre-
conceived ideas about the
pulse.

Clapping Coach used it to line up N/A N/A N/A

rhythms.
Coach used it to provide
rhythmic awareness and in a
kinesthetic way.
Students did not like clapping
as much as SC. They found
SC to be more interesting and
fun.
Coach did not think clapping
was as successful as SC.
Connect right and left Though not specifically Used it to transmit the legacy of N/A N/A
hands introduced, the coach asked the Cleveland Quartet.
students to play with Used it as a tool to enhance
electricity in their fingertips (a sound quality.
related concept). Students felt it improved their
sound quality.
Students appreciated the legacy
being passed down to them.
Students described the feeling
of electricity in their fingertips.
 267

Quartet
Technique A B C D
Cueing: ber-cue and N/A N/A Coach used it because she N/A
Pre-Cue-Cue wanted them to learn to send
information across to each
other, activate awareness, and
sense the rhythmic pulse.
Coach asked group to cue with
the whole body and
exaggerate movements.
Students learned to be in the
character before you start
playing and to be mentally
involved as if youre playing
when they werent playing.

Theatre exercise N/A N/A Coach used for students to N/A

experience cueing without
their instruments.
Intention was to help them
relate to each others
leadership and trust it.
Introduced concepts of
initiating, inspiring, reflecting
energy.
Students became aware of
their physical motions and
how that impacts others.
Students learned to be a good
initiator, you have to be
clear.
Students learned to watch each
others whole body for the
cue.

Technique A B
No vibrato N/A
Metronome N/A
Play in different Cellist suggested it and coach
register or instrument encouraged they try it.
At another point, the coach
asked the cellist how they
would play it if they played on
the violin, on their fingertips,
like Yo-yo Ma.
268
Quartet
C D
N/A N/A Coach used it to help the
students create sound from the
bow.
Students learned that the sound
is initiated from the bow.
Students related this technique
to Peters focus on rubbing
the pitches together and the
use of Bach chorales to blend
sound.
Students learned to add
warmth to the sound through
the right hand (bow).
N/A N/A Coach used it to illustrate the
composers intention (Coach
felt responsible to use the
metronome).
Coach thought the students
were hugely successful
playing with metronome.
Students commented that they
needed to be more consistent
in their tempos and that they
could use the metronome even
more than they already do.
Students said using the
metronome forces one to stay
in the present moment.
N/A N/A
 269

Appendix H

Cross-Case Data: Students

Table H1
Student Group Dynamics Data
S5.7 S5.7 S5.7 S5.7
Student Quartet Instrument Gender S5.1 S5.2 S5.3 S5.4 S5.5 S5.6 (First) (Second) (Viola) (Cello)
David A First Violin M 5 3 5 5 4 N/A 25% 25% 25% 25%
Second
Madeline A Violin F 5 5 5 5 5 N/A 25% 25% 25% 25%
Sarah A Viola F 5 5 5 5 4 N/A 30% 23% 23% 23%
Lindsey A Cello F 5 5 5 5 5 N/A 25% 25% 25% 25%

Quartet A Averages 5 4.5 5 5 4.5 N/A

Jim B First Violin M 5 3 5 5 5 5 25% 25% 25% 25%
Second
Laura B Violin F 5 4 5 5 4 4 25% 25% 25% 25%
Matt B Viola M 5 X 5 5 5 5 30% 20% 20% 30%
Jonathan B Cello M 5 5 5 5 5 5 25% 25% 25% 25%

Quartet B Averages 5 4 5 5 4.75 4.75

Liz C First Violin F 4 3 5 4 3 N/A Declined Declined Declined Declined
Second
Abby C Violin F 5 4 5 5 4 N/A 35% 15% 20% 30%
Pete C Viola M 5 2 5 5 4 N/A 60% 13% 13% 13%
Fred C Cello M 5 5 5 4 5 N/A 30% 20% 20% 30%
Quartet C Averages 4.75 3.5 5 4.5 4 N/A
Mia D First Violin F 5 4 5 4 5 5 30% 20% 20% 30%
 270

S5.7 S5.7 S5.7 S5.7

Student Quartet Instrument Gender S5.1 S5.2 S5.3 S5.4 S5.5 S5.6 (First) (Second) (Viola) (Cello)
Second
Grace D Violin F 5 5 4 4 5 5 25% 25% 25% 25%
Renae D Viola F 5 3 5 5 5 5 25% 25% 20% 30%
Justin D Cello M 5 5 4 5 5 5 30% 20% 15% 35%
Quartet D Averages 5 4.25 4.5 4.5 5 5

Averages across all students 4.94 4.06 4.88 4.75 4.56 4.88

Table H1 - Legend: S5.1 Each group member is free to express their opinions in a respectful atmosphere
S5.2 Everyone takes equal responsibility for interpretation, rhythmic initiation, balance, phrasing and maintaining the musical
conversation
S5.3 It's important to have fun and a sense of humor during rehearsals
S5.4 We have fun during rehearsals
S5.5 We support each other to learn, grow and do our best as a team during rehearsals
S5.6 We support each other to learn, grow and do our best as a team during performances
S5.7 If total contribution = 100%, what proportion does each member contribute to support the quartet?
1 Strongly Disagree
2 Disagree
3 Neutral
4 Agree
5 Strongly Agree
X Question skipped by interviewer
N/A Not Applicable
 271

Table H2
Student Rehearsal Process Data for Established groups

Student Quartet Inst. Gender S6.1 S6.2 S6.3 S6.4

Jim B First Violin M 3 3 3 4
Laura B Second Violin F 4 3 3 4
Matt B Viola M 4 3 3 4
Jonathan B Cello M 4 2 4 4

Quartet B Averages 3.75 2.75 3.25 4

Mia D First Violin F 4 3 4 3
Grace D Second Violin F 4 4 4 2
Renae D Viola F 2 3 4 2
Justin D Cello M 3 3 4 3
Quartet D Averages 3.25 3.25 4 2.5

Averages across all students 3.5 3 3.63 3.25

Table H2 - Legend: S6.1 Our group outlines goals for our next rehearsal or coaching
S6.2 Our group records run-throughs or sections of the piece during
rehearsal and we listen to the recording to evaluate our performance
S6.3 Our group records performances and we listen to the recording to
evaluate our performance
S6.4 When we evaluate our performances, we begin with some aspect that
we felt worked well. And then some aspect as a group that could be
improvement and something we could do better as individuals.
1 Never
2 Rarely
3 Sometimes
4 Often
N/A Not Applicable
 272

Table H3
Techniques Used in Rehearsals
Quartet

Strategy or Technique A B C D Avg.

Singing
1 1 1 2 1.25
Live, breathe, and die
1 1 2 1 1.25
Shakespearean counting
2 3 1 1 1.75
Bach Chorales
4 1 2 1 2.00
Write words in parts
4 1 4 1 2.50
Switch seats
4 2 4 1 2.75
Slow work
4 1 4 2 2.75
Write stories
4 1 4 2 2.75
Score study
2 1 4 4 2.75
Left hands alone
4 2 4 2 3.00
Metronome
4 2 4 2 3.00
Clapping
1 3 4 4 3.00
Backs to others
4 1 4 3 3.00
Ball of energy
4 4 4 1 3.25
Paint pictures
4 4 4 1 3.25
Play to the center
4 1 4 4 3.25
Connect right and left hands
4 2 4 4 3.50
Strategic listening
4 4 4 2 3.50
Rehearse in pairs
4 2 4 4 3.50
 273

Quartet

Strategy or Technique A B C D Avg.

Eyes closed
3 4 4 3 3.50
Play different instruments
4 4 4 3 3.75
Right hands alone
4 4 4 3 3.75
4 Corners
4 4 4 3 3.75
Chamber music aerobics
4 3 4 4 3.75
Stand up
4 3 4 4 3.75
Conduct together
4 4 4 4 4.00

Table H3 - Legend: 1 Use most often

2 Sometimes use
3 Use infrequently
4 Not used or not mentioned
 274

Appendix I

Burkes Pentad: Case Context Comparisons

The following table compares the scenarios of potential contexts for which the findings of
this study might apply. I used Burkes (1945) pentad analysis process to create the table.

Act Scene Agent Agency3 Purpose Distance

Coaching Music CSQ Coaches: They Coaches: Pass on This study
chamber music conservatory. engage their entire the legacy from
Members of Advanced mind, body and their coaches, teach
CSQ are the students from spirit in the students how to
coaches. The IQS coaching process. rehearse and
students are perform chamber
advanced, pre- Students: They music at a
professional engage their entire professional level,
string players. mind, body and for the love of
spirit in playing music.
chamber music
and learning from Students: Learn to
the coach. rehearse and
perform chamber
music to enhance
skills, add to
experience.
Motivation: the
love of music,
professional goals.

Coaching Music CSQ Coaches: They Coaches: Pass on Near

chamber music conservatory, engage their entire the legacy from
workshops at String chamber mind, body and their coaches, teach
public and music students spirit in the students how to
private schools are either non- coaching process. rehearse and
around the US, music majors at perform chamber
and Case University or Students: Some music, for the love
Western CIM youth engage their entire of music.
University. music program, mind, body and
or public and spirit in playing Students: Learn to
Members of private schools chamber music rehearse and
CSQ are the around the US. and learning from perform chamber
coaches. The Many students the coach. Others music to enhance
students are are not serious may not be as skills, add to
beginning to about engaged or may experience.
intermediate becoming not be as capable Motivation: the
string players. musicians. of practicing the love of music,
Students will rehearsal performance goals.
have varying techniques.
levels of
ability.

3
For Agency, I assumed the most positive motivations from the agents in each context
 275

Act Scene Agent Agency3 Purpose Distance

Coaching Music CSQ Coaches: They Coaches: Pass on Near
chamber music conservatory, engage their entire the legacy from
members of Wind chamber mind, body and their coaches, teach
CSQ are the music students spirit in the students how to
coaches. The at CIM. coaching process. rehearse and
students are Rehearsal perform chamber
advanced, pre- techniques may music at a
professional not all translate. professional level,
wind instrument for the love of
players. Students: Most music.
engage their entire
mind, body and Students: Learn to
spirit in playing rehearse and
chamber music perform chamber
and learning from music to enhance
the coach. skills, add to
experience.
Motivation: the
love of music,
professional goals.
Coaching Other music Coaches trained Coaches: They are Coaches: Teach Medium-
chamber music conservatories in the coaching fully engaged in students how to Near
or music model by the coaching rehearse and
departments in members of process. perform chamber
Universities. CSQ. music at a
Students: Engage professional level,
Other music Students: their entire mind, for the love of
teachers are the Music majors body and spirit in music.
coaches. The or students playing chamber
students are aiming for music and Students: Learn to
advanced, pre- professional learning from the rehearse and
professional music careers. coach. perform chamber
string players. music to enhance
skills, add to
experience.
Motivation: the
love of music,
professional goals.

Coaching Workshop CSQ or Coaches: They are Coaches: Teach Medium-

chamber music settings for Coaches trained fully engaged in students how to near
adult amateurs in the coaching the coaching rehearse and play
model by process. chamber music for
members of the love of music.
CSQ. Students: Many,
though not all, Students: Learn to
Adult amateur engage mind, rehearse chamber
musicians. body and spirit in music to enhance
playing chamber skills. Motivation:
music and the love of music,
learning from the improve skills.
coach.
 276

Act Scene Agent Agency3 Purpose Distance

Coaching Other music Coaches using Coaches: they are Coaches: teach Medium-
chamber music conservatories coaching model fully engaged in students how to far
or music from a book. the coaching rehearse and
departments in process. perform chamber
Universities. However, they music at a
have no direct professional level,
experience of for the love of
learning the model music.
from CSQ.
Students: Learn to
Students: Engage rehearse and
their entire mind, perform chamber
body and spirit in music to enhance
playing chamber skills, add to
music and experience.
learning from the Motivation: the
coach. love of music,
professional goals.
Coaching Workshop Coaches using Coaches: they Coaches: teach Medium-
chamber music settings with the coaching may or may not be students how to Far
adult amateur model from a fully engaged in rehearse and play
musicians book the coaching chamber music for
process. Also, the love of music
Adult amateur they have no
musicians direct experience Students: learn to
of learning the rehearse chamber
Rehearsal music to enhance
techniques from skills. Motivation:
CSQ. the love of music,
improve skills.
Students: many,
though not all,
engage mind,
body and spirit in
playing chamber
music and
learning from the
coach.
 277

Act Scene Agent Agency3 Purpose Distance

Coaching teams Workshop Appropriate Coaches: They are Coaches: Teach Far
in organization settings with aspects of the fully engaged in students techniques
settings non-musicians model have the coaching for communication
who work been translated process. and collaboration
together in to analogous that are based on
teams. concepts and Students: Many, the model.
techniques for though not all, Motivation: help
organizational engage in learning teams learn to
teams by the from the coach. collaborate
coach working Students may or effectively.
with CSQ may not be aware
members or a the techniques Students: Learn to
coach trained in came from a collaborate.
the model. chamber music Motivation: raise
coaching model. performance,
Students: Non- enhance career,
musicians who build skills, and
work together please the boss.
in teams.
 278

Appendix J

Permission Request Letter to Conduct Research

Permission Request Letter

Title of Project:
Coaching Strategies and Techniques: Building Empowered and Collaborative Teams by
Applying Principles of a String Quartets Pedagogy

Name of Researcher and Affiliation with Fielding:

Dorianne Cotter-Lockard, Human and Organizational Development doctoral student

I am requesting permission to conduct a research project with the Cavani String Quartet
(CSQ) and their chamber music students. I am a doctoral student in the School of Human
and Organizational Development at Fielding Graduate University, Santa Barbara, CA. This
study is supervised by Dr. Valerie Bentz and Dr. David Rehorick.
My study aims to document and understand how the CSQ uses their coaching strategies and
techniques to teach their students to work together as teams. My objectives of this study
are: 1) gain a deeper understanding of the process of coaching student string quartets, in
particular the process used by the CSQ; 2) gain an understanding of how the coaching
process helps empower student string quartets to work effectively together. The results of
this study have the potential to be used to expand music education in schools around the
world and possibly to be more generally applied to help develop and empower teams in other
types of organizations.
I will interview members of the CSQ to gain a background understanding of the quartets
formation, development and career path; and to understand how they developed and currently
use the coaching strategies and techniques. The interview will run from 60-90 minutes and
be digitally recorded (audio only). I will obtain nominations of student string quartets from
CSQ members for observation and further interviews.
Next, I will observe and digitally record (video) four coaching sessions with student string
quartets (one for each CSQ member). Coaching sessions will last approximately 60 minutes
each. I will interview student string quartet members as a group after their coaching sessions,
playing the video of their coaching session. I will go through a similar interview process
with each coach after the coaching session. I will digitally record (audio) each postcoaching
interview. The interviews will run 60-90 minutes each. The video recordings and interviews
will take place over two visits, one in April, 2011 and a visit in the Fall of 2011.
All student participants and the members of the CSQ will be provided information about the
study and time commitments through an informed consent process. Participants may
withdraw from this study at any time, either during or after participation, without negative
consequences. Should anyone withdraw, their data will be eliminated from the study and will
be destroyed
If it is available, I will obtain statistics on graduates of CIMs chamber music program from
CIMs administration. In particular, I would like to know how many CIM graduates are in
 279

residence as string quartets at other universities and colleges, and how many graduates have
gone on to have professional concert careers as string quartets or other chamber music
groups.
Finally, I will use SurveyMonkey to administer a questionnaire (based on the coaching
strategies and techniques document provided by Annie Fullard) to survey the larger student
string quartet population about their awareness and use of these techniques. For this part of
the study, I will obtain a roster of chamber music students and their e-mail addresses from
the CIM registrar and invite students to participate via e-mail. An informed consent
agreement will be embedded in the beginning of the survey and students will be required to
check the I agree checkbox before they can continue with the survey.

The student interviews will be kept strictly anonymous. All materials will be kept at the
home of Dorianne Cotter-Lockard. Any records that would identify participants in this
study, such as informed consent forms, will be destroyed approximately five years after the
study is completed. The names of individual CSQ members will be made anonymous unless
express permission is given to use names for specific quotes. However, the name Cavani
String Quartet and its association with the list of specific coaching strategies and techniques
will be included in the references and chapter discussions for the dissertation, acknowledging
their intellectual property rights.

Participants will have the option of reviewing and making changes to the coaching session
and interview transcripts. The security of data transmitted or posted over the Internet cannot
be guaranteed; therefore, there is a slight risk that the information we exchange via will not
be secure. The exchange of such data is not expected to present any greater risk than you
would encounter in everyday life when sending or receiving information over the Internet.

If any direct quotes are used in the dissertation or subsequent publications, written
permission will be sought from the participant being quoted. The results of this research will
be used in a doctoral dissertation, and possibly published in subsequent journals or books.

The results from this study may be used by the CSQ to further clarify, improve and document
their chamber music pedagogy. Students may also benefit from discussions about specific
strategies, techniques and learning processes during the post coaching interviews. The risks
to participants are considered minimal; there is very little likelihood that participants may
experience emotional discomfort during the coaching session or postcoaching interview.
This risk is considered to be minimal.

No compensation will be provided for participation. A summary of the final results will be
made available to the CSQ, Cleveland Institute of Music, Case Western University and the
student participants in the study.

If you have any questions about any aspect of this study or participants involvement, please
tell the researcher before signing this form. You may also contact the supervising faculty if
you have questions or concerns about participation in this study. If at any time you have
questions or concerns, contact the Fielding Graduate University IRB by e-mail at
irb@fielding.edu or by telephone at 805-898-4033.
 280

Dr. Valerie M. Bentz Dorianne Cotter-Lockard

Fielding Graduate University Dcotter-lockard@email.fielding.edu
2112 Santa Barbara Street 805-428-2600
Santa Barbara, CA 93105
805-687-1099

----------------------------------------------------------------------------------------------------------------
-----

On behalf of the Cleveland Institute of Music or Case Western University, I give permission
for Dorianne Cotter-Lockard to conduct the research project described in this letter.

Signature_________________________________________
Date___________________

Printed Name______________________________________

Title ____________________________________________
 281

Appendix K

Sample Recruitment E-mail for Student String Quartet Members

Dear ___________,

I am conducting original research for my dissertation on the topic of Coaching Strategies

and Techniques: Building Empowered and Collaborative Teams by Applying Principles of a
String Quartets Pedagogy. Ive sent you this invitation because you were nominated by
____________________ of the Cavani String Quartet (CSQ).

This study aims to document and understand the CSQs coaching strategies and techniques
that they use in teaching their students to work together as teams. I wish to pursue this
research in order to understand how chamber music coaches teach string quartet students to
become effective collaborators, to be empowered as individuals and to work together as an
empowered group. The results of this study have the potential to be used to expand music
education in schools around the world and possibly to be more generally applied to help
develop and empower teams in other types of organizations.
My objectives of this study are: 1) gain a deeper understanding of the process of coaching
student string quartets, in particular the process used by the CSQ; 2) gain an understanding of
how the coaching process helps empower student string quartets to work effectively together.
I will interview you individually prior to or after your coaching session. This interview will
last 45 minutes and I will audio record the interview. Next, I will observe and digitally
record (video) a coaching session with your student string quartet and your coach (a member
of the CSQ). The coaching session will last approximately 60 minutes.
Student participants will remain anonymous. You will have the option of reviewing your
interview transcript and making changes to it. After I receive your changes, I will remove all
identifying information in the transcript. The transcript review process is optional and should
take no more than 30 minutes. Participants can withdraw from the study at any time and are
under no obligation to participate. If you choose to withdraw, I will delete all recordings and
transcripts associated with your participation.
Im really excited about this project I would be really happy to have you participate in this
study. And of course, I will send you a summary report of the study upon your request.
Please let me know if you are interested in participating.
Many thanks,

Dorianne Cotter-Lockard
Fielding Graduate University
School of Human and Organizational Development
Cell: 805.428.2600
Dcotter-lockard@email.fielding.edu
 282

Appendix L

Professional Assistance Confidentiality Agreement

Title of Project:
Coaching Strategies and Techniques: Building Empowered and Collaborative Teams by
Applying Principles of a String Quartets Pedagogy

Name of Researcher and Affiliation with Fielding:

Dorianne Cotter-Lockard, Doctoral Student

I have agreed to assist Dorianne Cotter-Lockard in her research study of string quartets in the
role of transcriptionist.

I understand that all student participants in this study have been assured that their responses
will be kept anonymous. I agree to maintain that anonymity. I agree that no materials will
remain in my possession beyond the operation of this research study. I further agree that I
will make no independent use of any of the research materials from this project.

Signature_________________________________________ Date___________________

Printed Name______________________________________

Title ____________________________________________
 283

Appendix M

Coaches Informed Consent Form

Title of Study: Coaching Strategies and Techniques: Building Empowered and

Collaborative Teams by Applying Principles of a String Quartets Pedagogy
You have been asked to participate in a research study conducted by Dorianne Cotter-
Lockard, a doctoral student in the School of Human and Organizational Development at
Fielding Graduate University, Santa Barbara, CA. This study is supervised by Dr. Valerie
M. Bentz and is Dorianne's dissertation research project.
My objectives of this study are to gain a deeper understanding of the process of coaching
student string quartets, in particular the process used by the Cavani String Quartet, and gain
an understanding of how the coaching process helps empower student string quartets to work
effectively together. You are being asked to participate in this study because you are a
member of the Cavani String Quartet (CSQ), and you developed the set of coaching
strategies and techniques included in this study.
The study involves two interviews (one group interview with the CSQ and an interview with
you after I observe you coaching a student string quartet) and a video-recorded session with
you coaching one of your student string quartets.
First, I will conduct a group interview of the CSQ to gain a background understanding of the
quartets formation, development and career path; and to understand how you developed and
currently use the coaching strategies and techniques. This interview will last approximately
60-90 minutes. I may conduct short follow up interviews (15-20 minutes) with members of
the CSQ to further clarify statements made during the initial interview. This initial interview
and short follow ups will be arranged at your convenience.
During the first interview, I will obtain nominations of student string quartets from each CSQ
member to observe your coaching sessions. Students must be at least 18 years old and
enrolled as your chamber music student at the Cleveland Institute of Music. I will invite the
student string quartet you have nominated to participate in the study. Students must be
willing to have their coaching session video-recorded, fill out a survey questionnaire and
participate in the postcoaching interview session. They will be informed of the time
commitment for their participation and asked to sign an informed consent agreement. I will
inform each student that even though they were nominated by a faculty member, they are
under no obligation to participate in the study. If all four students in the nominated string
quartet do not agree to participate, I will ask you for an alternate nomination.
Next, I will observe and digitally record (video) one coaching session with you and your
nominated student string quartet. This session will last approximately 60 minutes and occur
during your regular teaching schedule at Cleveland Institute of Music. I will interview you
after the coaching session while re-playing the video, and ask questions related to the
coaching session. I will digitally record (audio) the postcoaching interview. This
postcoaching interview will take 60-90 minutes.
 284

All interviews will be recorded and transcribed. The transcripts will be e-mailed to you and
you will have the opportunity to review them and request changes. Transcript review will
take 20 30 minutes of your time for each of the two interviews.
The total time involved for your participation in this study will be approximately 4 - 6 hours
over an eight month time-span.
The security of data transmitted over the Internet cannot be guaranteed; therefore, there is a
slight risk that the information we exchange via e-mail will not be secure. The exchange of
such data is not expected to present any greater risk than you would encounter in everyday
life when sending or receiving information over the Internet.
The information you provide will be kept anonymous with the exception noted below. This
informed consent letter and other identifying information will be kept separate from the data.
All materials will be kept at the home of Dorianne Cotter-Lockard. The interview recordings
will be listened to only by the Researcher and a confidential Research Assistant who will
perform the transcription service and has signed the attached Professional Assistance
Confidentiality Agreement. Records that would identify you as a participant in this study,
such as informed consent forms, will be destroyed by approximately five years after the
study is completed.
The results of this research will be used in Ms. Cotter-Lockards dissertation, and possibly
published in subsequent journals or books. If any direct quotes will be used, permission will
be sought from you first. You will be asked to provide a different name for any quotes from
the coaching session or postcoaching interview that might be included in the final research
report. However, the name Cavani String Quartet and its association with the list of
specific coaching strategies and techniques will be included in the references and chapter
discussions for the dissertation, acknowledging the Cavani Quartets intellectual property
rights. Quotes from the initial interview with the CSQ will use your individual name only
with your written permission.
Results from this study may help you to further clarify, improve and document your chamber
music pedagogy. The risks to you are considered minimal; there is very little likelihood that
you would experience emotional discomfort during or after your participation. No
compensation will be provided for participation. You may request a copy of the summary of
the final results by indicating your interest at the end of this form.
You may withdraw from this study at any time, either during or after your participation,
without negative consequences. Should you withdraw, your data will be eliminated from the
study and will be destroyed.
If you have any questions about any aspect of this study or your involvement, please tell the
Researcher before signing this form. You may also contact the supervising faculty if you
have questions or concerns your participation in this study. The supervising faculty has
provided contact information at the bottom of this form. If at any time you have questions or
concerns about your rights as a research participant, contact the Fielding Graduate University
IRB by e-mail at irb@fielding.edu or by telephone at 805-898-4033.
Two copies of this informed consent form have been provided. Please sign both, indicating
you have read, understood, and agree to participate in this research. Return one to the
researcher and keep the other for your files. The Institutional Review Board of Fielding
 285

Graduate University retains the right to access the signed informed consent forms and other
study documents.

________________________________________________
NAME OF PARTICIPANT (please print)

_________________________________________________
SIGNATURE OF PARTICIPANT

_____________________________________
DATE

Dr. Valerie M. Bentz Dorianne Cotter-Lockard

Fielding Graduate University Dcotter-lockard@email.fielding.edu
2112 Santa Barbara Street 805-428-2600
Santa Barbara, CA 93105
805-687-1099

Yes, please send a summary of the study results to:

_____________________________________
NAME (please print)

_____________________________________
Street Address

_____________________________________
City, State, Zip
 286

Appendix N

Students Informed Consent Form

Title of Study: Coaching Strategies and Techniques: Building Empowered and

Collaborative Teams by Applying Principles of a String Quartets Pedagogy
You have been asked to participate in a research study conducted by Dorianne Cotter-
Lockard (the Researcher), a doctoral student in the School of Human and Organizational
Development at Fielding Graduate University, Santa Barbara, CA. This study is supervised
by Dr. Valerie M. Bentz and is Dorianne Cotter-Lockard's dissertation research project.
The Researchers objectives of this study are to gain a deeper understanding of the process of
coaching student string quartets, in particular the process used by the Cavani String Quartet
(CSQ), and gain an understanding of how the coaching process helps empower student string
quartets to work effectively together. You are being asked to participate in this study
because you were nominated by a member of the CSQ, you are enrolled as a student at the
Cleveland Institute of Music, and you are at least 18 years old.
The study involves a video-recorded session with your student string quartet in a coaching
session with a member of the CSQ, and an individual interview with each member of your
student string quartet.
First, the Researcher will observe and digitally record (video) a coaching session with your
student string quartet and your coach (a member of the CSQ or Mr. Salaff). The coaching
session will last approximately 60 minutes. Only the Researcher and the coach will view the
video after the coaching session; no one else will have access to the video. You may request
a copy of the video for learning purposes only.
Next, the Researcher will interview you as an individual after the coaching session. The
interview will be audio-recorded and will run 45-60 minutes. The Researcher will ask you
questions about your music training and experiences playing in string quartets, as well as
questions about how you use the Cavanis techniques and strategies (e.g., Live, Breathe, and
Die).
The interview will be recorded and transcribed. The transcripts will be e-mailed to you and
you will have the opportunity to review them and request changes. Transcript review is
optional and will take approximately 20 30 minutes of your time. You will have two weeks
from the time you receive the transcript to provide your feedback.
The total time involved for your participation in this study will be approximately 2- 3 hours
over a four week time period.
The information you provide will be kept strictly anonymous. You will have the option of
reviewing your interview transcript and making changes to it. After the Researcher receives
your changes, she will remove all identifying information in the transcript. You will be
asked to provide a different name for any quotes that might be included in the final research
report.
This informed consent letter and other identifying information will be kept separate from the
data. All materials will be kept at the home of Dorianne Cotter-Lockard. The interview
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recordings will be listened to only by the Researcher and a confidential Research Assistant
who will perform the transcription service and has signed the attached Professional
Assistance Confidentiality Agreement. Records that would identify you as a participant in
this study, such as informed consent forms, will be destroyed by approximately five years
after the study is completed.
The security of data transmitted over the Internet cannot be guaranteed; therefore, there is a
slight risk that the information we exchange via e-mail will not be secure. The exchange of
such data is not expected to present any greater risk than you would encounter in everyday
life when sending or receiving information over the Internet.
The results of this research will be used in Ms. Cotter-Lockards dissertation, and possibly
published in subsequent journals or books. Results from this study may help you to better
understand your chamber music learning process and CSQs coaching strategies and
techniques. The risks to you are considered minimal; there is very little likelihood that you
would experience emotional discomfort during or after your participation.
No compensation will be provided for participation. You may request a copy of the
summary of the final results by indicating your interest at the end of this form.
You may withdraw from this study at any time, either during or after your participation,
without negative consequences. Should you withdraw, your data will be eliminated from the
study and will be destroyed.
If you have any questions about any aspect of this study or your involvement, please tell the
Researcher before signing this form. You may also contact the supervising faculty if you
have questions or concerns your participation in this study. The supervising faculty has
provided contact information at the bottom of this form. If at any time you have questions or
concerns about your rights as a research participant, contact the Fielding Graduate University
IRB by e-mail at irb@fielding.edu or by telephone at 805-898-4033.

Two copies of this informed consent form have been provided. Please sign both, indicating
you have read, understood, and agree to participate in this research. Return one to the
researcher and keep the other for your files. The Institutional Review Board of Fielding
Graduate University retains the right to access the signed informed consent forms and other
study documents.

Dr. Valerie M. Bentz Dorianne Cotter-Lockard

Fielding Graduate University Dcotter-lockard@email.fielding.edu
2112 Santa Barbara Street 805-428-2600
Santa Barbara, CA 93105
805-687-1099

________________________________________________
NAME OF PARTICIPANT (please print)
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________________________________________________
SIGNATURE OF PARTICIPANT

_____________________________________
DATE

Yes, please send a summary of the study results to:

_____________________________________
E-mail Address