Paradox of perception : the role of the second chair second violin in a symphony orchestra : a thesis presented in partial fulfilment of the requirements for the degree of Master of Management in Management at Massey University, Manawatu campus, New Zealand
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Date
2010
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Massey University
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Abstract
The objective of this research thesis is to add to our understanding of work practices
in the symphony orchestra and, in particular, to explore the functioning of the
hierarchy which exists among the musicians of the orchestra (Koivunen, 2003;
Marotto, Roos & Victor, 2007)
As the literature regarding the orchestral organization is concerned primarily with
relations between conductors and orchestras and, further, with the offstage
implications of these interactions (Koivunen, 2003), I have focused instead on the
onstage relationships among musicians that occur in the course of rehearsal, concert,
and recording activity.
In order to investigate these relations, I have undertaken a critical and reflexive study
of the role of sub-principal (second chair) second violin in a full-time, fully
professional symphony orchestra. In so doing I sought to interrogate my own
experience through an autoethnographic methodology which is grounded in the
phenomenology of Merleau-Ponty (2002) and draws on the sensemaking ideas of
Weick (1995, 2001).
The picture that emerged from this research was one of an embodied musician
engaging in empathetic interaction with colleagues; this interaction is, I argue, based
on sensemaking activity which occurs in a kinaesthetic loop that, while underpinned
by creative empathy among musicians, draws on and is generated by auditory, visual
and physical information virtually simultaneously. Which of these elements takes
precedence was found in this study to be linked to the nature of the activity being
undertaken.
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Keywords
Orchestral musicians, Interpersonal relations, Sensemaking, Empathy