This interaction is, I suggest, based on sense-making and sense-giving activity that occurs in a ‘kinaesthetic loop’ that draws on and is generated by auditory, visual and gestural information given and received by individual musicians. This activity in turn mediates the acoustic space between musicians and thus, ultimately, determines how leadership and coordination in the orchestra are constituted. Rather than being disembodied products of dictatorial direction dispensed through the orchestra’s hierarchy, orchestral performance and leadership emerge in this more nuanced account as co-creative processes in which all the musicians on stage share responsibility.
Gilling, D. (2014), "From Mahler to the Movies: Physical Empathy in Orchestral Leadership", The Physicality of Leadership: Gesture, Entanglement, Taboo, Possibilities (Monographs in Leadership and Management, Vol. 6), Emerald Group Publishing Limited, Bingley, pp. 109-133. https://doi.org/10.1108/S1479-357120140000006005
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