Carolyn Watson | University of Illinois at Urbana-Champaign (original) (raw)

Papers by Carolyn Watson

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2024

Carlos Kleiber (1930-2004) was arguably one of the greatest conductors of the post-war era, and i... more Carlos Kleiber (1930-2004) was arguably one of the greatest conductors of the post-war era, and indeed possibly of all time. Kleiber was notable for many reasons, foremost among them was arguably his most natural body language on the podium into which his conducting gestures were wholly integrated, and the apparent effortless grace with which he was able to convey the most detailed aspects of the score.

This paper will consider and examine Kleiber’s primary means of gestural communication. Selecting a performance of Strauss’ Overture to Die Fledermaus, I will analyze the specific gestures used by Kleiber and their relationship to the musical score according to categories: Posture, Body Language and Movement, Facial Expression and Eye Contact, and Manual Conducting Gestures.

Journal of the International Conductor's Guild, 2022

This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the ... more This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the purely technical or the ‘craft’ of conducting, this paper considers and evaluates the distinct individual and cumulative elements which underline and inform the artistic work of professional conductors. Facets such as musical traits, score study, forming an interpretation and the effect of personality are discussed. With many of these elements being largely intangible, a rigorous scientific analysis of the conductor’s art is not a possibility however it is anticipated this appraisal will go some way towards demystifying, at least to an extent, the art of conducting.

The Routledge Handbook of Women’s Work in Music, 2021

This paper considers the field of professional orchestral conducting from the perspective of aspi... more This paper considers the field of professional orchestral conducting from the perspective of aspiring female conductors. In 2019, women conductors are arguably somewhat ‘in vogue’ with a raft of recent and high-profile appointments alongside increased media coverage, awareness, debate and the #MeToo movement. A number of professional orchestras and opera companies internationally have responded with the creation of titled roles for female conductors yet nevertheless, the statistics on the number of women conductors – particularly those working at the upper-most echelons – paint an indisputable picture.

This paper considers the gender-specific training programs and opportunities available to women conductors, including the Taki Concordia Fellowship, Dallas Opera Institute for Women Conductors, Royal Philharmonic Society Women Conductors and the New York Conducting Institute’s Womens Conducting Workshop. Programs such as these aim to redress the gender imbalance in orchestral conducting at the highest level, yet, by some, these initiatives have drawn criticism as incidences of reverse discrimination.

Researcher Carolyn Watson is one of two women to lead doctoral programs in orchestral conducting in the United States. In 2017 she was selected for the Dallas Opera Hart Institute for Women Conductors and participated in a Southbank Centre Workshop for Women Conductors. She has spent time observing Marin Alsop with the Baltimore Symphony, and assisted renowned opera specialists Simone Young and Karen Kamensek.

Music and Practice, 2020

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete sympho... more In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four movements in the classical format, with one movement selected from each of the first eight symphonies. This article discusses the surprising cohesiveness and organicity of the two "new" works and shows that they recreate sensibilities of the early nineteenth century. By embracing the flexible performance expectations of Beethoven's contemporaries, our symphonic experiment offers an alternative to encyclopedic presentations of museum "masterpieces," which largely resulted from Romantic and modernist aesthetics.

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2020

This paper examines three selected chamber works by seminal American composers of the twentieth c... more This paper examines three selected chamber works by seminal American composers of the twentieth century: John Harbison, Jacob Druckman and Aaron Copland. The works chosen are scored for mixed instrumental ensembles of between six and thirteen musicians, and require a conductor. The pieces examined are Confinement (Harbison), Come Round (Druckman) and Appalachian Spring Suite for 13 Instruments (Copland). While Copland’s well-known work is familiar to many, those of Harbison and Druckman are likely less so.

The smaller and more varied instrumentation of these works makes them particularly ideal for consideration as part of a broader orchestral programming strategy during this period of COVID-19, when parameters on traditional orchestral size and format limit traditional repertoire possibilities. The author has conducted all three works with a collegiate conservatory ensemble.

CODA Journal, 2019

The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary... more The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary conductor whose foibles were equally as legendary. Kleiber’s work was characterized by an unusually small yet highly specialized core of repertoire which he performed most frequently. Johann Strauss II’s operetta, Die Fledermaus, was one of Kleiber’s favorite works, and became one with which the conductor was associated throughout his career. This paper chronicles Kleiber’s lifelong fascination with Strauss’ Die Fledermaus, culminating in what many consider to be the definitive performance of the overture – the 1989 New Year’s Concert with the Vienna Philharmonic Orchestra under Kleiber.

Music and Practice, 2019

The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. ... more The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. Over the course of time the role of conductor has developed from one whose predominant function was ostensibly a fundamentally rhythmic one, to a role in which expressive aspects are focal. In this context, body language, posture, facial expressions and eye contact are integral components of the conductor’s communicative vocabulary. In this article, Australian conductor Carolyn Watson discusses how musical intent is communicated, and shares her own experience from a busy career with the baton.

BULLETIN OF THE INTERNATIONAL KODÁLY SOCIETY, 2018

Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla B... more Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla Bartók, the orchestral works of Zoltán Kodály are in and of themselves a study in the Hungarian folk music idiom. This notion was one supported by Bartók who stated that Kodály’s music was “the most perfect embodiment of the Hungarian spirit.” (Paxman 2014, p.522) This paper examines four works of Kodály’s orchestral canon, namely Háry János Suite (1927), Marosszék Dances (1927 for piano, 1930 for orchestra), Dances of Galánta (1933) and the Peacock Variations (1939). These selections represent the most commonly performed orchestral compositions of Kodály.

This study will consider the direct ethnomusicological influences in each of the chosen compositions and aims to identify the musical and compositional elements which give weight to the notion of ‘Hungarian-ness’ in the orchestral compositions of Kodály. While the four works I have chosen are likely familiar to conductors, orchestral musicians and music educators, somewhat surprisingly there has been very little research of an academic nature into the orchestral writing of Kodály. (Ong, 2011, p.1) As such, this paper serves as a welcome addition to the scholarly literature on Kodály’s orchestral compositions.

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2017

Austrian conductor Carlos Kleiber (1930-2004) has been hailed by many as the greatest conductor o... more Austrian conductor Carlos Kleiber (1930-2004) has been hailed by many as the greatest conductor of all time. An artist with unscrupulously high standards, Kleiber enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. He enjoyed a special relationship with the Vienna Philharmonic, the longest of any of his professional associations.

A profoundly gifted conductor and deeply private man, any study of Kleiber’s life and work seems to pose more questions than it answers. An enigmatic genius, Kleiber’s renown was as revered as it was notorious. Norman Lebrecht mused that ‘Kleiber was not famous for conducting so much as he was famous for not conducting.’ Shy and plagued by self-doubt, Kleiber’s insecurities were legendary, with it being reported he once vomited on a score of Wagner’s Tristan and Isolde in a typical case of pre-performance nerves. An obsessive perfectionist of the highest order, Kleiber’s extreme fanaticism and fastidiousness are well documented.

Over the course of his career he conducted fewer and fewer works, resulting in a performance history as vexing as the man himself. Many speculate this may be due to the influence of his father Erich, one of the most pre-eminent conductors of the twentieth century, while others cite Kleiber’s pursuit of uncompromising and ever further reaching artistic perfection as a possible suggestion to explain his famously small repertoire.

This article examines in detail Carlos Kleiber, his career and his repertory. Aspects of the problematic relationship with his father are considered alongside significant factors of personality, both of which had a profound impact on his work as a conductor. Incorporated into the article is an array of new source material on Kleiber, much of which is only available in German.

CODA Journal: The Online Journal of the College Orchestra Directors Association, Jun 15, 2016

This paper considers the complex and multifarious art of orchestral conducting and in particular ... more This paper considers the complex and multifarious art of orchestral conducting and in particular the intangible aspects of the conductor’s art, i.e. aspects above and beyond the use of gesture. This article is a survey and evaluation of written accounts of the art of conducting, and an analysis of the elements of which the art is comprised. The article is not intended to analyze how conductor actually conducts, so much as how others – orchestral musicians, conductors themselves, critics and observers – perceive he does.

The core of the conductor’s art is rooted in gesture – manual conducting gestures show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating musical expression and conveying an interpretation of the musical work. Body posture and language can communicate authority, leadership, confidence and inspiration. Physical gestures such as facial expressions can express a conductor’s mood and demeanor, as well as the emotional content of the music.

In addition to these modes of non-verbal communication, a conductor’s success is dependent on the relationship between himself and the orchestra – his ability to lead, inspire, enthuse, motivate and connect with the musicians he conducts. Charm, charisma and the power of personality are all contributing elements – defying scientific evaluation or explanation, this set of skills comprises a universally-acknowledged ‘X-Factor’ which underlines the art of orchestral conducting at the highest level.

The Instrumentalist, 2015

An examination of considerations related to programming and repertoire selection for young orches... more An examination of considerations related to programming and repertoire selection for young orchestras.

This thesis focuses on the art of orchestral conducting and in particular, the gestural language ... more This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players.
Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study.
The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. He enjoyed a special relationship with the Vienna Philharmonic, the longest of any of his associations, and the performance selected for examination is therefore one with this ensemble.
Using a DVD recording of a live performance, Kleiber’s conducting gestures, and their relationship to the musical score will be examined. The performance selected is that of Johann Strauss II’s Overture to Die Fledermaus, performed at the 1989 New Year’s Day Concert with the Vienna Philharmonic Orchestra.

1 Carlos Kleiber Voted Greatest Conductor of all Time, http://www.bbc.co.uk/pressoffice/bbcworldwide/worldwidestories/pressreleases/2011/03_mar ch/carlos_kleiber.shtml, (accessed December 12, 2011).

My 2012 Churchill Fellowship was centered on the study of vocal music, specifically operatic chor... more My 2012 Churchill Fellowship was centered on the study of vocal music, specifically operatic choruses and symphonic choruses. An operatic chorus comprises professional singers whereas large symphonic choruses who collaborate with professional orchestras in concert performances, predominantly consist of amateur singers. A very different working approach with these two groups is therefore required. Differences pertain to aspects of vocal training and coaching, rehearsal technique and performance practice.

I undertook a comparative study of a number of internationally renowned operatic and symphonic choruses in order to ascertain the most effective training techniques and methods in use today. This study took the form of assistantships and internships at a variety of organisations, along with rehearsal observation and interviews with chorus masters and conductors.

Resonate: The Online Journal of the Australian Music Centre, May 13, 2011

A detailed study of Benjamin’s music for the theatre, focusing on the opera Prima Donna which I c... more A detailed study of Benjamin’s music for the theatre, focusing on the opera Prima Donna which I conducted in 2007 at the Sydney Conservatorium of Music.

Conference Presentations by Carolyn Watson

First International Conference on Women's Work in Music Presentation

23rd International Kodály Symposium and Music Festival Presentation

College Orchestra Directors Association National Conference Presentation

Oxford Conducting Studies Conference Presentation

Texas Orchestra Directors Association Convention Presentation

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2024

Carlos Kleiber (1930-2004) was arguably one of the greatest conductors of the post-war era, and i... more Carlos Kleiber (1930-2004) was arguably one of the greatest conductors of the post-war era, and indeed possibly of all time. Kleiber was notable for many reasons, foremost among them was arguably his most natural body language on the podium into which his conducting gestures were wholly integrated, and the apparent effortless grace with which he was able to convey the most detailed aspects of the score.

This paper will consider and examine Kleiber’s primary means of gestural communication. Selecting a performance of Strauss’ Overture to Die Fledermaus, I will analyze the specific gestures used by Kleiber and their relationship to the musical score according to categories: Posture, Body Language and Movement, Facial Expression and Eye Contact, and Manual Conducting Gestures.

Journal of the International Conductor's Guild, 2022

This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the ... more This paper deals with the myriad of aspects central to the conductor’s art. Above and beyond the purely technical or the ‘craft’ of conducting, this paper considers and evaluates the distinct individual and cumulative elements which underline and inform the artistic work of professional conductors. Facets such as musical traits, score study, forming an interpretation and the effect of personality are discussed. With many of these elements being largely intangible, a rigorous scientific analysis of the conductor’s art is not a possibility however it is anticipated this appraisal will go some way towards demystifying, at least to an extent, the art of conducting.

The Routledge Handbook of Women’s Work in Music, 2021

This paper considers the field of professional orchestral conducting from the perspective of aspi... more This paper considers the field of professional orchestral conducting from the perspective of aspiring female conductors. In 2019, women conductors are arguably somewhat ‘in vogue’ with a raft of recent and high-profile appointments alongside increased media coverage, awareness, debate and the #MeToo movement. A number of professional orchestras and opera companies internationally have responded with the creation of titled roles for female conductors yet nevertheless, the statistics on the number of women conductors – particularly those working at the upper-most echelons – paint an indisputable picture.

This paper considers the gender-specific training programs and opportunities available to women conductors, including the Taki Concordia Fellowship, Dallas Opera Institute for Women Conductors, Royal Philharmonic Society Women Conductors and the New York Conducting Institute’s Womens Conducting Workshop. Programs such as these aim to redress the gender imbalance in orchestral conducting at the highest level, yet, by some, these initiatives have drawn criticism as incidences of reverse discrimination.

Researcher Carolyn Watson is one of two women to lead doctoral programs in orchestral conducting in the United States. In 2017 she was selected for the Dallas Opera Hart Institute for Women Conductors and participated in a Southbank Centre Workshop for Women Conductors. She has spent time observing Marin Alsop with the Baltimore Symphony, and assisted renowned opera specialists Simone Young and Karen Kamensek.

Music and Practice, 2020

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete sympho... more In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four movements in the classical format, with one movement selected from each of the first eight symphonies. This article discusses the surprising cohesiveness and organicity of the two "new" works and shows that they recreate sensibilities of the early nineteenth century. By embracing the flexible performance expectations of Beethoven's contemporaries, our symphonic experiment offers an alternative to encyclopedic presentations of museum "masterpieces," which largely resulted from Romantic and modernist aesthetics.

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2020

This paper examines three selected chamber works by seminal American composers of the twentieth c... more This paper examines three selected chamber works by seminal American composers of the twentieth century: John Harbison, Jacob Druckman and Aaron Copland. The works chosen are scored for mixed instrumental ensembles of between six and thirteen musicians, and require a conductor. The pieces examined are Confinement (Harbison), Come Round (Druckman) and Appalachian Spring Suite for 13 Instruments (Copland). While Copland’s well-known work is familiar to many, those of Harbison and Druckman are likely less so.

The smaller and more varied instrumentation of these works makes them particularly ideal for consideration as part of a broader orchestral programming strategy during this period of COVID-19, when parameters on traditional orchestral size and format limit traditional repertoire possibilities. The author has conducted all three works with a collegiate conservatory ensemble.

CODA Journal, 2019

The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary... more The great Austrian conductor Carlos Kleiber (1930-2004) was an intriguing character – a legendary conductor whose foibles were equally as legendary. Kleiber’s work was characterized by an unusually small yet highly specialized core of repertoire which he performed most frequently. Johann Strauss II’s operetta, Die Fledermaus, was one of Kleiber’s favorite works, and became one with which the conductor was associated throughout his career. This paper chronicles Kleiber’s lifelong fascination with Strauss’ Die Fledermaus, culminating in what many consider to be the definitive performance of the overture – the 1989 New Year’s Concert with the Vienna Philharmonic Orchestra under Kleiber.

Music and Practice, 2019

The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. ... more The communicative vocabulary of a conductor comprises an extensive repertory of manual gestures. Over the course of time the role of conductor has developed from one whose predominant function was ostensibly a fundamentally rhythmic one, to a role in which expressive aspects are focal. In this context, body language, posture, facial expressions and eye contact are integral components of the conductor’s communicative vocabulary. In this article, Australian conductor Carolyn Watson discusses how musical intent is communicated, and shares her own experience from a busy career with the baton.

BULLETIN OF THE INTERNATIONAL KODÁLY SOCIETY, 2018

Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla B... more Arguably more quintessentially ‘Hungarian’ than the compositions of his esteemed colleague Béla Bartók, the orchestral works of Zoltán Kodály are in and of themselves a study in the Hungarian folk music idiom. This notion was one supported by Bartók who stated that Kodály’s music was “the most perfect embodiment of the Hungarian spirit.” (Paxman 2014, p.522) This paper examines four works of Kodály’s orchestral canon, namely Háry János Suite (1927), Marosszék Dances (1927 for piano, 1930 for orchestra), Dances of Galánta (1933) and the Peacock Variations (1939). These selections represent the most commonly performed orchestral compositions of Kodály.

This study will consider the direct ethnomusicological influences in each of the chosen compositions and aims to identify the musical and compositional elements which give weight to the notion of ‘Hungarian-ness’ in the orchestral compositions of Kodály. While the four works I have chosen are likely familiar to conductors, orchestral musicians and music educators, somewhat surprisingly there has been very little research of an academic nature into the orchestral writing of Kodály. (Ong, 2011, p.1) As such, this paper serves as a welcome addition to the scholarly literature on Kodály’s orchestral compositions.

CODA Journal: The Online Journal of the College Orchestra Directors Association, 2017

Austrian conductor Carlos Kleiber (1930-2004) has been hailed by many as the greatest conductor o... more Austrian conductor Carlos Kleiber (1930-2004) has been hailed by many as the greatest conductor of all time. An artist with unscrupulously high standards, Kleiber enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. He enjoyed a special relationship with the Vienna Philharmonic, the longest of any of his professional associations.

A profoundly gifted conductor and deeply private man, any study of Kleiber’s life and work seems to pose more questions than it answers. An enigmatic genius, Kleiber’s renown was as revered as it was notorious. Norman Lebrecht mused that ‘Kleiber was not famous for conducting so much as he was famous for not conducting.’ Shy and plagued by self-doubt, Kleiber’s insecurities were legendary, with it being reported he once vomited on a score of Wagner’s Tristan and Isolde in a typical case of pre-performance nerves. An obsessive perfectionist of the highest order, Kleiber’s extreme fanaticism and fastidiousness are well documented.

Over the course of his career he conducted fewer and fewer works, resulting in a performance history as vexing as the man himself. Many speculate this may be due to the influence of his father Erich, one of the most pre-eminent conductors of the twentieth century, while others cite Kleiber’s pursuit of uncompromising and ever further reaching artistic perfection as a possible suggestion to explain his famously small repertoire.

This article examines in detail Carlos Kleiber, his career and his repertory. Aspects of the problematic relationship with his father are considered alongside significant factors of personality, both of which had a profound impact on his work as a conductor. Incorporated into the article is an array of new source material on Kleiber, much of which is only available in German.

CODA Journal: The Online Journal of the College Orchestra Directors Association, Jun 15, 2016

This paper considers the complex and multifarious art of orchestral conducting and in particular ... more This paper considers the complex and multifarious art of orchestral conducting and in particular the intangible aspects of the conductor’s art, i.e. aspects above and beyond the use of gesture. This article is a survey and evaluation of written accounts of the art of conducting, and an analysis of the elements of which the art is comprised. The article is not intended to analyze how conductor actually conducts, so much as how others – orchestral musicians, conductors themselves, critics and observers – perceive he does.

The core of the conductor’s art is rooted in gesture – manual conducting gestures show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating musical expression and conveying an interpretation of the musical work. Body posture and language can communicate authority, leadership, confidence and inspiration. Physical gestures such as facial expressions can express a conductor’s mood and demeanor, as well as the emotional content of the music.

In addition to these modes of non-verbal communication, a conductor’s success is dependent on the relationship between himself and the orchestra – his ability to lead, inspire, enthuse, motivate and connect with the musicians he conducts. Charm, charisma and the power of personality are all contributing elements – defying scientific evaluation or explanation, this set of skills comprises a universally-acknowledged ‘X-Factor’ which underlines the art of orchestral conducting at the highest level.

The Instrumentalist, 2015

An examination of considerations related to programming and repertoire selection for young orches... more An examination of considerations related to programming and repertoire selection for young orchestras.

This thesis focuses on the art of orchestral conducting and in particular, the gestural language ... more This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players.
Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study.
The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. He enjoyed a special relationship with the Vienna Philharmonic, the longest of any of his associations, and the performance selected for examination is therefore one with this ensemble.
Using a DVD recording of a live performance, Kleiber’s conducting gestures, and their relationship to the musical score will be examined. The performance selected is that of Johann Strauss II’s Overture to Die Fledermaus, performed at the 1989 New Year’s Day Concert with the Vienna Philharmonic Orchestra.

1 Carlos Kleiber Voted Greatest Conductor of all Time, http://www.bbc.co.uk/pressoffice/bbcworldwide/worldwidestories/pressreleases/2011/03_mar ch/carlos_kleiber.shtml, (accessed December 12, 2011).

My 2012 Churchill Fellowship was centered on the study of vocal music, specifically operatic chor... more My 2012 Churchill Fellowship was centered on the study of vocal music, specifically operatic choruses and symphonic choruses. An operatic chorus comprises professional singers whereas large symphonic choruses who collaborate with professional orchestras in concert performances, predominantly consist of amateur singers. A very different working approach with these two groups is therefore required. Differences pertain to aspects of vocal training and coaching, rehearsal technique and performance practice.

I undertook a comparative study of a number of internationally renowned operatic and symphonic choruses in order to ascertain the most effective training techniques and methods in use today. This study took the form of assistantships and internships at a variety of organisations, along with rehearsal observation and interviews with chorus masters and conductors.

Resonate: The Online Journal of the Australian Music Centre, May 13, 2011

A detailed study of Benjamin’s music for the theatre, focusing on the opera Prima Donna which I c... more A detailed study of Benjamin’s music for the theatre, focusing on the opera Prima Donna which I conducted in 2007 at the Sydney Conservatorium of Music.

First International Conference on Women's Work in Music Presentation

23rd International Kodály Symposium and Music Festival Presentation

College Orchestra Directors Association National Conference Presentation

Oxford Conducting Studies Conference Presentation

Texas Orchestra Directors Association Convention Presentation

Texas Music Educators Association Conference Presentation

Conductor Carolyn Watson presents a pre-concert talk on Prokofiev's Romeo and Juliet and Mussorgs... more Conductor Carolyn Watson presents a pre-concert talk on Prokofiev's Romeo and Juliet and Mussorgsky/Ravel's Pictures at an Exhibition with members of the Interlochen Arts Academy Orchestra.

Corson Auditorium, Interlochen Center for the Arts
November 14, 2015

Dr Carolyn Watson presents a pre-concert talk on Saint-Saens Danse Macabre and Berlioz Symphonie ... more Dr Carolyn Watson presents a pre-concert talk on Saint-Saens Danse Macabre and Berlioz Symphonie Fantastique with members of the Interlochen Arts Academy Orchestra.

Corson Auditorium, Interlochen Center for the Arts
October 25, 2014

Respighi Ancient Airs and Dances, Suite No. 1, Rossini Overture to William Tell, Britten Young Pe... more Respighi Ancient Airs and Dances, Suite No. 1, Rossini Overture to William Tell, Britten Young Person's Guide to the Orchestra.
Carolyn Watson Conductor,
Interlochen Philharmonic,
July 12, 2015.

Handel Suite from the Water Music (arr. Harty), Copland Danzon Cubano, Tchaikovsky Capriccio Ital... more Handel Suite from the Water Music (arr. Harty), Copland Danzon Cubano, Tchaikovsky Capriccio Italien.
Carolyn Watson Conductor,
Interlochen Philharmonic,
July 5, 2015.

Prokofiev Montagues and Capulets from Romeo and Juliet, Holst Mars, Mercury, Jupiter, Uranus from... more Prokofiev Montagues and Capulets from Romeo and Juliet, Holst Mars, Mercury, Jupiter, Uranus from The Planets, Tchaikovsky Marche Slave.
Carolyn Watson, Conductor,
Interlochen Arts Academy Orchestra,
May 28, 2015 .

Tchaikovsky Marche Slav, Stravinsky Firebird Suite (1919). Carolyn Watson Conductor, Interlochen... more Tchaikovsky Marche Slav, Stravinsky Firebird Suite (1919).
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
April 24, 2015.

Smetana Die Moldau from Má vlast, Bartok Piano Concerto No. 3 ist mvt., Thurber The Three Muskete... more Smetana Die Moldau from Má vlast, Bartok Piano Concerto No. 3 ist mvt., Thurber The Three Musketeers (World Premiere).
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
March 13, 2015.

Rossini Introduction, Theme and Variations for Clarinet and Orchestra, Vaughan Williams Fantasia ... more Rossini Introduction, Theme and Variations for Clarinet and Orchestra, Vaughan Williams Fantasia on a Theme by Thomas Tallis, Schumann Introduction, Scherzo and Finale.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
February 7, 2015.

Tchaikovsky: The Sleeping Beauty Carolyn Watson, Conductor Interlochen Dance Company Interlochen... more Tchaikovsky: The Sleeping Beauty
Carolyn Watson, Conductor
Interlochen Dance Company
Interlochen Arts Academy Orchestra
December 13, 2014.

Saint-Saens Danse Macabre and Berlioz Symphonie Fantastique. Carolyn Watson Conductor, Interloch... more Saint-Saens Danse Macabre and Berlioz Symphonie Fantastique.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
October 25, 2014.

Prokofiev Selections from Romeo and Juliet and Mussorgsky (arr. ravel) Pictures at an Exhibition.... more Prokofiev Selections from Romeo and Juliet and Mussorgsky (arr. ravel) Pictures at an Exhibition.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra
November 15, 2014.

Carolyn Watson Conductor, Interlochen Arts Academy Orchestra, September 27, 2014

Shostakovich Festive Overture, Mozart Requiem. Carolyn Watson Conductor, Interlochen Philharmonic... more Shostakovich Festive Overture, Mozart Requiem.
Carolyn Watson Conductor,
Interlochen Philharmonic,
July 20, 2014.

Carolyn Watson Conductor, Interlochen Philharmonic, July 6, 2014.

Sibelius Finlandia, Ravel Rapsodie Espagnol. Carolyn Watson Conductor, Interlochen Philharmonic,... more Sibelius Finlandia, Ravel Rapsodie Espagnol.
Carolyn Watson Conductor,
Interlochen Philharmonic,
June 29, 2014.

Verdi Overture to The Force of Destiny, Vaughan Williams Tuba Concerto Mvt. 1, Dvorak Symphony No... more Verdi Overture to The Force of Destiny, Vaughan Williams Tuba Concerto Mvt. 1, Dvorak Symphony No. 9 'From the New World'.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
May 22, 2014.

Debussy Prelude to the Afternoon of a Faun, Rorem Lions (A Dream), Fauré Suite from Pelléas et Mé... more Debussy Prelude to the Afternoon of a Faun, Rorem Lions (A Dream), Fauré Suite from Pelléas et Mélisande and Ravel La Valse.
Carolyn Watson, Conductor,
Interlochen Arts Academy Orchestra,
April 25, 2014.

Brahms Academic Festival Overture, Vivaldi O qui caeli terraeque serenitas, Elgar Enigma Variatio... more Brahms Academic Festival Overture, Vivaldi O qui caeli terraeque serenitas, Elgar Enigma Variations.
Carolyn Watson, Conductor,
Interlochen Arts Academy Orchestra,
March 14, 2014.

Mozart Overture and Ballet Music from Idomeneo, Haydn Cello Concerto in D and Stravinsky Pulcinel... more Mozart Overture and Ballet Music from Idomeneo, Haydn Cello Concerto in D and Stravinsky Pulcinella Suite.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
February 9, 2014.

Program Notes for the November 2013 Interlochen Arts Academy Orchestra performance of Kabalevsky ... more Program Notes for the November 2013 Interlochen Arts Academy Orchestra performance of Kabalevsky Colas Breugnon Overture, Shostakovich Jazz Suite No. 1 and Bernstein Divertimento for Orchestra.

Johann Strauss II Overture to The Gypsy Baron, Bartók Dance Suite, Borodin Polovtsian Dances and ... more Johann Strauss II Overture to The Gypsy Baron, Bartók Dance Suite, Borodin Polovtsian Dances and Kodály Dances of Galánta.
Carolyn Watson Conductor,
Interlochen Arts Academy Orchestra,
October 9, 2013

Carolyn Watson, Conductor. Interlochen Arts Academy Orchestra September 27, 2013.

An article detailing my experiences as orchestra conductor at Interlochen Arts Academy.

2013-14 Dome Centenary Fellowship, State Library of Victoria The library's collection of Austral... more 2013-14 Dome Centenary Fellowship, State Library of Victoria

The library's collection of Australian choral music formed the basis of my research for this project. Researching, analyzing and categorizing, a principal aim of my project was the compilation of an annotated bibliography of the library's holdings of Australian choral works.
My project married the library's extensive holdings in Australian choral music with the institution itself as a public venue and performance space. To mark the centenary of the library, a component of this fellowship was the formation of a community choir, the Dome Centenary Choir, with whom I worked in a series of choral workshop, translating the findings of my research into practice as we performed for the public in the library’s famed domed reading room.

An article on Australian composer John Peterson’s Shadows and Light, the choral/orchestral work w... more An article on Australian composer John Peterson’s Shadows and Light, the choral/orchestral work which formed the centerpiece of the recent Conservatorium High School concerts.

An article detailing my experiences in the 2012 Emmerich Kálmán International Operetta Conducting... more An article detailing my experiences in the 2012 Emmerich Kálmán International Operetta Conducting Competition in Budapest, contextualized by he greater musical and cultural offerings afforded by a visit to the city.

An article detailing the Staatsoper Berlin’s 2012 John Cage Festival and in particular, the produ... more An article detailing the Staatsoper Berlin’s 2012 John Cage Festival and in particular, the production and staging of Europera 3 along with my involvement therein.

An article on Marin Alsop’s highly successful outreach program at the Baltimore Symphony Orchestr... more An article on Marin Alsop’s highly successful outreach program at the Baltimore Symphony Orchestra, and the Tasmania Discovery Orchestra’s similar approach in bringing music to the local community.

An article on Marin Alsop’s highly successful outreach program at the Baltimore Symphony Orchestr... more An article on Marin Alsop’s highly successful outreach program at the Baltimore Symphony Orchestra, and the Tasmania Discovery Orchestra’s similar approach in bringing music to the local community.

An article on the Edinburgh Festival, one of the world’s greatest music festivals. This article l... more An article on the Edinburgh Festival, one of the world’s greatest music festivals. This article looks at the 2010 Festival and in particular, the involvement of Australian ensembles, musicians and composers – Opera Australia, Sydney Symphony, Duo Sol, Sir Charles Mackerras (assisted by myself) and the music of Sculthorpe, Edwards, Hindson, Dean.

Tchaikovsky: The Sleeping Beauty Carolyn Watson, Conductor Interlochen Dance Company Interlochen ... more Tchaikovsky: The Sleeping Beauty Carolyn Watson, Conductor Interlochen Dance Company Interlochen Arts Academy Orchestra December 13, 2014.