From February to June 1998, I ran the data collection experiments on six subjects. I tried to ensure that the subjects spanned a range of abilities and styles; the final group of subjects included three conservatory students, a professional Mahler expert, a professional ‘pops’ conductor, and a professional band/brass ensemble specialist. Two of the three students were female; all of the professionals were male. All of them allowed me to collect data during real rehearsal and performance situations. The students conducted segments from the last movement of Beethoven’s 9th Symphony in a classroom setting, conducting a pianist, and being evaluated by their teacher. One professional conducted two three-hour rehearsals of a Boston-area youth orchestra, with a repertoire that included Prokofiev’s Suite to Romeo and Juliet and the last two movements of Tchaikovsky’s 6th Symphony. The second professional conducted one two-hour rehearsal with a visiting high school orchestra that played a selection of orchestra arrangements including Aaron’s Copland’s Rodeo. The third professional conducted one three-hour rehearsal and a 40-minute performance with a professional orchestra. Their repertoire included numerous classical and ‘pops’ compositions, including four Sousa marches, the Love Theme from Titanic, a suite of songs from the Sound of Music, and When the Saints Come Marching In.
In total, seven sessions’ worth of data were collected, in addition to at least one discussion and fitting session for each subject. The data represents about 12 hours’ worth of conducting in total, and has been carefully cataloged with its associated videotape segments. More specifics on the subjects’ files have been documented and are included in the appendix to this thesis.