Musica

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673

Journal of Occupational and Organizational Psychology (2006), 79, 673–690
q 2006 The British Psychological Society

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In the wings of British orchestras: A multi-episodeinterview study among symphony players
Warren Brodsky*
Department of the Arts, Ben-Gurion University of the Negev, Beer-Sheva, Israel
An orchestral career has often been looked upon with awe by the public. A contract
position with a well-known orchestra is highly regarded, and often the target of
competitive auditions. Yet, orchestral life-style is easily misconceived by outsiders. Only
a fewresearchers have been able to penetrate group barriers and gain the confidence of
orchestra members, and none of these have reported emotions and cognitions
pertinent to occupational development, career aspirations, vocational motivations and
performance experiences. In this study, 54 British symphony orchestra musicians from
14 performance organizations were interviewed 8 times over a10-month period at
four major concert halls across north-west England. The interviews each followed
mood-induction procedures consisting of abbreviated progressive muscle relaxation
training, guided affective imagery and music exposure applied via the Somatronw
Acoustic Massagee Power Recliner. The descriptive narratives were examined using
qualitative approaches including content analysis. On theone hand, the musicians
viewed membership of a symphony orchestra as representing the final surrender of the
ambition to join the ranks of celebrated world-class soloists. On the other hand, they
viewed their orchestral career as the essential means by which they could socialize with
like-minded people, and experience camaraderie, teamwork, solidarity and friendship.
Contrary to what has beenpreviously reported in the literature, the current study
provides a view of symphony orchestra players’ motivations and commitments to the
music profession as based on a lifelong passion for music and music performance.

The symphony orchestra is arguably the most significant artistic organization in Western
cultures today. Initially established in the mid-nineteenth century, symphonyorchestras
have provided steady employment for thousands of musicians for over 170 years. In
addition, they have brought international recognition and civic pride to many cities,
have rejuvenated dilapidated downtowns and have churned billions in capital funds
through local economies. For most of their existence, orchestras have been rewarded
for their valuable artistic and community services withgenerous support from
audiences and wealthy patrons (Scholz, 2001). The professional symphony orchestra
might properly be considered to be a team, with members performing skilled and
* Correspondence should be addressed to Warren Brodsky, Music Science Research, Department of the Arts, Ben-Gurion
University of the Negev, PO Box 653, Beer-Sheva 84105, Israel (e-mail: wbrodsky@bgumail.bgu.ac.il).DOI:10.1348/096317905X68213

Copyright © The British Psychological Society
Reproduction in any form (including the internet) is prohibited without prior permission from the Society

674 Warren Brodsky

specialized roles, in a tightly coordinated manner. It is perhaps the only team in modernday economic climates that continues to provide lifelong employment; the careers of
musicians infirst-rate symphony orchestras have been reported to be more enduring
and pleasant than most other professional careers (Smith, 1988).
Yet, compared with other occupational groups and professional organizations, little
is known about symphony players. The overall consensus is that they are hard working,
ambitious, self-absorbed, introspective and introverted creative individuals. Accordingly,...