The work of a Broadway music director is complex and requires a wide range of musical and extra-musical skills.
Using three research questions, this dissertation investigates (1) what it is that a music director does, (2) how they learn to do various components of the job while at the same time navigating the pathway that leads to Broadway and (3) what is needed to maintain a career on Broadway. A review of literature reveals that peer-reviewed publications are practically silent on the topic of Broadway music directors.
Answers to the first question are found in published literature, but a consensus definition does not emerge. Meanwhile, answers to the second and third questions are only indirectly addressed by the literature. This lack of information is a primary argument in favor of this study. The answers to these questions are explored using qualitative research methods to examine what individuals with real-world experience have to say about working as a music director on Broadway.
The findings include a description of the necessity for piano skills, the importance of networking, the invaluable learning experience that comes from “being in the room,” and a need for resilience to overcome the challenges of working as a freelancer. Using the framework of the Theory of Expertise, important milestones and stages that Broadway music directors have navigated in their careers are discussed. Finally, barriers to entry into the field are identified along with a description of pipelines that are being built to help the next generation of aspiring music directors achieve success.
| Identifer | oai:union.ndltd.org:columbia.edu/oai:academiccommons.columbia.edu:10.7916/w7tk-6v40 |
| Date | January 2024 |
| Creators | Tarbet, John Andrew |
| Source Sets | Columbia University |
| Language | English |
| Detected Language | English |
| Type | Theses |
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