Dealing with power struggles in vocal ensembles. Can you effectively manage conflicts during rehearsals?

For many conflicts, during rehearsal is not the best time to work on reaching a mutually agreeable solution. Rehearsals need to be focused on improving the music-making. Making private time available for conflict resolution outside of the rehearsal time is often helpful. Ensemble members not involved in the conflict will appreciate the respect for their time, It is important to me that people in conflict make every effort they can to go directly to the people with whom they are experiencing conflict to try to reach a mutually agreeable solution. If dialogue is not possible directly, then finding a mutually trusted person to mediate that conversation can help.

My biggest mistake initially was wanting to be liked, and experience taught me that it takes away from my ultimate goal, which is vocal excellence. It's best to show that I expect manners, humility, effort and high standards on Day 1, so that it sets the tone going forward. Also not to be afraid to issue the occasional reminder when they forget. Similarly, I now let everyone know on Day 1 that all my decisions are based on what the AUDIENCE will enjoy most. So if I assign a solo section to a singer who struggles with it for too long, it will be reassigned to another singer, to honour the audience first and foremost. This can actually be a relief to the struggling singer. Lastly - the more prepared I am, the easier the whole process is.

Always be a team player right off the bat. I started as an a cappella singer, and it was the best training I could have possibly received. When I coach or direct, I meet with people privately, so that I am never making them feel uncomfortable at a rehearsal, in front of others. If someone is acting inappropriately, I recommend addressing this quickly, the same way that you would e.g. in sports, medicine -- or many other fields. A quiet whisper goes a long way as well.

Choosing musicians and vocalists who are experienced in respecting one another, and in particular those who are able to respect the authority of the music director is paramount. Also, having a clear director or leader in place to lead rehearsals can avoid a lot of these awkward situations in the first place.

Use only professional vocalists with no ego. It takes maturity to know how to work with professionals. After 65 years in the biz, I've fired myself more times than I can count.

I agree on the relationship in between personal and professional, but in my experience fostering a dialogue is not always a solution. I tend to give space to the people willing to speak about how they feel, and lead the group from there to the human side of worth in the professional. It is not an open dialogue about the situation but a facilitation towards themselves in the work. It is about making them conscious of the impact of their tension in their goals, in the shared reward of a collective artistic act. An bring people do refocus on the joy of that instead to a “solution” of the conflict.

Open dialogue is a good thing! I'm glad we are not all clones of one another. I welcome open dialogue but in a controlled manner. Listening to your teammates is necessary, and they need to feel heard. The resolution may not be the conclusion they particularly wanted, but they still feel heard and valued.

I personally spend time to build the pact within the team, so we all agree on what are we committed to in the time together, so it doesn’t become an imposed rule but a common direction to walk towards. Boundaries comes clear and light when you aknowledge how behaviour is serving that or not. That also shift the focus from a competition on power and position to the cooperative creation of the bridge to the final goal.

The focus needs to be on the rehearsal and not on opinions. In our situation, our worship minister selects the songs, and as the Vocal Coach, I am there to ensure we sound our very best for worship on Sunday. If and when conflicts occur, I address those concerns after the rehearsal. I always welcome their input, but in a constructive manner that does not interfere with our ongoing rehearsals.

The answer to the original question should be yes. Otherwise this is not your field. Personalities that are often working in the wrong direction for an ensemble need to be made to feel as though they have gained what they wanted without changing the dynamics of the ensemble, no pun intended. When a power play is made, sometimes letting that power be redirected us a good solution. It's not the only solution. Let that person take a better music stand, or a more prominent place in the room, not always in the front ("your right, you'd be the best singer to stand here, in the second row, that way everyone can feed off from you") while standing them next to excellent singers who won't be swayed. It's a skill and art to respond appropriately.

So much of our inner self is reflected in our voice- due to the exposed and often personal nature in singing, egos can get in the way. More often than not, the culture of an ensemble is set by a director. While competition can be useful, it can also be divisive. I set the tone with a workshop, asking each singer to note something they find odd about the voice, or a technique they wish they knew how to achieve. We'll break down the scientific/bio-mechanical anomalies as a group, and then isolate the muscle movement with a weird, coordinated sound (ex. a character voice or a bird call). The suspension of seriousness coupled with the immediate achievement of the technique creates a group of vocal scientists curious to learn together