One measure of a successful blog post is how many book recommendations I receive in response to it. On this basis, I consider my recent reflections on the value of downtime in rehearsal to have been particularly effective, in eliciting suggestions for two books with distinctive takes on the value of downtime in life.

Rest: Why You Get More Done When You Work Less makes its case through an argument that mixes reports of research in psychology and health with anecdotal accounts of the working and resting practices of various famous figures with productive track records. There were some things that made me want to shout back at the author - not least the essentialising way he wrote about ‘creative types’ as if they special, different people, at the very same time that he was documenting behaviours that facilitate creative work. But I got over myself enough to find his analysis interesting and useful.

My undergraduate education, especially as a composer, was firmly within a Modernist aesthetic, and one of its tenets was that you should learn to compose direct from your mind’s ear to paper, rather than at the piano. The reason given for this was that your pianistic habits would lead you into familiar musical gestures and thus become an obstacle to creating new, hitherto unimagined musical ideas.

(Note, by the way, the assumption that all musicians should be good keyboard players. Nobody ever warned you off composing though noodling on the guitar or oboe.)

Now, there’s something to this. Every so often I’ll see a novice arranger produce a chord for an a cappella group that tells me that they’re a pianist and we have to have a conversation about voicings that will work better for a vocal ensemble.

Priming effects are the name psychologists give the phenomenon whereby an idea or a behaviour comes much more readily to mind if you’ve had some kind of trigger or reminder shortly before encountering it. The experiments that investigated it often make it seem like a weird form of suggestibility: people walking more slowly after being primed with words that remind them of old age, for instance, or students doing better or worse in tests depending on whether they’ve been primed with stereotypes that evoke intelligence or academic weakness.

Daniel Kahneman explains priming as a way of tapping into our System 1, associative mode of thought, helping the speedy, intuitive part of our brains to access a whole web of connotations, rather than painstakingly working through ideas one at a time. Whether this works positively, producing nuanced, holistic insights, or negatively, making us leap to conclusions based on stereotypes, varies from context to context.

I forgot to take a pic on Friday, but this one is nicer than anything I'd have managed!

Friday evening brought the quartet Barbershop Actually! over for a coaching session. They are preparing for the mixed quartet contest to be held in Llandudno at the end of October, so are at a stage where they have a reasonably settled concept of what they’re doing with their songs. Our task therefore was get the most of that concept – the polishing, rather than the exploration phase.

There are certain exercises that never stop giving. An early session of bubbling gave all its usual benefits: by connecting the voice securely with the breath and increasing the continuity of resonance, it brought clarity to the sound and made it much easier to hear the detail. It can sometimes be tricky to coordinate the ensemble when you take out the word sounds - indeed, this is another of the useful ways bubbling makes a group work, in a musical rather than vocal dimension. So we found that taking a single phrase, then alternating it in bubbling and with word sounds helped everyone find their way round it.

Having contemplated some broad themes in my previous post about the research strand at the recent abcd Choral Leaders Festival, I’d like to pick out a few interesting cross-references between the papers. There were four speakers reporting on projects undertaken for advanced degrees in the strand sessions, plus the plenary keynote presented by Dr Katie Overy, all of which addressed topics that would make choral practitioners say, ‘Ooh yes, we want to know about that!’

But it’s in the resonances between them that you really feel the value of a event like this, rather than just reading their findings as published articles. Not that I object to reading articles, you understand. The published format offers other strengths – the opportunity for the author to cover more detail, and for the reader to take time to think about things en route. But it doesn’t offer the same kind of creative opportunities as a live event, where the ways in which the papers bounce off each other spark insights beyond what they each offer individually.

So, here are the things that I came away wanting to think about further:

Sunday took me back to Stockport for a longer follow-up to last month’s session with Affinity Show Choir on their new contest set for LABBS Convention in October. Having established the overall shape of their delivery last time, this visit focused on developing narrative depth and clarifying the turning points in the story. I’m nostly focusing on their ballad here as our work on this was both more time-consuming and more complex, and so more useful for me to reflect on. But we also left their up-tune in a more sparkling state than we found it.

Michael Bonshor's methodology diagram

The recent abcd Choral Leaders Festival in Birmingham saw the introduction of a new research stream to this annual event. This is the brainchild of Martin Ashley (whose own research is well worth reading if you don’t know it already), as part of a wider project to facilitate a research culture amongst practitioners and develop a disciplinary community amongst choral researchers. Look out for the launch of a new journal in the coming months as another part of this initiative.

As you might imagine, a morning immersed in multiple researchers’ work filled more pages of my notebook than can be digested in a single blog post. Indeed, many of the things I noted will show more in the way they nourish my thinking over the coming months than in any immediate reporting. But there are themes that need thinking about, and this blog is where I do my thinking in public.

This post is inspired by a recent conversation about what different choral groups do by way of a tea break (or not) during an evening rehearsal. I have framed my post as one where I climb up on my platform for being opinionated, but I should let you know that the dialogue it emerges from was anything but contentious. Just a bunch of people saying, ‘We rehearse from this time to that time, and this is what we do by way of a break’.

We all found it helpful and interesting to see the range of options available. I particularly liked the one where they had drinks available for the half hour they had the hall before rehearsal started so that those who wanted to come early could socialise. It seemed a good way of balancing the needs of those who value a cuppa and chat and the task-focused shy people who would rather be singing.