You have reviewed a number of theories and concepts associated with leadership up to this point in the course. You have likely been associated with individuals who led using some or all of these principles. Therefore, you should have your own opinions about which leadership theories work well and which may be less effective or less representative of those used in the "real world." After watching the TED talk consider the following questions:
The lecture that Talgam (2009) gives is based on various styles of conductors and how it relates to leadership. The insight from this examination reveals how developing the musicians (followers) to become more autonomous from learning from the conductor (leader) is a pinnacle mark of an orchestra (team). The conductor is able to back away from giving direction from a baton because the musicians 'know' what is the cue is because they are in sync. Talgam (2009) shows this through examples of conductors leading that range from authoritative commands to others that are flexible, but in-command and emotionally tuned.
How do you interpret Talgam’s ideas?
Talgam (2009) first notes the scope of what a music hall entails which is analogous to an organization. The music hall represents not only the musicians and conductor, but the efforts of the architects that built the music hall, the quality of the instruments being played, and the audience enjoying the performance. These aspects are all supporting elements that have been able to bring about the success of the establishment. This particular idea does not directly corresponds to an immediate theory in management or leadership, but puts the music hall (organization) at the focus and implies that a good conductor (leader) is able to appreciate in its entirety.
A second idea that Talgam (2009) brings up is that the style of conductors can vary from being authoritative to relaxed. The authoritative style of Muti was overbearing and directive when it did not need to be. This type of leadership did not bode well with the musicians and escalated to 700 of them to sign a petition to get Muti to resign form being conductor. His authoritarian style of leadership did not allow them to develop as musicians and they felt like objects rather than people. This ties into the Path-Goal Theory (PGT) which is geared towards enhancing follower performance and satisfaction by having the leader supplement what is missing in an environment (Northouse, 2016, p. 115). Muti need to be more supportive or achievement-oriented to allow the musicians to grow and develop as performers. The dogmatic and authoritative approach was too restricting and did not fit the atmosphere of the La Scala music hall. With the musicians having the technical capability and talent, Muti just needed to provide nurturance to the musicians that would have allowed them to thrive. The conductor's job is to help followers reach their goals through direction, guidance, and coaching along the way.
This example that Talgam (2009) touches on is based on the different types of control that exists as leader. This next idea can be tied back to our text on the six bases of power including reference, expert, legitimate, reward, coercive, and information (Northouse, 2016, p. 10). Muti utilized coercive and legitimate power that did not work well with the musicians. In a contrasting example, Talgam (2009) showed Strauss and Karajan's conducting skills that showed the same legitimate, but also referent and expert power. The expert power was apparent because the musicians did not need clear instruction during the performance, but learned how to listen to each other and act as a cohesive ensemble. As Strauss' first rule states that the music is not for the conductor to enjoy, but for the audience (Wise, 2014). This is interpreted by Talgam (2009), that a conductor should not have to force the music, but to allow it to develop with no interference. This is because the interpretation of the story by the performer is the real story being told.
Another reason according to Talgam (2009) on conductors not giving clear instruction is because it would prevent the musicians from acting as a cohesive ensemble. Talgam is hinting at the team management component of the behavioral approach. This leadership style has a high concern for people and a high concern for results (Northouse, 2016, p. 76). This means that the orchestra already has committed individuals that are fully engaged in a common purpose and need to work interdependently to achieve the goal. This allows the ensemble to grow and develop through working with each other laterally rather than being directed on what to do. The musicians do not have the authority to change the production, but will have to interpret the conductor's vision with their own technical capabilities and intuition.
In terms of a situational approach, the conductor just needs to lead with supportive leadership that is lower in direction, but high in support. This is highlighted by Talgam (2009) in pointing out that conductors need to open up the space for the musicians to add another layer to the overall symphony. Talgam (2009) further depicts this as a rollercoaster that is created by the conductor into the musician's mind. He extends this metaphor to include the musician and conductor building the rollercoaster so that the two act in partnership. This relates to the latest chapter on Leadership-Member Exchange (LMX) Theory where the focus is on interactions between leader and followers. There are the three phases in leadership that follows different stages being strangers to acquaintances to partnerships (Northouse, 2016, p. 143). This shows the progression in the relationship between follower and leader being further invested as an ensemble. Most of the musicians are heavily devoted and work with each other in a reciprocal manner to complete the symphony. The musicians are able to develop and hone their skills as an artist and the conductor is able to execute the symphony with a cohesive ensemble into one magnificent masterpiece.
What are the parallels or disconnects between Talgam’s ideas about how conductors lead and what you know now about leadership?
There are many parallels between Talgam's ideas on how conductors lead and how leadership is understood theoretically and in practice. The first is that authority by itself is not enough to make your followers become partners. This stems back to the initial chapter in our textbook that distinguished how leadership was understood. It was first seen as being focused on dominance and moved to influence and transformations in character motivations (Northouse, 2016, pp. 2-5). This reflects how Muti conducted versus all of the other conductors introduced. Muti was too focused on clear direction, but was too authoritative and coercive in his leading that was off-putting to many in the ensemble.
This is true in my experience as well because if a supervisor is too aggressive in their demands it can cause burnout or shutdown in productivity. For example, at my workplace we were put on an accelerated schedule to reach full operational capability in terms of qualifying our capabilities as a laboratory. This meant that the team, comprised of civilians, contractors, and military, had to put in hours long past the standard eight when possible. At first we were able to adjust for a few weeks, but as time went on it wore on all of us. People ended up making careless mistakes in the lab and overall morale declined. This type of behavior from our leadership was of the authority-compliance method of management that strived for results with little concern for people. When the mistakes started happening, upper management had to reel back and reassess the schedule of reaching full operational capability. The safety of the people was of concern and should not have been risked for the mission requirement sake. The overall schedule should have been re-evaluated and adjusted or the team leads should have spoken up when there was a noticeable decrease in morale and productivity due to employees becoming burnt out from work.
Another notable parallel is the emphasis that conducting not only creates a process, but also creates the conditions for which the ensemble is able to learn and develop as musicians. This touches on two primary aspects of the book being that (1) leadership is a process and (2) a leader's job is to help followers reach their goals according to PGT. Leadership is a process because it works through influencing followers to accomplish a task. This is explained by Northouse (2016, p. 6) that it is a transactional event that occurs between leader and follower that is not a one-way event, but interactive. It is important for leaders to create conditions through a process to develop content in order to create meaning for followers.
This leads to PGT theory in terms of the follower's motivation and helping them succeed their professional goals. Whatever obstacles exist, it is the leader's prerogative to help the follower by creating an environment so that they can reach their goals. In the lecture, Talgam (2009) noted that the musicians wanted to be able to hone their musical capabilities and not be treated as a prop. Some of the conductors were able to create an environment that challenged the musicians to develop their musical aptitude based on the conditions of the conductor. This is similar to what I experience in a laboratory setting in what our employee's goals are. Many of our technically skilled and doctorate level employees thrive on challenges that allows them to think critically. An achievement-oriented leadership is utilized at our workplace that attempts to limit as much of the administrative burdens as possible so that our subject matter experts can just focus on what they are passionate about.
This segues into LMX theory because it is something that upper management knows is an issue for many of the employees. The employees have vocalized how much it detracts from the time that they have to work and how it impacts their productivity. The administrative paperwork is kept down to a minimum as possible with a few key personnel dealing with it. This results in many of our skilled and talented members able to do what they care about. Our workers are able to become more autonomous with the ability to reach their goals with the conditions set by upper management. This ends up making the employee more proud of their work that satisfies their intrinsic goals as well as the goals of the organization. This helps to develop these employees into partnership phase of LMX theory because they become more invested with their work and become more concerned for the goals of the organization rather than their own personal goals.
Another aspect of LMX theory is also parallel to what Talgam (2009) shows in his lecture towards the end. In the last video, the conductor does not lead any more with the baton, but rather watches in satisfaction as his orchestra being able to play masterfully without his direction. The leader has been able to guide and create the conditions that allows the followers to tell the story to the whole audience by themselves. The conductor has been able to train the musicians to the point where the musicians became self-sufficient to perform on their own. In a sense, it is a reversal in the roles where the musicians are able to lead themselves without the assistance of direction. The conductor in this video shows the best type of feedback that is a unspoken compliment, but rather an emotional facial response that exuded satisfaction and content.
This connects to what many leaders hope to achieve with their followers by being able to inspire them to reach their own goals by the own doing. Many leaders hope to develop their employees to become better than they were before whether it is a certain skillset or other professional developments. Leaders aim to develop some of their followers to become leaders as well. From my own experience in the military, officers are expected to lead and are given more responsibility as they progress throughout their careers. Senior leaders hope to develop junior officers to take their positions in the future. With this mentorship, the aim is to progress officers to progress from being a follower to a leader in their own right.
References
Northouse, P.G. (2016).
Leadership: Theory and practice (7th ed.). Los Angeles, CA: Sage Publishing.
Talgam, I. (2009). Lead like the great conductors [Video File].
TED Conferences, LLC. Retrieved from
https://www.ted.com/talks/itay_talgam_lead_like_the_great_conductors/transcript
Wise, B. (2014, June 9). Richard Strauss's 10 golden rules for young conductors.
New York Public Radio. Retrieved from
https://www.wqxr.org/story/richard-strausss-ten-golden-rules-young-conductors/