Welcome to

The Science Centre for Conducting
– Research, development and knowledge – orchestra conductors in the future

Videncenter for Direktion – The Science Centre for Conducting is a science and knowledge wing to the The Association of Danish Orchestra Conductors.

The goal of our Science Centre is to improve research in the art of conducting music.

The Association of Danish Orchestra Conductors (Danske Orkesterdirigenter) organises conductors who primarily work in the field of amateur symphony orchestras, wind ensembles, Brass Bands, Big Bands, chamber orchestras and other ensembles of different kinds.

The Association aims to improve the working conditions for conductors and increase the skills of the conductors.

The Association offers the following:

· Courses, conferences, and meetings

· Performs advising on various matters

· Holds conducting courses by our education-wing via Dirigent Instituttet – Institute of Conducting.

· Forum for our members to network, to exchange ideas, and to find knowledge.

· Publishes regular newsletters.

· Use Social Media for informing about the latest news

· Possibility for creating networks, due to the Association itself is a member of other danish organisations within the music and culture area.

· Collaboration with music and cultural associations, national as well as nordic.

The Association is supported by the Ministry of Culture.


Research topics – a catalog of ideas

Below is a catalog of ideas for bachelor theses, theses and PhD dissertations,
doctoral dissertations that can serve as inspiration for research in the field of

  1. Investigation of the relationship between orchestra/choir management & company
  2. Change in the amateur/professional terms
    – Investigation of the many participation-definitions
    – The Con Amore-people, volunteering, amateurs, and professionals
  3. What defines a professional conductor?
    – has a degree from a higher education institution
    – has many jobs
    – one who is professional in attitude, work effort and perseverance
  4. Does participation in amateur music promote people’s rhetoric and communicative abilities?
  5. What is the division of labor between the conductor and the chief conductor?
  6. What is the division of labor between the conductor and the concertmaster?
  7. What is the relationship and division of labor between conductor, union
    representative and administration?
  8. What is the relationship and division of labor between the conductor and the board?
    – and chairman and the rest of the board
    – and chairman and concertmaster
  9. How is volume experienced in an orchestra?
    – differences due to instrument type
    – difference due to position in relation to other instruments
    – difference due to space and acoustic conditions
  10. How is orchestral music and the use of electronic instruments mastered?
    – New music, musicals etc.
  11. What mental and physical work environment conditions is the conductor exposed to?
  12. The psychic space in and around the orchestra
    – what is created by the conductor?
    – what is created by the orchestra?
    – what is a “perfect” mental atmosphere?
    – what stands in the way of “perfect” psychic atmosphere?
  13. How do you instruct and conduct school orchestras?
    – age distribution in children, very young, young people
    – experiences from Ingesund Academy of Music’s education
  14. Is there a difference between orchestral conducting and choral conducting?
    – differences and similarities
  15. Analysis of the conducting of classical music and contemporary rhythmic music (rock, pop, jazz, electronic, Big Band, musicals etc.)
    – differences and similarities
  16. Do conductors gender create different instructions from the conductor?
    – psychology
    – rhetoric
    – differences in the brain
  17. Should the conductor think in terms of consequences for hearing damage?
    – musicians
    – audience
  18. How does the conductor work with intonation?
    – instrument types
    – instruments with each other
    – singing voices
    – timbre
    – jazz and blue notes
    – the core of the tone vs. “edge tones”
  19. What is the relationship between the conductor’s professional education and
    general education?
  20. How does the conductor develop himself/herself?
    – professionalism
    – career
    – humanity
    – right-/left hemisphere
    – brain-/heart theory
  21. How is baroque and renaissance music conducted?
  22. How does the conductor act in relation to disabled musicians?
    – hearing
    – mentally (ADHD, autism etc.)
  23. The conductor and new music?
    – handling of “extended notation”
    – handling of rare and “skewed” instruments
    – rhythmic challenges
  24. How does the conductor handle hour-long pieces of music?
    – preparation
    – execution
    – mental and musical form curves
    – energy for the orchestra
  25. Do women and men conduct differently?
    – communication
    – psychology
    – men’s female characteristics / women’s male ditto
  26. The conductor’s gestures
    – body language
    – non-verbal communication
    – the conductor’s room
    – deaf language
    – Sound-painting and improvisation
    – percussion technique
  27. The conductor and competitions
    – some orchestras and choirs love competitions
    – pros and cons
    – “whip or carrot”
    – sports and art paradox
    – the role of the conductor
  28. The relationship between musical goals and social goals
    – amateur orchestras and choirs -new, a little experienced, experienced
    – “tightens or relaxes”
    – ambitions or coziness
    – professional orchestras and choirs
  29. Analysis of the conductor’s work tasks
    – what other jobs can there possibly be compared with
    – which wage levels can be compared with
    – what responsibility does a conductor have
  30. World-famous conductors
    – Bernstein, von Karajan, Toscanini, Solti m.fl.
    – what is it they can that go beyond the average of conductors
  31. What role and responsibility does the conductor have in society?
    as a coach, playing coach, teacher, inspirer, seducer (musical!), educator,
    psychologist, “sociologist” etc.
  32. The conductor’s mimicry
    – gaze, focus, eyes, eyebrows, mouth etc.
    – spoken imagery
    – learned skill?
  33. The conductors’ movements
    – right hand
    – left spirit
    – coordination, synchrony, asynchrony
    – vertical and horizontal percussion techniques
    – sound room
  34. The impact of music on the body
    – therapeutic, emotions
    – learning, memory, creativity neural, brain development, neurophysiological
    – cognitive response, pitch m.m.
  35. Improvement of the physical conditions during performance and its effect
    – improved acoustics
    – greater joy of playing
    – improved working conditions
  36. Applying technological methods to train or practice in the conducting profession
    – virtually, VCI
    – other technological aids