Dissertation Full PDF

Institute of Education, University of London
Mr Tim Sheinman
The roles of musicians in rock bands
Dissertation submitted in partial fulfillment of the requirements for the degree
of MA in Education (Psychology)
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Word count: 10,627 (19,701 inc. appendix)
September 2013
Tim Sheinman- Masters Dissertation 2013
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Students name: Tim Sheinman
Title of Masters Programme: Educational Psychology MA Education (Psychology)
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Date: 20.8.13
Abstract
This study examines through multiple case-study and unstructured, thematically guided
interviews, the roles and types of participation which musicians take in rock bands. It also
applies to rock bands Belbins 9 team roles and Lewins styles of Leadership, in order to
provide an analytical framework for group interactions.
The study adopts Belbins definition of a role as : A tendency to behave, contribute and
interrelate with others in a particular way (Belbin: 1993). In this sense, the term role goes
beyond the formal position a musician occupies in their group (such as cellist or singer)
and instead describes the sort of patterns of behavior, communication and strategy which
they utilise in actively participating.
This study looks to develop and apply an understanding of social and working processes,
largely previously researched in classical chamber groups to the rock ensemble. Such
work, including application of Belbins roles, has not been conducted before with the rock
group in mind.
Interviews with 15 musicians drawn 6 rock bands were conducted. These groups were all
semi-professional indie-rock groups from the London area, sampled opportunistically and
originally sourced through personal acquaintance. The sample consisted of 12 males and
3 females, who played a range of instruments, but were in large part singers, guitarists and
songwriters.
Interviews, lasting between 30-45 minutes, adopted an unstructured, but thematically

orientated approach and were guided by an interview framework. Important themes that
3
emerged in interviews, were assimilated into the ongoing thematic framework. Interviews
were transcribed and subjected to emergent-thematic analysis, first for a case-by-case
analysis and then a cross group analysis (integrative).
The data indicate that bands are typically led by their songwriters who also often taking on
a number of other roles. The nature of the participation of the other musicians is shaped by
factors related to creative control, encouragement, time commitment and group
experience, all of which serve to create different configurations of roles within the groups.
Introduction
An emergent-thematic analysis of interviews with 15 musicians across 6 rock bands, this
multiple case-study is an exploratory investigation of the explicit and inexplicit roles which
are taken by members of rock bands, of their varying types of participation and the factors
which lead to that variation.
The study adopts Belbins definition of a role as : A tendency to behave, contribute and
interrelate with others in a particular way (Belbin: 1993). Thus, the term role goes beyond
the formal position a musician occupies in their group (such as cellist or singer) and
instead describes the sort of patterns of behavior, communication and strategy which they
utilise in actively participating. Manifestation of roles appears to be a matter of both
conscious and unconscious choice and is influenced by factors pertaining to the group,
both in its makeup and culture.
The excitement which surrounds rock bands does not necessarily lend to our
understanding some of the processes that occur within them. This study aims to add to
that understanding.
4
The study finds its locus within a growing field of research into the social and work
dynamics of small musical groups. The introduction will consider two areas. Firstly, it will
examine literature pertaining to the types of participation by musicians in small musical
groups, as well as the factors that may help shape them. It will be submitted that much of
the extant literature might have benefited from extra theoretical insight, and in that vein the
introduction will bring to the fore the potential usefulness of Belbins 9 Role types, normally
used in the study of management, which have only been used once in studying a musical
group (King: 2006).
In reviewing the literature, three points of difference from this study need to be identified at
the outset. Firstly most related studies focus on small classical chamber groups,
particularly string quartets, and their findings may or not be applicable to rock bands.
Those that do focus on rock band (Weinstein: 2004, Clawson: 1999) are relatively limited
in scope and are discursive explorations. Secondly, most studies are highly concerned
with the nature of group leadership and pay less attention to non-leading participation. This
study will be considering both. Thirdly, a number of the studies involve observation by the
researcher of participant roles. This study will be looking at participant perception only.
The literature on group leadership
The lead instrument
The literature so far tends to show that leadership of the music group is closely associated
with the lead melodic instrument
In string quartets, the first violin is conventionally considered the leader of the group.
Indeed, Murnighan and Conlons study of professional string quartets found that the terms
leader and first violin were used almost interchangeably: first violins are involved in making
key decisions, they represent the group in public and they are often largely the focus of
group work together (Murnighan and Conlon: 1991). Relevantly for this study, Murnighan
and Conlon look at the further implications of strong leaderships in terms of allowing for
others members input. They describe this as the paradox of leadership versus
democracy.' However, the assertion of the first violins dominance is challenged by many
other pieces of research (Curotta: 2008, Gilboa: 2010, Tovstiga: 2005, Blum: 1987). For
instance, Kings (2006) study of student quartets found that the leaders were not always
first violin players and while instrumental stereotype did play a role in establishing
leadership, so did the will to lead and technical ability. This, however, was not to deny the
role of leadership as a highly important facet of creating a productive team.
Both Curotta (2008) and Gilboa and Tal Smotkins (2010) studies challenged the idea that
quartets perceived themselves of having any leader at all. The former examined a quartet
whose violinists commonly exchanged roles. Tovstigas and Blums examinations of
respectively the Carmina Quartet (Tovstiga: 2005) and the Guarnieri Quartet (Blum: 1987)
present examples of groups functioning with a collectively shared leadership. Given their
6
contradiction of each other, these studies probably serve best to show there is no fixed
rule regarding leadership in string quartets and that not only may there exist a difference
between the public received perception of the quartet and the consensus in the group, but
also a difference between groups own opinions and their observed actions. A possible
conclusion is that although groups with leadership may range in style from autocratic to
democratic, as found in Murnighan and Conlons study, another type of group also exists in
parallel-one which is more collectively organised and shares leadership completely.
Despite this uncertainty, the string quartet appears to have much more defined patterns of
leadership than the wind quintet, as evinced in Ford and Davidsons study (2003). The
quintets studied identified themselves as having a leader only 63% of the time and of this
named the flautist as leader 55% of the time. The researchers partly ascribe this lack of
obvious leadership to the heterogeneity of the instruments found in the wind quintet, as
opposed to the string quartet. This allowed for each instrument to exist as a separate voice
and not in subservience to a lead instrument.
The instrumental hierarchy
Beyond helping to define the leader, the instruments played in a group can help shape
participation of all members. The research seems to show that typically this relates to the
hierarchy of instrument importance within the group. Within the rock paradigm, Weinsteins
(2004) research into vocalists who did not also play an instrument showed that while they
may be perceived as the leader of the group by the public, they may actually be musically
marginalised within the band. She attributed this to their different mode of musical
communication (vocal rather than instrumental) putting them a peg below the other
musicians. Different types of communication, as well as diverging career priorities,
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explained why horn players in Ford and Davidsons wind quintet integrated poorly with the
other woodwind players, which often led to them playing a very limited role in the group.
The most prominent example of this is Murnighan and Conlons paradox (or conundrum) of
the second fiddle which proposed that the second violin, although necessarily technically
skilled, was limited in their participation owing to their role of subservience to the first
violin. This led to frustration among professional second violinists and often degradation at
the hands of less sympathetic colleagues. The second fiddle issue appears to exist crossgenre and manifests in rock, where musicians often feel like they lack credit, owing to the
audiences focus on the singer (Weinstein: 2004). This could consequently lead to conflict
between the vocalist (the public representative of the group) and the lead guitarist (the
dominant instrumental player) for command of the group (Weinstein: 2004).
To some extent instrument choice is intractably tied up with gender, creating all sorts of
implications. For instance, wind quintets may be more likely to be led by women as they
are also commonly flautists, and, as has been seen, flautists tend to lead. Conversely, in
rock bands women often sing (Clawson: 1999) and so may be likely to be subordinated
(Weinstein: 2004).
In a similar vein, in the last twenty years, the bass has emerged as a women-friendly rock
instrument (Clawson: 1999). Clawson argues that this may present opportunities for
women within the art-form but also risks ghettoisation. Since the bass is seen as the
easiest to learn, this naturally affords less musical respect, particularly as its availability to
women is partly contingent upon male rejection of the instrument in favour of the guitar. In
this sense gender issues can be seen as strongly related to the perceived value of certain
instruments within the group.
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Leadership style shapes whole group dynamics
Murnighan and Conlons paradox of leadership versus democracy explicated the way in
which the style of leadership in different groups was linked to the participation of the
others. Broadly, more successful groups tended to be more democratic and fostered a
greater shared sense of responsibility and diverse participation. In these groups leadership
was often accepted by the first violinist, but the groups often appeared to share much
command together through mutual agreement and discussion. Less successful groups
placed greater demands on their leader to reach key decisions and guide the band with a
strong hand. Meanwhile non-leaders tended to take less of a role in the groups tasks,
while the leader themselves often denied responsibility. In many senses the more
successful groups reached similar levels of mutual cooperation as those in Gilboa and TalSmotkins self-managed teams. In fact, the only major difference was that while the groups
in the first case always acknowledged a leader, the groups in the second did not.
Young and Colemans paper (1979) hypothesizing researchable psychological processes

in the string quartet uses Lewins Model of Leadership (Lewin, Lippitt, White: 1939, White
& Lippitt: 1960) as a departure point for discussion. They cite how in democratic groups,
member satisfaction and involvement was high and the group was productive, even in the
leaders absence. In autocratic groups, the opposite was the case. This model appears to
be reflected in Murnighan and Conlons study (1991), which considers long-term
leadership. However, King (2006) found that a somewhat autocratic leadership was
discovered to be appropriate in getting groups ready for rehearsal quickly and productivity
largely depended upon the early establishment of a strong leader.
Superior communication and experience aids group fluidity.
As mentioned earlier, some groups appear distinct from Murnighan and Conlons
successful groups, by practicing to a high standard but not recognising leadership at all. In
contrast with Kings study, where leadership was crucial in marshaling young musicians in
new groups into action, these groups are often vastly experienced together and share
superior communication abilities. Mention of this is made in both Blum (1986) and
Butterworth (1990), described as the constant working-out process that allowed quartet
players to shift roles as the task required.
The ability to use experience and familiarity to work through problems together is also a
major facet in determining the cohesion, as studied by Arvanitis (2008). This study found
that more experienced bands were consistently able to resolve large issues, avoid trivial
ones and move on, where younger bands were not able to. Such cohesion was shaped
first by personal affection for one another among the musicians and second by a shared
task focus, with both being necessary to keep bands together. Thus one might hypothesize
that personal animosity and different goals may decrease the breadth of participation
engaged in, in the band.
The same ability to deal with larger issues and shelve smaller ones was found among the
experienced groups in Murnighan and Conlons study. Among these groups, experience
dictated that important issues were not avoided and compromise was not allowed to creep
in. Some of the solutions to issues were a touch strange, such as ceding all decisions to
the tune carrier, effectively undermining the groups democratic status. However, these
were still considerably more effective in the long run than the less experienced groups,
who tended to make many poor compromises and avoid conflict at all costs. Like the
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quartet in Davidson and Goods study (2002), tacit compromise was often an appropriate
solution to many problems. In Davidson and Goods quartet, the three more capable
players slowed down for the solo passage of the less capable player so that they could
complete the passage, without the player being aware.
Experience could also lead to a more conducive and fluid practicing atmosphere. Seddon
and Biasuttis (2008) comparison of communication modes between a string quartet and a
jazz band found that both were capable of improvisatory flashes, even outside of their
predetermined solos, due to their great familiarity with one another. However, in their study
of a rock band composing this was not found to be the case, perhaps reflecting a different
level of instrumental ability or the nature of the composition being engaged in.
Limitations to research
The research above takes in a fairly wide range of groups, with particular focus on the
chamber music ensemble and the string quartet. There has been relatively little work done
on rock, particularly looking at the sort of roles taken pertaining to composition. Rock
music and the bands interviewed in this study differ from their classical counterparts in
several very important respects. Chief among these is that rock musicians engage in a
great deal of original composition, both as that presented by the songwriter to the group as
chords, melody and lyric and also the parts written by the musicians at home or in the
practice room. This difference was previously explored in Seddon and Biasuttis study of a
rock band engaged in composition (2009). They found the rock band studied engaged in
markedly different forms of communication to both classical and jazz groups working on
pre-composed pieces. This they ascribed to the different working processes specific to
writing music. Thus, composition and arrangement are very necessary areas of research
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to understand the sort of roles taken in the rock band, but are largely not present in other
literature.
Furthermore, there is limited resemblance between chamber ensembles and rock bands in
terms of their instrumentation, working practices and commercial aspirations. Thus it is
difficult to directly apply thematic findings cross-genre without considerable trepidation. In
a sense this study exists partly as an exploration of how far research into classical groups
can be brought across into the rock world.
Team Roles
Overview
This study attempts partly to situate some of the interactions of the rock band within an
established, typically nonmusical, set of determined roles.
The exploration of such roles has typically occurred within the framework of management
and business. An early contribution by Benne and Sheats (1948) consisted of 48 roles,
split into 3 separate categories: roles that are task based; those that are personal and
social; and those that serve dysfunctional, individualistic needs.
The occupation of several roles, as well as their flexibility in human situations is a focus of
Belbins highly influential 9 Role Types (fig.1)
12
Fig.1 Belbins 9 Role Types
Belbins roles establish archetypes of behavior and offer some prediction for how these
archetypes will interactive in constructive or destructive manners. Certain roles can
combine easily and well. For instance, a Shaper working with an Implementer will combine
the practicality to solve a task with the drive to finish it. A Plant who is highly creative, will
greatly benefit from a Coordinator, who can manage their talent effectively. Conversely,
Completers may clash with Resource Investigators, viewing them as excessively
fastidious, while being viewed by the latter as erratic.
Most team members occupy more than one role. Fisher, Hunter and Macrossons study of
secondary roles (1998) divided Belbins roles in two, the first group consisting of
relationship focused roles and the latter containing task based roles. They found that first
a participant with a primary task role would be unlikely to adopt a secondary relationship
role and vice versa. Additionally, the groups happiness and productivity could be predicted
according to the mix of relationship and task types within the group. A preponderance
13
towards the relationship based roles increasing happiness and decreasing productivity and
vice versa.
Application in Kings Study (2006)
The only existing direct application of Belbins team roles (or indeed any theoretical
construct of team roles in the realm of music) is Kings study of roles taken in student
quartet rehearsals. The study focused on the observation of three rehearsals of three
quartets, leading up to a final exam, paired with participant interviews. Kings study found
that
-It was not unanimous that the highest melodic voice naturally assumed the role of leader
in the group.
-Stability of roles appeared to be linked to stability of leadership.
-Stability seemed to be a more important creator of success than flexibility of role, within
such a short term scenario.
-Establishment of a leader depended upon perception of playing standards, fear of
dictating peers and stereotyped roles. i.e. playing ability and position contributed to being
designated the leader.
Kings study, as with this piece of research, uses Belbins roles as a point of departure for
a more holistic examination of musical participation within a group. The study does not use
any psychometric profiling to assess role type and rather appropriates the principles of
Belbins roles. The final presentation of the results does not entirely use Belbins team
definitions, but rather includes many of Kings own created terms, such as Joker,' Fidget
and Quiet One.'
14
The three roles above suggest that the musicians were inhabiting largely individualistic
and somewhat negative position over a short period of rehearsal and did not positively
contribute towards the team, which was either pushed along by strong, diverse leaders or
failed entirely.
15
Research Methodology
Study Aims
This study aims to examine musicians perceptions of the roles taken by both themselves
and other musicians in their bands. Through a multiple-case study format, the study looks
to explore both specific findings and general, cross-group factors that define and shape
musicians participation in their groups and the roles they take.
Participants
Fig. 2 Summary of participants
Group
Mean Age
Time
together as
a Band
Musical
Genre
Gender
Composition
Musicians
interviewed
Config. of
interviews
Musicians
not
interviewed
Band 1
25
5 years
Indie-rock
4 Males
Singer/guitar
Lead Guitar
Interviewed
individually
Drummer
Bassist
Band 2
26
7 years
Indie-rock
3 Males
Singer
Drummer
Interviewed
individually
Bassist
Band 3
27
4 years
Synth-rock
3 Males, 1
Female
Singer/bass
Guitarist
Interviewed
together
Keyboards
Drummer
Band 4
24
3 years
Acoustic-rock
1 Male, 5
Females
Singer/guitar
Cellist
Interviewed
together
Keyboard
Drummer
2xViolin
Bassist
Band 5
24
3 years
Acoustic-rock
1 Male, 2
Females
Singer/guitar
Cellist
Interviewed
together
Guitarist
Band 6
25
6 years
Indie-rock
5 Males
Guitarist
Singer
Bassist
Drummer
Electronics
Interviewed
together
None
At the time of interview, all the groups were active in playing gigs in and around London.
The groups represented an opportunity sample, but shared many similar features, such as
relatively comparable ages (21-29), time together (plus two years), having a similar
16
number of players (3-6), playing similar types of events and all possessing nonmusical,
bill-paying jobs.
Within the interviewees there is an unplanned preponderance of singers, who were also
the bands principle songwriters. Further study of the area would undoubtedly allow for a
greater balance of musical parts among the interviewees.
For reasons of time-management, interviews were typically limited to no more than two
members of each band. This created the possibility of interviewing participants of more
groups than would otherwise have been possible, which had the knock-on effect of
producing greater opportunity for comparison between groups.
Interviews were not all conducted in the same configurations: some were with individuals,
some with pairs, and one with the whole group. The principal risk of these differing
interview setups was that results might reflect methodological variations. However, this
was felt to be balanced by the benefits. First, some of the bands were wary of being
interviewed without their band members being around them. On this basis it made sense,
where necessary, to ensure a naturalistic interview by doing joint or group sessions, while
also aiming for individual interviews where possible to ensure maximum levels of detail.
While one may argue that the presence of another participant may have affected the
testimony of the band member, this was not obvious and indeed the presence of more
than one member often allowed for fruitful reflection and deeper exploration.
Study Design
17
This study used a multiple case-study design, where each case constituted the members
within a particular band. The case study is an effective method of obtaining the
descriptions and interpretations of others (Stake: 1995, p.64) and in particular the interview
presents a means of representing multiple realities (Stake: 1995, p. 64). Moreover its
greatest strengths are related to exploring the how and why of situations, where the
interviewer has not control over events, which are occurring in the present (Yin: 2009). It
was the intention of this study to present both contemporary, in-depth examinations of the
musicians perceptions of theirs and others roles (a how question), with an exploration of
factors that shaped these roles (a why question). For the purpose of answering this
second question, a multiple case-study design was necessary to provide for cross-group
comparison and an exploration of shared themes.
In this study, an obvious question was one of breadth versus depth, namely, was it better
to interview more musicians from one band or across a range of groups, based upon a
time limit. It was determined that an appropriate balance would be to interview, where
possible, two musicians from each group, across six bands. The rationale of this was that
two participants would provide the opportunity for comparison of different perspectives and
some degree of validity and reliability within the group, while also involving enough bands
for reliable patterns to emerge, even in the presence of outlying cases.
Rather than a semi-structured interview, this study utilised an unstructured interview

method. The unstructured interview differs from its semi-structured counterpart in that it
does not have any formalized questions at its outset. Rather, one often utilizes a thematic
guide of pre-determined topics that can be brought up, as when conversation allows.
18
A thematically based, unstructured interview was deemed most appropriate for this study,
to provide the interviewees with maximum flexibility to express their feelings and thoughts
in an area largely previously un-researched. This approach would allow for the emergence
of new themes, as well as open-ended exploration of established ones.
The themes that guided the interview, and thus frequently the questions asked, were
drawn from what the author felt were the areas of greatest importance reflected in previous
literature, namely 1.Coordination 2. Communication and 3. Social dynamics. Added to
this were two areas that overlapped with the previous themes and were distinctly more
important to popular music groups than groups in other genres, namely 4. Songwriting
and 5. Arranging. The questions listed below served as tone setting devices for the
interview and memory aids. In practice questions greatly varied from these, to home in on
the most important aspects of the group.
Fig.3 Interview Guide

Themes
Questions
Songwriting
- How do you contribute to the songwriting in the band?

- How do you interact with others in the process of songwriting?
Arrangement and - How do you contribute to the arranging and rehearsing in the band?
performance
- How do you interact with others in the process of arranging?
- Is there are difference in roles between rehearsal and performance?
Coordination
-How are rehearsals conducted and where do they get their structure from?
-Do you particularly take a leadership in role in one aspect of rehearsal.
How about others?
Communication
- Do you see yourself as having a diplomatic role?

- How would you describe some communication processes in the band?
Social dynamics
Can talk you talk about how the social relationships in your band interact
with the music making?
19
There was some development of themes during the interviews being conducted, as areas
of importance became apparent. For example, the interview guide above gives relatively
little attention to group leadership. However, while conducting the interviews, it became
apparent that leadership was a common theme for researcher and participant to dwell
upon and so active effort was made on the part of the researcher to explore this area more
deeply in subsequent interviews.
Procedure
Band members were interviewed in both public and private spaces at times of their
choosing. Upon starting the interview, each participant was reminded of their rights as an
interviewee to anonymity, confidentiality and the ability to retract their statements at any
time. Upon satisfaction to continue being confirmed by all parties, a digital recorder was
turned on for the duration of the interview. The interviews lasted as long as the
conversation naturally continued and time allowed, but none was shorter than 20 minutes.
Despite being unstructured, the opening question for every interviewee was set;
Q: You are in a band. In bands people take different roles. Would you like to talk about
some of the roles that you take and some of the roles that other people take.
After the initial responses to this question, the interview was shaped by a balance of
referring to the questions listed in Fig. 2 and spontaneous exploration of elements
important to the participant. There was a conscious effort made by the interviewer to cover
all the elements listed in the guide, however, the attention paid to all thematic sections
were not always balanced.
20
At the end of the interview, each participant was thanked for their cooperation and signed
a release form for the use of their testimony, while also being reminded again of their rights
as an interviewee.
Data analyses
Upon completion of the interview, testimony was transcribed in full (example, Appendix 1).
Analysis was conducted in the following manner;
1. Each case of a band was individually analysed, through examination and annotation of
transcriptions (Appendix 2) focusing on data driven findings. The data was coded in the
following ways;
a. Assigning of Belbin Roles to the interviewees and other participants in the band, based
upon both direct and inferred testimony.
b. The labeling of leadership style for the group.
c. Describing the processes of the group concerning original lines of enquiry-songwriting,
arranging, coordination, communication and social.
These first three processes formed the basis of a basic of summary of group processes
found in Appendix 3.
d. Emergent themes of possible importance that appeared to shape the level and nature of
musicians participation in the group. These were largely semantic (allowing the
participants to speak) as well as some latent.
21
2. Emergent themes from band cases were combined for integrative analysis (example,
Appendix 4). Findings were tabulated and compared and tentative links were made
between different emergent major and minor themes. Original transcripts were
reexamined for quotes supporting or rejecting hypothesized cross-group themes.
Eventually this resulted in the formulation of two schools of themes, namely;
i. The relationship between leadership style and roles taken in bands

ii.Other major factors that shape the musicians participation in their groups.
22
Results
Case studies descriptions of each band studied can be found in Appendix 2, Case
Findings. These form a companion to the integrative analysis and it may be useful to refer
between the two regularly.
Findings: Integrative Analysis
1. The Songwriters of each group are often the leaders.
The majority of rock bands interviewed possessed a clearly defined leader, with a minority
not having clear leadership, either because of group conflict or because of a collective
ethic. Where there was a leader, this was always the songwriter. In all the groups, the
songwriters were greatly involved in many areas of the band, as well as key decision
making.
However, group leadership took many different forms, which appeared to have implications
for the participation both of the leader and other members. Taking a note from Young and
Colman (1979), Lewins leadership styles are presented below with bands appropriately
sorted into each category.
23
Fig. 4
Autocratic
Laissez Faire
Democratic
/Delegative
/Shared
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Autocratic leadership often existed in groups with a clearly defined, single person at the
head of the band. In these groups the songwriters authority was massive, as found in the
consistent assertion of first and last word principles:
It would be fair to say I have the final callIt does come down to me at the end of the day.
(Singer Band 4)
(Singer) usually has the last word, the first and the last word. (Cellist Band 5)
These bands either existed as vehicles for the songwriter and had been created for the
purpose (Bands 4 & 5) or had morphed from a more democratic entity to an autocratic one
(Band 2). While these bands contained democratic elements, they were often greatly
shaped by the songwriter. For instance it would be common for the songwriter to work with
instrumentalists to create or mediate their parts as they were writing them;
Therell usually be a lightbulb moment where were like thats coolI would probably say
that an indication of that will be from whoever the songwriter is and that now is always
24
(Songwriter)Bassist and I will be trying to fit in with how his vision of the song might play
out. (Drummer Band 2)
Furthermore, part writing was expected to fit the songwriters vision of the song;
I sometime offer alternative suggestions, but I understand at the end of the day the song
comes from (singers) head, so he knows best I would imagine how he wants it to
sound. (Cellist Band 4)
In the case of Band 5, this extended to giving the group finished parts, which had been
arranged by a separate producer. Thus, the sort of participation found in these groups did
not appear totally democratic.
Band 1 did not appear to have a clear leader. However, this did not mean that they
functioned democratically. Rather they appeared to labour under often conflicting, laissezfaire principles. The Singer stated that everybody had different ideas for how they should
precede, in manners not always obvious to the others;
Weve historically been really bad at laying an agenda for rehearsalswe all have
different ideas for how far we can get. For me I always think, because the sketch is already
there in my head, that we can just power throughwhich is a source of much of my
frustration.
It is significant that the group was in its last stages of working together, pending a breakup
several months after the interviews were conducted. Thus it may be suggested that
leadership had dissipated owing to personal strain between musicians.
25
The more democratically led bands maintained many traits similar to that of the autocratic
groups. They often had only one or two songwriters, who did exercise much influence in
the practice room. What separated them was a greater emphasis on expansive
participation and a faith in the collective to reach the right decision together, expressed by
the bassist in Band 6;
...It might be something that jars with how I appreciate things, but I trust all of these guys
because theyre all very talented
In the case of Band 3 this formed the basis of a benevolent, accepted leadership of the
songwriter/singer/bassist,
Someone has to do those decision-making things, but as a matter of fact Ive very rarely
had to. (Singer Band 3)
A similar sentiment was expressed by Band 6, speaking about their main songwriter,
If theres something really outrageous well tell him, but if its cool, which it usually is(we
wont have to). (Guitarist Band 6)
In the case of Band 6, one can see how, rather than the leader offering moderation to the
band, the band offered moderation to the leader. Thus, Band 3 fits closely with a Lewinian
model of the democratic leader, one who encourages participation while maintaining a
moderating influence. Band 6, however, comes closer to that of a collective leadership
influenced by the ideas of the songwriter.
26
Across the groups, the paradox of leadership versus democracy as found in string
quartets (Murnighan and Conlon: 1991) was also present. It will be remembered that
Murnighan and Conlons study found that successful groups employed more democratic
means than less successful groups; leaders in successful groups often acknowledged the
paradox and worked to establish a balance between necessary task-management and
equal input; less successful groups tended to look to their first-violin for more autocratic
decision making. For instance, the leader in Band 3 found that being tolerant and patient
was very important;
I know how I wanted to be sometimes but I dont like squashing peoples ideas were
saying this is how its going to be. (Singer Band 3)
Meanwhile the Singer in Band 5 found this a very difficult balance to maintain:
Because I write my own songs and Im quite possessive over my songs, Im like you can
be in my band but I have say over what happensas a singer-songwriter you enjoy it so
much and you want other people around you to too, but you know at some pointI
couldnt be a session player.
2. Autocratic leaders often take on many different roles
In all the bands studied, the singer/songwriters were among the most involved in the
various working processes of the band. Particularly pronounced was the amount of roles
that the singer/songwriters in some bands took on. These were typically the bands with
more autocratic, directed leadership. In these groups, as well as being the creative force of
27
the band, the songwriter was also involved in strategy, making a range of musical
decisions, determining career paths, booking dates, investigating opportunities and
motivating the group. As expressed by the singer in Band 2;
In the last six years, in terms of admin, its been the least democratic of bands because
Ive done everything...Ive done all the legwork. Whereas I see friends in other bands...and
they completely share all the work...Ive never been in a band where I didnt do all the
work.
There was a notable absence of secondary leaders who took a large role in the band
among the autocratic groups, when compared to the more democratic ones. Perhaps
explaining this was an unwillingness for the songwriter to delegate menial tasks to other
members, as expressed by the singer in Band 2;
If I delegated to them, it would be unfair to them, because on an outside level I would

be delegating the PR of (singer name). I cant delegate anything anymore, I either have to
do it myself or hire people to do it.
3. There is limited participation of non-leading musicians in autocratic groups.
In autocratic groups, In contrast to the group leaders, other band members were generally
not involved in a wide form of necessary activities, such as administration, career work or
key decision making. Rather, their roles were as instrumentalists and team players, who
wrote their own parts or played those written for them and thus fulfilled more of a formal
musical role than a team one.
28
Musicians were often deeply involved in shaping the music being made, in collaboration
with the songwriter. Specialists appeared to have a particular degree of influence, advising
the songwriter according to their specific abilities. Speaking of the cellist in Band 4, the
singer said,
Shes classically trained and has a keen sense of harmony within strings...so its very,
very helpful in those moments when were sitting down to come up with string
parts...because its nice to have another brain there who can remind me thats going to
cross over with the vocal line.
Indeed, within the realm of musical creation, up to a point, musicians often had a great
deal of freedom. Speaking of freedom in the band room, the Singer in Band 5 said;
Singer: In the most non-egotistical way, I have last say, but they are free to say, we should
try this or we should try that, I kind of like that
Interviewer: What sort of thing are they trying?
Singer: (Cellist) will try different cello parts and (guitarist) might add some guitar parts
The role of team-worker appeared common and musicians frequently came across as
cooperative, and supportive of the songwriter;
(Bassist) and I put a lot of trust in the songwriter and the songwriters vision for the song, I
dont really even feel, particularly with the lyrics that its our place to have a problem with
that. (Drummer Band 2)
29
However, such limited participation was the source of some conflict within groups, as
expressed by the cellist in Band 5;
Creatively its not really interesting to me as a cellist in this band, I have been playing the
same thing for a year and a half...because Im a writer and composer as well I get
frustrated.
Additionally, a lack of professional involvement for musicians could prove frustrating as

they felt separated from the leader and merely tools. Speaking of the musicians
relationship with the songwriters management, the cellist in Band 6 remarked;
They dont send us any emails to the band, its always (singer)Theyre managing
(singer), not us, but it does make it a bit session-y, because then were just there to
support her and were not part of the band. And theres a line to draw, are we a band or
are we just supporting her?
In some respects the cellist in Band 5s predicament resembled Murnighan and Conlons
Second Fiddle, who felt marginalised by having to take a backseat, despite being of high
ability. This appeared to be rare amongst autocratic groups, whose musicians generally
expressed satisfaction or at least acceptance with their limited role. This is possibly a
reflection of the heterogeneity (similar to wind quintets) of the bands instrumental makeup.
(Cellist Band 4) I like the fact that each band member has their own little opportunity to,
now overshadow (singer) but sort of take a bit more forefront (sic), solos and things.
30
4. Bands with greater democracy have a more even sharing of roles
In the groups studied that possessed more diffuse leadership (1,3 and 6) there existed a
much wider range of roles shared amongst the band. A common example of this was a
separation of the Plant role from more strategic or coordinating roles. This often reflected
what Belbin refers to as a strong, nucleus pairing (Belbin: 1993, p.91) For instance, in
Band 1, it had been common practice until recently for the lead guitarist to work with the
singer refining and shaping his compositions;
Interviewer: What would you say he (Lead Guitarist) does to your ideas?
Singer: I would say that he adds finesserefines ideas and hears things I wouldnt
necessarily hear.
Lead Guitarist: I often suggest ideas, but its often already there and Im manipulating
rather than creatinghe puts some stuff down and I generally react to it.
A similar situation could be found in Band 3, where the guitarist aided the singer in
completing work in the band room and aiding the singer in teaching the song to new
members;
He gets things finished and hes really good at motivating people...hes incredibly good at
it
31
The singer in Band 3 speaking to the guitarist;
This is one of the ways in which I feel (guitarist) was a real anchor-point for the band...we
were go through a song and it was quite hard work because everyone was learning at
once, but with those early sessions, because wed spent so much time doing it as a
duo...that you knew a lot of the songs and when (keyboardist) and (drummer) were picking
them up, you were taking (drummer) in hand and I was taking (keyboardist) in hand.
What appeared to separate democratic groups from more autocratic ones was not
particularly the musicians level of involvement in the musical decisions within a group, but
rather their level of involvement in strategic and career work.
Band 5 described their processes as almost entirely shared, with a great deal of
autonomous participation from all;
We function like one brain sometimes and its really good sometimes because were all
together, but then sometimes, when it comes to taking decisions its like I dont know, what
do you think?
The guitarist said, when asked if someone in particular handled administration;
For instance, theres a guy that wants to get a tour with us...Im trying to organise that so
Im emailing him, but then we also have (drummer and bassist) doing other stuff, so if you
get contacted by somebody its like your responsibility to keep that conversation going.
32
Active diversifying of roles was met by different bands in different ways. For instance Band
1s drummers move into producing the band was met with much hostility, as expressed by
the lead guitarist;
We tend to have great arguments about the fact (drummer) plays a joint role as producer
and drummer, which he doesnt necessarily differentiate. Which went wrong at lots of
points because when we were writing a song hed be like as producer I think the song
should run like this, well how about you be the drummer for a while and then well work on
that stuff later.
In Band 3, the greater involvement in writing of the guitarist and keyboardist proved
enervating to the singer and, previously, sole writer. Speaking of the keyboardist he said;
What Im really excited about is shes just written a song and it sounds fantastic
The keyboardist in question, despite not being a band leader, was also heavily involved in
the groups promotion;
Singer Band 3: She does a lot of publicity for us and she did this before she was in the
band, so she would always be putting our gig up on her wall or something like that, shed
be getting it out there...and she seems to have a knack for it.
The drummer in Band 2 also spoke of the positive effects of musical diversification, which
increased the bassists feeling of involvement in the group;
33
A big watershed moment was when stylistically he became brilliant at harmonised bass
notes...he became really good at getting away from root notes and it gave the music a
whole new lift...up until that point he had been a very background member of the band...I
would say my impression of him is that his confidence in the band grew at this point.
Factors shaping participation
Creative involvement and Encouragement
Ive been playing with these guys for so long and...weve evolved with each other and Ive
always been very stubborn, I have my visions of things and I just try to do my thing and I
have these guys around me (Drummer Band 6)
The way in which creative involvement was approached and shared in the band appeared
to be a strong factor in determining participation. The need for creative involvement was
stressed by many musicians, as was the need for penning ones own instrumental parts;
I feel that its important in our band that every member feels like theyve got a creative
contribution and theyre not just kind of like a session playerits important everyones got
some inputand thats a big part of why we do it. (Guitarist Band 3)
If youre not writing the song, thats where you get your soul and your kicks from. (Singer
Band 2)
Among non-songwriting musicians there was a large degree of regard for those that did
write. Much mention was made of staying true to the original ideas of the writer, while also
34
adding details and subtlety. This necessarily conferred a certain authority on the originator
of these ideas, exemplified by the drummer from Band 2:
Ive contributed a handful of songs and I would have always had a clear idea in my heard
of what I wantedI would feel I had the clear authority with this song, because its my
baby (to get what I want).
The idea that the songwriter knows what is best for the song was very widely expressed,
such as by the guitarist in Band 1
(Singer) is in the driving seat as it were, these are his song ideas and I really think the
essence of the song comes from (singer)
Such authority conferred by creative vision shaped the degree to which musicians felt they
could impinge on the vision of the songwriter, as expressed by the Cellist in Band 5;
When youre a musician and you play for people who are singer-songwriters, you learn to
let go of your ego and you let go of what youre doing to respect their writing and what they
want out of it. You know when you come into something like that youre not going to have
the last word and if you do (want to) just have your own project.
Participation often appeared to depend on how much input the songwriter encouraged
others to give. In the case of Band 3, the singer stated he encouraged open participation,
while working to keep quality high. Speaking of the keyboardists composition;
35
I felt that I did have the authority to say that isnt quite right yet, but it was difficult because
she is such a talented composer that I was well aware that at the same time in some
sense I dont.
Encouragement was also found in Band 6, who were in the process of inducting a new
member on electronics, as remarked by the singer,
We dont say to (electronics) this is how it should be, we play it through a couple of times
and then like thats sounding good and could you do that... I let them play what they want
and if I think it sounds weird Ill say.
However, as mentioned before this was not a priority shared by all bands and some
musicians efforts to expand their role were met with resistance, leading to frustration for
the Drummer in Band 1 and Cellist in Band 5, the latter of whom said;
The main thing with (singer) is she wants a band but shes not giving us creativitywhats
really hard nowadays is having that feeling of being around authentic people, sharing
something and at the same time having them do what you want.
36
Spare time
I think that really can affect the dynamic of the group, how much time people can give to
it. nonmusical
None of the groups interviewed were full-time professional musicians and all held dayjobs. It was expressed that many of the groups principle writers devoted much more time
to music than the other members. This may have contributed to them taking a more
developed role in their group. Certainly some members appeared to spend much more
time on necessary nonmusical aspects of the band than their colleagues, conducting
administration and career decisions, exemplified by the singer in Band 2, discussed earlier,
as expressed by the drummer in the same band;
In terms of the songs, organising- rehearsals, gigs, recording, PR, all that is his (singers)
kind of thing, mainly in a practical sense because he has the time to do it, with what Im
doing, (Bassist) works full time, we dont really have time to think about that stuff. Its kind
of his responsibility and were very happy to leave that to him.
The spread of so many roles could contribute to problems for the leaders of the group.
Indeed such problems were expressed by the leaders themselves, like the singer in group
5;
I find it really challenging...to be honest, Im actually drained, Ive been so moody, at the
end of the day Im so tired
37
However, such imbalance did not necessarily provoke concern. When the Drummer in
Band 2 was asked if he was worried if his singer was spreading himself too thinly
responded,
That doesnt worry me because he can give it the time, he has given it the time and hes
gone on tours on his own that to a greater or lesser extent have influenced where we go
next.
Non-leading musicians often felt their involvement had been curtailed by a lack of time and
that this had resulted in a shift of roles they undertook. The drummer in Band 2 expressed
this as a cycle of diminishing creative involvement,
(Bassist) and I dont have the time to contribute creatively so (Singer) does and I think
that cycle will continue until or unless we suddenly we lose our way in the world and want
to turn back to writing music.
In band 1, the guitarist and coordinator noted how he had started taking a less active role
in writing, owing to time constraints and adjusted to more of a specialist role;
I guess I feel Im more of a supplement now, which Im actually very happy with...
Suppose the scenario that he sends off some demos and gets signed and he has to do it
full-time, its not very clear whether I could do that, or would do that.
38
The encroaching pressures of external commitments was common theme among the
musicians. This could be reflected in musicians with the spare time to take on
responsibilities not wanting to burden musicians lacking spare time.
The singer in Band 2 expressed this;
Ill delegate, but I dont think those guys have the time.
The Singer in Band 3, speaking of the keyboardist remarked;
Shes a single mum and does not have a lot of time I was very aware that this would be a
big time commitment for her and I was very grateful for that and did not assume that it
would go any further (her involvement).
Very few bands spoke of finding the time to increase their involvement. An exception to
this was Band 3, in which several members had moved in together in order to create more
music.
Personal Ambition
Band members who had large amounts of time for the group were often the same that
harbored the greatest personal ambitions of living through music. This was the case for the
singers in Bands 1, 2, 4 and 5.
Personal ambition may extend to starting the band in the first place, thus putting the
musician in a position of some authority. It may also contribute to a desire to drive the
39
band forwards. In the case of Band 2, the group had relatively recently changed its name
to that of the singer, in order so he could promote the group playing solo shows and to
reflect his increased participation on all fronts. Such a change not only reflected lack of
time commitment, but also personal ambition to dominate,
Im happy with almost being seen as a kind of session musician in the background. I dont
have this particular strong want to...have the same prominence as the frontman.
(Drummer Band 2)
This correlates with Kings study of string quartets, in which willingness to lead was a key
consideration for what determined leaders, with some members deciding they did not want
to give orders to their colleagues.
Group experience
Group experience appeared to be an important factor in allowing for greater flexibility of

roles within groups. For Band 6, their shared experience facilitated quick, expressive
communication;
Its never really expressed through words that much, its almost like baby
language (Drummer Band 6)
I guess we have our language, we often describe things as in different bands, (for
instance) can you do this a bit Beatles-ey? And everyone will know what that means..its a
weird kind of noise language (Singer Band 6)
40
In more autocratic groups, shared experience allowed for maintenance of place in the
band, in the face of diminished involvement. The drummer in Band 2, speaking of the
singer, expressed;
As he is the creative leader of the band, Im happy to let go of that and think and hope
that his appreciation of me and (bassist) is strong enough that it wont get to a point where
I dont feel that I cant have a role in the band. I think we go back too far and we have a
close enough bond...to not let that worry me.
Conversely, relatively new groups appeared to have members who participated in more
constrained ways. The bassist from Band 6 expressed this paradigm:
When you first come in you get pushed a pulled arounddo this, do that and in a way
youre there going yes, I want to know because I dont want to mess up.
This suggests that group experience is a largely beneficial factor. However, this is not the
case if the band is locked into a series of negative interactions. In the case of Band 1, both
the guitarist mentioned that when the new bassist joined the group, the band got on a lot
better;
Guitarist: (Bassist) would come in and (drummer) would listen to him and I would listen
him, partly because he was a fresh face, second because he had a resolute kind of
calmness about him and hed be like guys stop bitching, lets try this and try that. So to
begin with he managed to placate the scenarios and really act as a middle man into
avoiding conflict, not resolving conflict but avoiding it.
41
Interviewer: Is that still the case?
Guitarist: No! Less so now, because weve kind of dragged him down to our horrible,
fastidious level and hes unfortunately now as annoyed with certain people...he gets
annoyed with all the things we get annoyed with.
42
General Discussion
Summary of findings
This study has found that the roles taken on and types of participation by musicians in
rock bands is greatly varied and shaped by a range of factors. Principle among these is
leadership style. The songwriter is very often the leader of the group and both their own
participation and that of those around them is shaped by the manner in which they govern.
Autocratic songwriters tend to take on several key roles, while the actions of other band
members tends to be limited to their formal positions as instrumentalists, working to
support the songwriter. In more democratic groups, roles are more diverse and shared,
with fuller participation in wider aspects of the band by non-leading members. Democratic
leaders are often highly encouraging in their role, blurring the lines between those with a
clear leader and those without.
Several factors appear to shape the scope and depth of musicians participation. Creative
participation is a major factor in rock bands, with much authority being given to writers.
The use of that the leaders authority to encourage other musicians participation appeared
important as to determining whether they chose to take a greater or lesser hand in
participating in the band. Spare time and levels of personal ambition to succeed in music
both determined participation in the group. The first of these factors allowed musicians to
take on more or less tasks in the group, while the latter often related to their willingness to
lead and guide the band. Finally, group experience often served to create greater fluidity in
bands with regard to sharing and diversifying of roles. It could also serve to lock in patterns
of dominance or bad behavior.
43
Reflections on literature
The lead instrument
In rock bands it would appear that the lead melodic instrument rarely has the same level of
influence as in classical groups, in particular the string quartet. Rather than the picture of
leadership and dominance stemming from the key melodic player, as presented by
Murnighan and Conlon (1991), the songwriter often functions as the leader of the group.
Songwriters were also singers and although their lead melodic role in this capacity would
appear to engender them to lead, there was much greater emphasis placed upon the
importance of songwriting across all interviews, over the role of the singer, which was
largely unremarked upon.
In contrast to Gilboa and Tal-Smotkin (2010) and Curotta (2008), most rock groups
acknowledged clear leadership or elements of leadership. While the rock group is more
heterogeneous in instrumental makeup than the string quartet, it did not have the
uncertainty of leadership found in the wind quintet. As in Murnighan and Conlons study,
these leaderships ranged between autocratic and democratic, with a minority of groups
practicing a collective form of leadership, similar to those in Tovstiga (2005) and Blums
(1987) studies.
44
Instrumental Hierarchy
The case of Weinsteins marginalised vocalists (2004) proved non-applicable in the case
of the bands studied, whose singers all played another instruments and were highly
musically involved.
The second fiddle paradox (Murnighan and Conlon: 1991) did not appear widespread in
the rock groups studied. Where it did manifest, the paradox appeared to be connected
more to levels of creative input and leadership, over being given challenging parts to play.
Again this appears to reflect the differing priorities of the rock band from the string group
for what they are looking to get from the group.
While differing communication methods did not appear to be an issue in rock groups, the
time-commitment issues showed by the horn players in Ford and Davidsons study (2003)
proved a concern for many musicians, based upon balancing the demands of the group
with their need to work other jobs. The model of practise presented by the rock bands
interviewed often existed in a gap between studies concerning amateur, infrequently
practicing groups (Ford & Davidson: 2003, King: 2006) and professional ensembles
(Gilboa & Tal-Smotkin: 2010, Murnighan and Conlon: 1991, Tovstiga: 2005, Blum: 1987).
Though semiprofessional, many of these groups worked intensively, taking on tasks often
delegated to others by professional groups and unpracticed by amateur classical groups,
such as working towards large record releases, coordinating press relations and booking
tours. The scale of this commitment, compared with the relative reward, appeared to go
beyond other groups studied.
45
The study did not focus greatly on gender and there was little indication that this played a
major role in shaping participation. While only one groups leader was female, numerous
female musicians occupied active roles within their groups relative to the other members.
The researcher would posit that there was a preponderance of women playing classical
instruments such as cellos and violins, which may reflect Clawsons (1999)
ghettoisation (although there were no female bassists), although it could also reflect the
integration of more typically female instruments into rock music.
Leadership style
Murnighan and Conlons leadership versus democracy paradox (1991) was reflected
clearly in many of the rock groups studied, where leadership style was also strong shaper
of group participation. Within more democratically inclined groups, there was often a sense
of accepted leadership, allied with much mutual agreement and discussion. Among the
more autocratic groups, greater demands were placed on their leader to make decisions
and guide the band. While the current study does not allow for Murnighan and Conlons
relating of these factors to success or lack of success, it certainly suggests that some
leaders engage with the same paradox found in their study of string quartets and that this
shapes the group in similar ways.
Young and Colemans application of Lewins leadership styles to the string group (Young
and Coleman: 1979) also proved highly appropriate to the rock group as a point of
thematic consideration. Certainly many of the groups studied displayed congruent aspects
of democratic and autocratic leadership, with their attendant costs and benefits.
46
Communication
Reflecting previous study of rock groups (Arvanitis: 2008), as well as study of experienced
classical groups (Tovstiga: 2005, Blum: 1987), experience and communication ability
appeared to greatly aid the fluidity and working practices of most rock groups in the study.
The exception to this was a group locked into mutually destructive practices together.
Limitations and future research possibilities
The study is extremely limited in many ways and is presented as in no way definitive. The
nature of its opportunity sample allowed for little controlling of factors or the diversity of its
participants. The most problematic factors in the current study appears to be the
imbalance of instruments interviewed and the preponderance of singer/songwriters.
Future sampling could be improved in the following ways.
1. Achieve a greater balance of instruments played among the interviewees.

2. Ensure a greater balance of gender among interviewees.
3. Interview vocalists who both are and are not principle songwriters.
4. Interview more members of the same group and interview more groups.
5. Interview groups at different levels of professionalism.
Methodologically, cross-group thematic analysis would benefit from a semi-structured

interview format, based upon ground covered in this initial unstructured interview study.
While unstructured interviews served well as an exploratory measure, the differing content
of interviews made for a difficult process of coding and would prove problematic were the
47
study extended to include more musicians. It is unclear whether the different

configurations of interviews were a negative factor, however, it would be ideal to
homogenize interview configurations and conditions as best as possible for further studies.
Email questionnaires would allow for the reaching of more bands, in a homogenized
manner, while also possibly introducing a level of quantitative data. The top down
analysis, such as Belbins roles in this study was intended as a departure point for
interpretation, rather than a highly rigorous detecting of roles. To this extent it is far from
definitive. In future study, such analysis could be developed by integrating psychometric
testing. The use of such testing, rather than relying upon the inferential assignment of this
study would allow for a deeper and more robust understanding of team interactions.
Since the current study is solely based upon musicians perceptions, another research
possibility is one akin to Kings (2006), which marries perceptions with a form of codified
observation of roles taken. This would provide some means of bridging the gap that exists
between studies examining perception and those examining reality.
Ultimately this is a highly exploratory study, which has looked to shed light on a worthy, but
largely un-researched area, that of the roles taken in rock bands and how participation is
shaped. It is hoped that not only will this open up new questions for research, but also act
as something of a guide to the musicians themselves, negotiating the challenges, joys and
setbacks of being in the band.
48
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50
Appendix
Appendix 1: Example Transcript- Drummer Band 2
Interviewer: Will, you play in a band and people take all sorts of different roles in bands to
do with their instrument, but also to do with other things, I was wondering if you could
elaborate on the sort of role that you taken the band and maybe talk about the roles that
other people do as well.
Drummer: Okay, well weve been playing, we first started when we were 13 or 14 so it
goes back quite a way. Another thing is halfway through our band history there was a shift
around in what I played I started off playing drums then I moved to miscellaneous
instruments piano guitar other bits and pieces and then I moved back to drums. So, my
role as a drummer first of all. When we first started the band, I tried to contribute to the
songwriting and did a little bit tentatively because I never thought I was that good and
(Singer) was a much more natural sort of songwriter.
So, as we started off, yes I was trying to contribute to the actual songwriting itself. My
drumming parts of the songs have never been prescribed, ideas will be given to me, from
the person who wrote the song, 99% of the time thats always been (Singer). He can say
perhaps we need that sort of groove or whatever, but essentially my own parts are my own
making.
Songwriting-mainly over to (Singer) and the creative sort of side of the band and the
direction we go is kind of probably slightly dictated, in inverted commas by him because it,
its his kind of, as the main songwriter I suppose a lot of the creative inspiration and
direction comes from him. So I mean its hard to summarize my kind of role in a few words
really. I suppose its as the drummer and playing to my strengths and my own likes and
dislikes. There are certain styles of drumming that I dont like and I wont do, so that also
dictates how my role in the band develops.
Interviewer: So when an ideas brought in, you were talking about it coming from a
songwriter usually (affirmative). But obviously, thats not where it ends. So then youre
stepping into, is this what youd consider a new process at this point? Distinct from the
songwriting? Does the song change?
51
Drummer: Definitely. The process we have- (Singer) comes in with probably something
hes been working on which I may or may not be familiar with- he may have sent me a
demo, a piano demo or a guitar demo of it. And whether or not Im familiar with it usually
we just jam around with it but we play around with it thats the sort of time when I may get
some sort of indication what sort of rhythm idea the songwriter has in his head and its only
natural that he should have one and probably would want it to kind of develop as hes in
visaged it going to develop if you know what I mean. It will become a new process then,
we will be playing around with it. it may go in a completely different direction, but it
becomes an opportunity for us to try things out. Generally we will settle on a vibe for the
song pretty quickly. And then it will just be refined and refined as we play it more and get
more familiar with it.
Interviewer: So, theres this point at which something feels right and then you know where
its going?
Drummer: In terms of my, the point at which it feels right...Therell usually be this almost
light bulb moment where we are thats cool thats sounding kind of good, sometimes its
probably be fair to say that an indication of that will be from whoever the songwriter is- that
now is always (Singer). (Bassist) and I will probably be trying to fit in with what is vision of
how the song might play out how that has developed in his head. I think we have quite a
close musical bond. I think we all know when something sounds good, so it will be a
question of it playing it through, playing it through until we hit that sweet spot.
Interviewer: That point of tastes converging, but with this... lets talk about the way this is
communicated, is it communicated verbally?
Drummer: Yes, probably- thats fucking cool
Interviewer: but you also sense it musically at the same time? Or does it need to be said?
Drummer: I think sometimes it needs to be said, particularly if its thing we not that familiar
with and I havent had the chance to hear the song and in a way to have my own sort of
idea of how it might go. It will sometimes just need to be said thats- cool keep doing that,
that you did there
52
Interviewer: And who is saying that then, is that you saying that?
Drummer: It will usually be (Singer), I suppose its quite difficult sometimes when you
havent written this song and that picture of how the song should develop hasnt formed
and developed in your head to say I think you should do it this way.
Interviewer: So you delegate quite a lot of trust to the person who brought the idea
because theyve spent more time around it then you (affirmative) and thats part of your
team philosophy- the person who has spent a lot of time around the idea will have a more
formed idea of what it should be for
Drummer: I think so and I contributed a handful of songs and I would never...I have had a
clear idea in my head so I want. I would have written these songs on guitar/piano, when I
was on drums, if they started playing a different chord wouldnt have been thats cool
unless I thought it was cool I may think it has to be a major chord it has to be a G, or
whatever. If theyre like I want to do the B Minor, I dont know if I thought it sounded good
and I liked it
Interviewer: But you felt you had a strong a call over it.
Drummer: If I strongly felt it didnt work I would feel I have the authority with this song
because its my baby to say.
Interviewer: So, perhaps what its saying is there are perhaps some elements of
coordination which shift to do with authority I guess or ownership at certain points. When it
comes to something being coordinated, we talked a bit about how its jammed out, but
could you walk a little bit more exactly about progress is coordinated, Perhaps if and when
you hit impasses you kind of work around those. You get started, you have an idea on the
table and on what happens?
Drummer: I dont want to go back to jamming, but playing it through and focusing and
thinking a bit more closely about how the rhythm and the bass and drums, the the rhythm
section work together. (Bassist) and I in the past five years have really tried either
subconsciously or otherwise very explicitly how we try to hone and fit in together.
53
Interviewer: Its a very close relationship.

Drummer: It can be, yes, and I really like it when the bass and drums work. Theyre almost
scored out. You could be reading from a score with how closely theyre linking together. I
think in the last few years our style has slightly gone down the route of bass and drums
really interlocking. I think weve kind of come full circle and we might be a thing back into a
sort of some looser sorts of arrangements but recently I think ideas focused a lot on how
the different instruments worked together. How the rhythm section supports the main idea
has been quite a focus
Interviewer: Your songs are quite characterized in some aspect either fact that their pop
songs and so have linear vocal a very lyrical bent, whether or not that can be heard
through the PA systems. Is that a concern of yours when youre working? The vocal line
and the lyrics?
Drummer: Thats interesting because Ive sometimes felt embarrassed at how few of our
lyrics I even knew, because in rehearsal you dont necessarily hear them. Youre not really
thinking about them as such. Te vocal line itself is important and there will certainly be
written kind of nuances in the vocal that might contribute, essentially the content of the
lyrics doesnt necessarily bother me, If I strongly felt there was something incredibly
cheesy incredibly naff going on it would probably grate a little bit. But, the conversation
that lyric doesnt work all those lyrics are crap has never entered our kind of thing. Then, I
think (Bassist) and I put a lot of trust in the songwriter and the song writers vision for the
song. I dont really even feel particularly with the lyrics but that its our place to have a
problem with that. Certainly I wouldnt say I could reel off all the lyrics to all our songs as
its sort of not really my problem.
Interviewer: What I can kind of see is that songwriting and comes semi-formed to
rehearsals and then this process of arrangement takes place and still is largely led by
whoever brought the song in the first place (affirmative). And is there a point at which that
shifts and then becomes a whole band concern where everybody feels that theyve put in
enough work to be equally invested. That moment when you say the bands all on the
same wavelength.
Drummer: Yes, and it doesnt happen in every song.
54
Interviewer: are are some songs where

Drummer: It feels a bit laboured, I think these are the songs that will die an early death,
theyll have a couple of airings in gigs and a couple of attempts a recording, theyll die a
death naturally if I dont think we hit that moment where were all really.
Interviewer: Is that something you keep yourself, or is that something you communicate
vocally or something in between?
Drummer: Probably something in between. It can be, certainly when its died its death we
can laugh about- that was really rubbish, that was really crap, that never worked, I never
really got into that song. Well talk about it quite openly after it has naturally fizzled out. I
wouldnt say were always, wouldnt say Im particularly outspoken when something well
working on that Im just not working, I think Ill kind of give it a chance to work, then I
wouldnt say Ive ever been sat in a gig and looked down set list and thought, I hate that
song, I dont want to play it. Its never been that kind of strong. Im quite reserved in that
sense, I would give it a chance to see where it goes and that may even mean giving it a
chance to try and record it and play it in a gig and see how it goes down.
Interviewer: Because it relies on a group dynamic and its also relied upon actually playing
out, teasing out the thread and seeing, what happens?
Drummer: Yes, and giving it a chance, there have been songs that I may not have liked for
reasons of either the rhythm or the melody. It may appeal to other people so we should
give it a go see how it goes down and I dont think weve ever played any of these song
more than once twice before realising the ones that dont work.
Interviewer:You also have faith that group taste will prevail in a way that appeals to you
eventually.
Drummer: Definitely. I think we put a lot of kind of, a lot of faith in the amount of time we go
back, it really doesnt need to be said, well kind of know from, how the dynamic or vibe, is
going in rehearsal, mark whether its working or not. You put a lot of faith in that bond.
55
Interviewer: Does the results of how a song does on the stage influence how you feel
about in the practice room? Talking about the songs, you take them out into the world and
does the performance of the songs affect how you feel about them?
Drummer: Funnily enough I dont think its ever worked that way round Its worked the
other way, in that weve had a song we feel quite strongly about but it hasnt, usually
because its too ambitious for a three piece to play live and it doesnt really work live and
sometimes Ive even been told by friends that they dont actually really like that song but
weve spent so much time on it and are so convinced that it will work and it sounds good
and its all sort of layered up and recorded that it deserves to be played live. I would say
weve actually stuck with songs we have faith in even when we get the sense that live they
dont work. whether weve stuck with a song that we dont like but other people I dont think
weve ever had that.
Interviewer: How is strategy put together in the band?
Drummer: Strategy in what?
Interviewer: Strategy in the things that you do. Is one person taking a particularly strong
role in coordinate in the activities of the band, is it a joint thing or are there just subtleties in
people interact with then
Drummer: No, its pretty much led by (Singer). He is responsible, largely responsible for
the songwriting, not how the songs necessarily evolve, that will be a kind of group effort,
but in terms of the songs, in terms of the organising rehearsals, gigs, recording,
PR ,whatever you call it, I would say all of that is his kind of thing, mainly based on a
practical sense because he has the time to do it, with what Im doing. (Bassist) works full
time, we dont really have time to think about that stuff, kind of his responsibility that. Were
very happy to leave that to him, hes got the good contacts, hes got the good enough
knowledge of the industry to get things moving and the right direction.
Interviewer: Im in terms of projecting to the audience, hes front man as well? Is that how
you visualise him or is it different?
56
Drummer: It was quite a moment when he first suggested changing the band to his name,
it was quite a big step I wasnt initially that comfortable with it. he justified it and convinced
me because he would be able to do solo stuff on his own and keep the momentum going
and we could be tacked on, the two of us. I was initially a bit uncomfortable with that but
Im happy enough to do that and to be honest Im happy enough f to be seen as a sort of
session musician in the background, I dont have this particular strong kind of want to have
the same sort of prominence as the front man and I never really have been that fussed
about that, Im quite happy to be in the background, but as a drummer youre never really
in the background, if I was playing the bass, arguably that sometimes can be slightly less
obvious role. As a drummer, by nature, by definition youre going to be quite prominent,
even if you are in the background.
Interviewer: Can we talk about (Bassist) a bit? Does he any particular roles in the band,
any subtleties to the way he acts in the band that are of interest, perhaps some things he
fills in that other people dont? Or particular qualities of his character that contribute? How
would you characterize Rich in the band?
Drummer: I think, he confessed to me once that he can be quite sort of submissive in his
attitude, even more so than I might be, that he might not speak up about not liking a song
or his part or the direction or perhaps how (Singer) might influence how he plays his part.
Think you get a much harder time of probably just do route notes or...
Interviewer: oh yes is part slightly written for him?
Drummer: right well do, but on the other hand a big watershed moment was when
stylistically he became live at harmonize base notes, you know any under a G or
something, became really good at getting away from room notes and it gave the music a
whole new left, until that point I think he had been a very kind of, background member of
the band. until that point (Singer) and I were doing a lot of co-writing, meeting up this was
back in the time when I had time to do this, go back to his for a weekend and we would
write stuff together. Up until the point when his style became much more creative, I think
he was very much a background kind of musician with the band.
Interviewer: Did this have an emotional effect on his relationship with the band?
57
Drummer: Yes, I couldnt point to any evidence of it, but my impression of him was that his
confidence within the band grew at this point, having this new creative input did affect that.
Now his role is quite hard to describe really, he sometimes has for the last few years his
work commitments have sort of meant that the band is just an extra thing.
Interviewer: What does he do?
Drummer: He works in for a wine merchant. Hes been doing that for a few years and that
does take up quite a lot of his time. Up until I started this PGCE course, his work things put
him on a much kind of...it was much harder for him to get involved as much as I or (Singer)
would. Now Ive taken on this course Ive become what he is actually, its an extra thing in
my life, I have other things I have to focus on at the moment.
Interviewer: And the dynamic has changed a little off the back of it?
Drummer: Yes. Im the one causing the problems now, with stuff that we have to do. So its,
I think that really can affect the dynamic of the band, how much time people are able to
give to it.
Interviewer: Its also the level of work you can put into it, is there a risk of (Singer)
overextending himself? Because he seems to be covering a lot of bases.
Drummer: Oh he is, but he always has. That doesnt worry me, because he can afford it
the time, he can give it the time and he has given it the time and he has gone on tours on
his own, which to a greater or lesser extent have influenced where we kind of go next. As
he is the creative leader of the band, Im to happy to let go of that and I think and hope that
his appreciation of me and Rich is strong enough that it wont get to a point where I feel
like I cant have a role in the band. I think we go back to far and we have this close enough
bond to not let that worry me.
Interviewer: Do you have any continuing professional goals within the music industry?
Drummer: I would say that (Bassist) and I dont have the same ambitions as (Singer) does.
Interviewer: Could you clarify?
58
Drummer: I think he wants music to be his career and he does enough at the moment to
take him down that path, that is what he wants to do. I think (Bassist) and I have taken a
much more practical view that we need to have backups- we cant necessarily rely on the
band. I think that when we were younger I certainly always hoped that music would be, we
would make it. I think as I got older I realised that I couldnt rely on that, until I saw some
evidence there was a future in the band I had to have other options.
Interviewer: Making it is a complex proposition as well. Its not a done deal.
Drummer: And even when you have made it, thats not necessarily good enough to send
you on your way and make you millions, there are great bands that still work until
they...yeah.
Interviewer: Your roles sound like theyve changed a little bit over the year depending on
how much you can contribute to the band. Have the time to contribute to the band, so you
can write more when you have the time and the emotional space to write more.
Drummer: Absolutely, I think thats a massive influence.
Interviewer: And at that time you were more auteurish and took more leadership roles, but
because of the relationship with songwriting and vision, you feel its more appropriate to
support the person whose vision is driving the band (affirmative). Thats sort of a theme Im
getting, youre very happy to subjugate leadership on the basis of artistic vision?
Drummer: I think thats absolutely right, that and a combination, well they all sort of interlink
really, its a cycle. (Bassist) and I dont have the time to contribute creatively really, so
(Singer) does and I think that cycle will continue until or unless we suddenly lose our way
in the world and want to turn back to writing music. I think it will always continue down that
route, maybe its because, and I hope this wont be the finishing note, because music is a
bigger ambition for someone like (Singer) than it is for me and (Bassist). I certainly think
the time we can afford it influences the roles we can play. Its only natural, you cant, yeah.
Interviewer: I was going to ask one other thing. When people drive the band it can be hard
to get all the work done but also take care of people emotionally in the process. Are there
59
people in the band who are more adept at calming a fevered situation or patching things
up or making things extra smooth and taking everyone out to the pub, is that something
held by one person in particular or something jointly described.
Drummer: To be honest, its a rare thing that we get round to doing that sort of thing. We
did the other day after rehearsal and I remember thinking this is really nice, rare kind of
treat actually, to be with these guys and we went to the pub, we didnt actually talk about
music, we just had a couple of pints and just chatted really and thats quite rare because of
our busy lives, or maybe (Singer)s obsession with the music that actually whenever we do
meet up its usually, we may as well use this time to make music rather than waste this
time going to the pub
Interviewer: How do you feel about that?
Drummer: Its sometimes annoys me how
Interviewer: In the practise room you feel the weight of...
Drummer: Sometimes, theres a sort of thing that with practise rooms you spend such a
ridiculous amount on such a ridiculous length, you get it for four hours and pay a ridiculous
amount of money for it, so we might as well use it. We do use it, so at the end of that four
hours were drained by it and go off home. That can sometimes frustrate me, and these
two guys are two of my oldest closest friends, but the amount of time we spend not doing
music is quite limited. Which is quite an interesting kind of situation
Interviewer: Would you have it differently if you could?
Drummer: I would like to have more time to actually to be with them without being in the
band room.
Interviewer: You feel things would be different if that was the case?
Drummer: I dont necessarily think they would be different, I think the way our lives are at
the moment, the roles, the songwriting, creative roles would probably remain the same, but
I would like a bit more time to just be with them without playing music sometimes.
60
Interviewer: Cos it can be very hard when you leave a practise room with blood on the
floor or whatever, maybe just hard work done, and you can take your visions of those
people and thats all you have for the next week until you see them again, so you can end
up seeing almost caricatures
Drummer: Theres a bit of a routine, you get into this place with all your stuff. Theres a
quick, hello, how you doing, how are various girlfriends and theres be a bit of usual chit
chat and then it will be right we should probably tune up and then thats sort of that and the
rehearsal comes to an end, were all knackered and laden with stuff and off we go in our
seperate direcitons.
Interview: The impression Im getting is that youve got a very, someone who really knows
how to work, Im sure you all know really how to work, but it would be nice to have a bit of
time at the end to step away from that (affirmative) and to smooth things out.
Drummer: I think it would be, I dont know if theres any smoothing out to be done, just time
to talk about something else.
Interviewer: It can be hard to understand the value of music when it gets separated from
the friendships that create it, it can be a little bit difficult to relate the music to valuable
things in your life, do you know what Im saying?
Drummer: Even when we have a gig around the corner and have some songs that are
under-rehearsed I dont ever feel like its work, its certainly nothing Ive ever worried about
in the way Ive worried about real work Ive got to do, those sorts of commitments, I always
feel very relaxed about it. I think thats true, there have been times when Im clicking into a
song and I dont actually know how it goes, sometimes stressful things, but only on stage, I
dont lie awake at night thinking, weve got this gig and I dont know the songs well
enough, it never feels like anything to stress about and I would worry if it did, I would
question whether I wanted to be doing it. There are enough stresses without that.
Interview: But you can take that bit and not stress about it? Some people stress even
when theyre perfectly prepared, but thats not the issue, its not an issue at all, its not on
the grid, is that the impression I get?
61
Drummer: Ive never felt the need to worry about it, absolutely never.
End of Interview
62
Appendix 2: Annotated Transcription of Interview

Fig. 4 Transcript of page showing thematic groupings
L= Lead Guitar Band 1
Role signifier
I= Interviewer
Factors- Time commitment, Creative Input, Experience, Encouragement
1. L: I almost feel now because (Singer) is spending more time on it, Im going to
become a lesser part of it and risk at some point not being involved in it. Because,
you know...you want a balance of effort so that you feel everyones putting in
enough of it.
I: One of the difficulties of um, sorry you were saying...
2. L: But I also feel like, I feel like were going to keep on playing together almost
indefinitely, unless what hes doing becomes very formalized in some way, such that
I cant be a part of it unless Im completely dedicated to it.
I: Becomes in-penetrable at a creative level...
3. L: ...Yeah, suppose a scenario that hes then got some demos and gets signed and
has to do it full time, its not very clear whether I could to that, or would do that.
I: So when youve got an idea and youve got it to the stage of it being ready as a
sketch and you feel its ok and you bring it into the room and how is that then
managed, how is that thing...I know this is always changing but...at the moment
youre not doing it that much, but when you were doing it, what was the process of
trying to bring the idea in, even when it wasnt successful, how did you try and
introduce and idea into the room?
4. L: Right so, its better to consider it from the kind of, what actually happened is that
usually thered be a recording of a song so at the very least, whoever had been
working on it and it hadnt always been (Singer) and I, sometimes it was (Singer)
and (Former Bassist) sometimes it was (Singer) and (Drummer). (Singer) usually is
there. I dont think, theres been very few instances where someone and not
(Singer) has written something and its turned into a proper song. Um, and
I: Was that because of quality or drive?
5. L: Cos no-one did anything really. I mean I wrote, there was like a ditty or something
that we had on the end of a song which was something I wrote myself, but I never
wrote a full song. But let me just qualify that first. It was because (Singer) wrote the
songs, (Drummer) wrote drumbeats, and some pretty cheesy riffs, I write some
63
chord patterns, I never write a song and thats a very different thing, to be able to
come up with chord patterns I think. Anyway, so, perhaps its recorded and it can be
anything from full blown pro-tools with a rhythm section and theres even like
backing vocals to heres a song that me and (Singer) have just been farting about
with...
Notes on page:
2& 3. Lead guitaristDrummer expresses how time commitment may be a factor in the role he could play
in the band should it increase. Considers going full-time not a possibility.
4.
Possible relationship with ownership of songs based upon authorial rights.
4& 5. Underpins specialist nature of the instrumentalists in the group and delineation of musical tasks.
Singer is expected to be principal and initial creative force (indication of Plant qualities?)
64
Appendix 3: Case analysis summary of bands
Band 1
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Guitarist
Male
Yes
5 years
Plant
Lead Guitarist
Male
Yes
5 years
Coordinator,
Monitor Evaluator
Drummer
Male
No
5 years
Coordinator,
Resource
Investigator
Bassist
Male
No
1 year
Team-worker
Specialist
Songwriting:
Songwriting had been mostly conducted by the singer and lead guitarist, with the former
presenting ideas which were then re-formed in collaboration with the latter. More recently,
writing has moved from the singers bedroom to work in the studio, involving the whole
band. The drummer has subsequently become far more involved in writing, often involving
a type of writing closely tied in with his specialty in audio recording. Additionally, the singer
has started to bring in more finished pieces.
Arrangement:
Arrangement of music conducted as a group in the practice room, with all four players
working to create their instrumental parts and make them work together. This arrangement
process can take two-forms. In the first case, the group improvise together over certain
sections of music until they started to gel. In the latter case, parts are layered on a
computer on person at a time and then reworked through group discussion.
Coordination;
Coordination of the group appears to be highly problematic, based on a difference of goals
and expectations. In particular, two members appear to want to share the coordinator role,
while being somewhat mutually exclusive. Combined with the different preferred working
methods, this could contribute to poor agenda setting and a fractious atmosphere in
practice.
65
In live playing, traditionally the singer and lead guitarist had played at the front. In recent
shows the drummer had taken to playing a song with a drum at the front of this stage. It
was expressed that the drummer was looking for some of the limelight as a form of reward
for the level of energy he put into band productions.
Communication:
Communication in rehearsals also proves very problematic, again often revolving around
conflict between the lead guitarist and drummer. The lead guitarist admitted that he often
enjoyed winding up the drummer. This had led to several walkouts and dissolved
rehearsals. At the heart of this may have been the feeling that communication had
completely broken down and was irreparable within that session of rehearsal.
The singer feels that he was comparatively extremely passive and the bassist appeared to
play no part in mediating or participating in these conflicts.
Social:
Despite these differences in practice, the band appeared to get on well outside of practice.
This appeared to be partially based upon a shared lifestyle and there was a cathartic effect
of going out with each other after a tough practice. This did not mean that all differences or
slights were resolved. It was expressed that although apologies were often proffered,
these were often incomplete.
Leadership:
Leadership is shared principally among the three founding members, the lead singer, lead
guitarist and drummer. This leadership may shift according to the task in hand. The singer
often leads on more creative fronts, while the guitarist and drummer often lead (or attempt
to lead) in more technical areas.
66
Band 2
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Pianist
Male
Yes
7 years
Plant, Coordinator,
Resource
Investigator
Bassist
Male
No
7 years
Team-worker,
Specialist
Drummer
Male
Yes
7 years
Team-worker,
Specialist,
Implementer
Songwriting
All writing of melody, harmony and lyrics is handled by the singer, who acted as creative
leader. The other member interviewed expressed not only a great deal of faith in the singer
bringing good material to the practice, but also conferred a great deal of authority to lead
the band on the writer of the song.
Additionally the other members very rarely reviewed the content of the songs music or
lyric, but rather focused on supporting it on their own instruments and finding a place
where their musical tastes converged into a pleasing, mutual sound.
Arrangement
Arrangement is conducted as a group in rehearsals, with each musician focusing on their
instrumental parts and achieving a certain vibe in the room. Although the singer generally
had a final call on this, there was also a sense that arrangement was very much a joint
mediated process. This was particularly typified by the bassist moving away from playing
prescribed parts and writing his own. The drummer expressed that songs which did not
immediately work well were often prepared nonetheless and played live until the group
reached a mutual consensus on the song. It was considered very important that all
members wrote their parts, for reasons of feeling personal involvement
67
Coordination
The singer took charge of all band coordination matters, both for setting the agenda for
rehearsals, but also booking gigs and organising press. Reflecting this, the band had
relatively recently changed its name to the singers name, moving away from a whole
group name.
The ability to coordinate the group, reflected the fact that singer pursued very different
professional goals to the others in the band, by looking to do music full-time, as opposed
to balancing it with a full time job. This meant that he had much more time to be involved
with the administration and organising of the group and thus took command in this area.
The drummer expressed that he and the bassist did not have time to contribute creatively
outside of rehearsal and so the leadership of the singer, whose professional musical
ambitions outstripped theirs, would likely continue.
Communication
It was noted that communication had grown far better as the band had gained experience
and maturity. There was also a certain sense that players had settled into roles which they
were happy with, such as the drummer moving across from guitar. The singer expressed
that communication had also bettered owing to the bands moving into being a more led
group (by him). This created a more delineated and less amorphous relationship that
reduced the pressure of camaraderie on individual members. The singer expressed he felt
in many bands, forced camaraderie led to a certain falseness of expression and much
more important was a moderate and compromising approach to making music together.
Social
This band expressed a close emotional bond, based upon many years of working together,
but spent relatively little time together outside of rehearsals. This was partly owing to a
vast difference of lifestyles and schedules that only allowed for small windows of
opportunity for rehearsal. Additionally though the singer felt that there was a certain
healthiness to the band feeling that they did not have to do everything together. Namely,
he felt that camaraderie was often forced within groups and was not necessarily fun for all
68
involved. Thus the noncommittal approach to social affairs outside of rehearsal allowed
members to pursue their lives as they best enjoyed. The drummer expressed this
differently and felt a degree of regret that the band did not spend more time together
outside of rehearsals.
Leadership
Led by the lead singer, who also acts as guitarist, pianist, songwriter, arranger and
administrator.
69
Band 3
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Bassist
Male
Yes
4 years
Plant, coordinator
Keyboardist
Female
No
2 years
Team-worker,
resource
investigator
Drummer
Male
No
4 years
Specialist, TeamWorker
Guitarist
Male
Yes
2 years
Completer,
Implementer,
Monitor Evaluator
Songwriting
Songwriting is mostly conducted by the singer, but recently the guitarist has started
contributing several pieces, as well as the keyboardist submitting a composition. In these,
the singer has often had a reflective role, providing comments and suggesting
improvements. The band play a number of songs from a previous lineup, which only
involved the singer and his songs.
Arrangement
The songs written by the singer are arranged on computer before rehearsal. These
creations form the basis of whole group arrangement.The guitarists work consists of
sketches which are far less elaborate and have more space for instrumentalists to fill in
their own parts. Arrangement is conducted together in rehearsal studios, with each player
concentrating on their own part, but also often commenting on how it is working with other
members. The guitarist is often highly involved in detailed finishing work and driving the
band to complete the song.
Coordination
The singer expressed that although he was the nominated leader, in fact he very rarely
had to fulfill leadership style duties, owing to the shared understanding within the group.
The singer expressed that he felt the guitarist to be very skilled at motivating and
organising people, which he personally sometimes lacked. The guitarist appeared to fulfill
70
a socio-emotional role in solidifying and legitimizing the relationship between the goals of
the singer and the musical enterprise as a whole.
Thus his need to lead autocratically was rarely called upon. Additionally the pressure of
leading was initially relieved by the guitarist, who was very helpful in teaching the music to
the new members, having been recruited before them. The singer expressed that the
keyboardist, being his sister, deferred from taking part in coordinating the band, owing to
deference and also a lack of spare time.
However, the keyboardist was highly involved in promoting the bands shows, something
she had been involved in before being in the band. Thus the band members often
contributed to support the leader directly or in some cases conduct specialist tasks away
from his supervision.
Communication
The singer expressed that the guitarist was a very fine motivator and completer, who
combined a fine personal manner, with strategic nous. There was agreement that
members generally feel that, without being hypercritical, they are able to comment on each
others parts and performances freely. The singer expressed that he found it hard to
balance his own ideas for the tunes and allowing other people to express their ideas.
More than in any other group, there was a sense in this band of members educating and
supporting each other. The singer described how he helped develop and nurture other
peoples ideas, while the guitarist spoke of enjoying the sensation of occasionally taking
the limelight, but more often stepping back and working to make others sound better.
Socio-Emotional
Though from diverse musical backgrounds, the impression was given that the musicians in
the band were highly sympathetic towards one another and supportive. The singer
expressed that, when conflicts occurred, he had found the guitarist immensely capable at
resolving differences between himself and his sister (the keyboardist). At the time of
interviewing, two members of the band had moved in together, with the intention of
increasing their musical output.
71
Leadership Style
The singer/bassist is the nominated leader of the group, who takes on many band musical
and career decisions. However, the others members of the group are also involved in
much decision making and often the band functions in a highly discursive, democratic
manner.
72
Band 4
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Guitarist
Male
Yes
3 years
Plant, Coordinator,
Resource
investigator
Keyboardist
Female
No
2 years
Team-worker
Bassist
Female
No
3 years
Team-worker
Cellist
Female
Yes
2 years
Team-worker,
Coordinator,
specialist
Violinist
Female
No
1 year
Team-worker
Violinist
Female
No
1 year
Team-worker
Songwriting:
All songwriting was conducted by the singer/guitarist, which was then presented
completed to the band as a set of chords, melody and lyric.
Arrangement
In rehearsals the singer takes the role of musical director in the sense of not being a
composer who notates parts, but rather communicates the parts in his head to the other
players, who then interpret them. Beyond these ideas, the band generally writes their own
parts and the singer leaves this open to them. The arrangement is open to player input,
but highly dependent upon the mediation and judgement of the singer/writer.
Coordination
Rehearsals are conducted (unusually) in two separate groups, that only rehearse fully
together shortly before performance. The singer rehearses with the strings separate to the
rhythm section (piano, bass, occasionally drums). This allows for greater ease of
communication, as well as the possibility of conducting rehearsals outside of commercial
settings. This necessarily requires the singer to be able to judge whether both groups
parts would work together, independent of each other. This places a great deal of musical
73
responsibility on the singer. However, he feels that this is offset by the level of detail
afforded in each rehearsal by this method of working.
Communication
While there appears to be a common acceptance of the singers leadership, players often
offer a degree of advice, based upon their instrumental specialisms, which the singer finds
very helpful. Furthermore, communication has been greatly better by the downsizing of
rehearsals and the selection of correct personnel for the band.
Socio-Emotional
The small rehearsals seemed to allow for better socialising and a greater level of intimacy,
as expressed by the singer. The band appeared to get on very well in and out of
rehearsals. The cellist suggests this was based on a shared love for pop music, often
allied with a degree of classical training.
The singer feels that good social relationships was very important in persuading players to
play the music well and not feel they had to take a forefront role.
Leadership style
Focused around the songwriter/guitarist, who coordinates and administrates the group.
The violinist acts often as an arranger for the string parts.
74
Band 5
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Guitarist
Female
Yes
3 years
Plant, coordinator
Cellist
Female
No
3 years
Team-worker
specialist
Guitarist
Male
No
1 year
Specialist
Songwriting
Writing is handled by singer/guitarist. Ideas are often bounced off the cellist at an early
stage.
Arrangement
The singer frequently collaborates with a producer to create a fully arranged track for the
band to perform. The cellist feels that consequently the band did not have much creative
input with parts. The singer additionally expressed that the music was a solo project and
thus she would write all the music (in collaboration) and present it whole, except for the
cello, which was written by the cellist.
Coordination
Owing to the prescribed nature of the parts for the musicians, as well as the quality of the
musicians, coordination in rehearsals is managed by the singer in a very linear fashion of
playing through songs whole and repeating. Suggestions mainly come from the singer, but
she suggests that the other performers were free to add what they wanted to try, although
this seems mostly limited to slightly altering their own part. Leadership is never delegated
to other members for portions of the rehearsal, which is also reflected in the unanimity of
the decisions made by the singer
Since a previous drummer who had acted as the bands tacit musical director, the cellist
has taken on a certain level of musical directing in the band when appropriate.
75
Communication
The cellist feels that she had a very strong personality and was not afraid of saying what
she meant, which was made easier by being best friends with the singer. She also
expressed that perhaps the other members felt less comfortable with expressing their
opinions in rehearsal.
The singer felt that it was important, however, that players were integrated insofar as they
transcended session work and that she wanted them to feel attached to the music and
that they are having a good time.
Socio-Emotional
The singer feels that she wanted to be friends with the musicians. A lack of connection
between musicians had led to a previous situation where this had become apparent to the
singer and cellist, leading to a change in personnel.
The cellist feels that the last few months had been very stressful to her, owing to her close
friendship with the singer and that it had been hard to draw a line between work and
friendship. This is based partly upon the extreme level of repetition in her parts, compared
with the fact that she composed her own music and is thus always moving on creatively.
Additionally, she feels great pressure to help the singer resolve personal issues, which can
also enter into the band room. However, the strength of their friendship is reflected in their
ability to discuss and resolve issues.
Leadership Style
The Band is centered on the singer/guitarist who leads the band as a solo project.
76
Band 6
Member
Gender
Interviewed
Time in band
Team Roles
Singer/Guitarist
Male
Yes
6 years
Plant, Coordinator
Guitarist
Male
No
6 years
Coordinator
Bassist
Male
No
3 years
Monitor Evaluator,
Completer
Drummer
Male
Yes
6 years
Resource
investigator,
Specialist
Electronics
Male
No
1 year
Team-worker,
Specialist
Songwriting
Writing principally is presented to the band by the singer, however, these songs often
change within rehearsal owing to input from all members. The songs are sometimes
completed and recorded and otherwise presented as a sketch.
Arrangement
The arrangement of the song appeared to be dependent on the qualities of the song being
presented. When a song has been fully written by the singer, it will tend to be mediated by
him more than one he has only sketched. The band contribute their own parts, while also
often making large changes to the song. They are highly self-taught and several express
that they would find it hard to play a part someone else has written for them.
Coordination
The group share in all elements of coordinating administration and career management.
Particularly prominent is the bassist, who helps organise a great deal of gigs and record
events. Group strategies are settled through discussion. The band note that the lack of
strong leadership is good because it allows equal participation, but can also lead to
indecision in tough situations where action is required.
77
Communication
The band have been playing together for a long time and find that they communicate in a
very fluid manner, based upon shared musical tastes and conceptual ideas. This can often
take the form of very expressive language, rather than technical terms.
Socio-Emotional
The group feel that their closeness is key to them being a good band and that strong
social relationships are crucial. They also highlight the mature, responsible role of the
bassist, who they think of as the dad of the band.
Leadership Style
Leadership is split between the four founding members, with the DJ taking a more
secondary role. The leadership is highly collective.
78
Appendix 4: Cross-group thematic analysis
This table of working presents emergent themes from each case studys transcription
analysis presented together, leading to integrative analysis. They are ranked from top to
bottom roughly in order of importance and are colour coded to show matching themes
Band 1
Major
Themes
Minor
Themes
Band 2
Band 3
Band 4
Band 5
Member conflict
Time
Commitment
issues
Time
commitment
issues
Band 6
Accepted
Democracy
Single leaderImportance of
creative vision
Sole leadership
of singer
Collective
leadership
One Brain
Single leaderImportance of
creative vision
Encouraged
participation
Limited roles
of supporting
members
Frustration of
cellist
Encouraged
participation
Role conflict
Limited roles of
supporting
members
Secondary
leaderguitarist
Limited roles of
supporting
members
Highly
supportive
group work
Guitarist as
coordinator
Levels of
Personal
ambition
Time
commitment
Separation of
rehearsals
Conflict of
friendship and
professionalism
Induction of
new
members
Lack of
leadership
Work taken on by
singer.
Induction of
new members
Time
limitations
(rehearsal)
Difficulty of one
person doing all
the work
Emergent Themes
1 Time Commitment Issues
2. Relationship between single leader and creative vision
3. Democratic and collective leadership
4. Limited roles of supporting members
Possible correlations
1. Time Commitment-Single Leader
2. Democratic leadership-Encouragement
3. Single Leader- Limited Participation
4. Time Commitment- Limited Participation
5. Democracy- Secondary Leaders
79
Appendix 5- Example of consent letter for participants
I consent to the testimony contained within this

interview being used in this piece of research.
I understand that this testimony will by anonymous and not disseminated beyond this
research paper. This paper will be published and made available public access.
I understand that I have the right to retract my participation and testimony at any time.
Signature
Date.
80

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Tim Sheinman- Masters Dissertation 2013

Checklist for Masters Research Projects

-The disclaimer about borrowing your dissertation is on the title page

-It uses double line spacing

-The pages are numbered throughout, from the title page

-The references conform to the Publication Manual of the American

Tim Sheinman- Masters Dissertation 2013

Interviews, lasting between 30-45 minutes, adopted an unstructured, but thematically

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

The literature on group leadership

The lead instrument

Tim Sheinman- Masters Dissertation 2013

The instrumental hierarchy

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Leadership style shapes whole group dynamics

Young and Colemans paper (1979) hypothesizing researchable psychological processes

Tim Sheinman- Masters Dissertation 2013

Superior communication and experience aids group fluidity.

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Fig.1 Belbins 9 Role Types

Tim Sheinman- Masters Dissertation 2013

Application in Kings Study (2006)

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Rather than a semi-structured interview, this study utilised an unstructured interview

Tim Sheinman- Masters Dissertation 2013

Fig.3 Interview Guide

- How do you contribute to the songwriting in the band?

- Do you see yourself as having a diplomatic role?

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

i. The relationship between leadership style and roles taken in bands

Tim Sheinman- Masters Dissertation 2013

Findings: Integrative Analysis

1. The Songwriters of each group are often the leaders.

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

Tim Sheinman- Masters Dissertation 2013

2. Autocratic leaders often take on many different roles

Tim Sheinman- Masters Dissertation 2013

If I delegated to them, it would be unfair to them, because on an outside level I would

3. There is limited participation of non-leading musicians in autocratic groups.

Tim Sheinman- Masters Dissertation 2013

Interviewer: What sort of thing are they trying?

Tim Sheinman- Masters Dissertation 2013

Additionally, a lack of professional involvement for musicians could prove frustrating as

Tim Sheinman- Masters Dissertation 2013

4. Bands with greater democracy have a more even sharing of roles

Tim Sheinman- Masters Dissertation 2013

The singer in Band 3 speaking to the guitarist;

The guitarist said, when asked if someone in particular handled administration;