{"id":{"repo_id":"dialnet","oai_identifier":"oai:dialnet.unirioja.es:TES0000023231"},"canonical_url":"https://search.dev.ndltd.org/etd/dialnet/oai:dialnet.unirioja.es:TES0000023231","repository":{"repo_id":"dialnet","name":"Dialnet","base_url":"https://dialnet.unirioja.es/oaites/OAIHandler"},"display":{"title":"Liderazgo bien temperado: Mecanismos de influencia entre director invitado y músicos en la orquesta sinfónica","abstract":"The aim of this doctoral thesis is to analyze the leadership of guest conductors in their work with musicians in symphony orchestras. To address this issue, the research starts from the observation of a double gap: on the one hand, the scarcity of musicological studies that analyze conducting beyond aspects of pure gestural technique or the myth of the “charismatic maestro”; on the other hand, the absence of empirical models in organizational psychology that consider the specificity of the artistic context. In view of these shortcomings, an interdisciplinary approach is proposed that understands orchestral conducting as a process of collective construction of musical meaning, where leadership is exercised through mechanisms of symbolic, emotional, and aesthetic influence. The research focuses on the figure of the guest conductor, who exercises a type of ephemeral leadership characterized by his or her temporarily restricted interaction with the orchestra and the need to generate credibility and cohesion in a limited rehearsal time. The thesis analyzes the stages and mechanisms that characterize this guest conductor-musicians relationship, which is forged within a complex context of interaction and mutual relationships of influence. It also discusses the fundamental characteristics that define leadership in this scenario and potentially determine a positive experience for both the conductor and the orchestra, resulting in high-quality sound. The theoretical framework of the thesis is based on the Transformational Leadership model, which describes leadership as a relationship of shared growth, articulated around four dimensions: influence through idealization, inspirational motivation, individualized attention, and intellectual stimulation. Methodologically, the research adopts Grounded Constructivist Theory, which allows theoretical models to be induced from the iterative interpretation of data. Data collection was carried out in the context of the work of the Spanish National Orchestra, through semi-structured interviews with ten guest conductors, observation of rehearsals, and the organization of a focus group with a sample of musicians from that institution. The comparative analysis of these sources allowed for the identification of patterns of interaction, leadership styles, and perceptions of artistic effectiveness by both groups. The results show that the interaction between guest conductor and musicians is based on a dialectical relationship, marked by sources of antagonism that generate permanent tension between individual control and collective resistance. To address this dialectic, the analysis finds evidence of transformational leadership behaviors on the part of the conductors, which are in turn positively valued by the musicians. Thus, the best-perceived conductors are those who, in addition to technically mastering the works and gestural aspects, communicate a clear interpretive vision and value the expressive autonomy of the musicians in the orchestral performance during rehearsals, which thus become spaces for collective growth. Effective leadership is also manifested in the impression management that the conductor makes on the musicians, in his attentive listening and in his sensitivity to the microdynamics of the group, which are also part of the style marked by transformational leadership. In conclusion, the new perspective provided by this interdisciplinary research extends our current knowledge of the role of the guest conductor, discussing their work as a practice of artistic leadership that aims not only to achieve excellence in the musical result of concerts, but also to contribute value in terms of professional growth for the musicians with whom they work at any given time.","abstract_html":"The aim of this doctoral thesis is to analyze the leadership of guest conductors in their work with musicians in symphony orchestras. To address this issue, the research starts from the observation of a double gap: on the one hand, the scarcity of musicological studies that analyze conducting beyond aspects of pure gestural technique or the myth of the “charismatic maestro”; on the other hand, the absence of empirical models in organizational psychology that consider the specificity of the artistic context. In view of these shortcomings, an interdisciplinary approach is proposed that understands orchestral conducting as a process of collective construction of musical meaning, where leadership is exercised through mechanisms of symbolic, emotional, and aesthetic influence. The research focuses on the figure of the guest conductor, who exercises a type of ephemeral leadership characterized by his or her temporarily restricted interaction with the orchestra and the need to generate credibility and cohesion in a limited rehearsal time. The thesis analyzes the stages and mechanisms that characterize this guest conductor-musicians relationship, which is forged within a complex context of interaction and mutual relationships of influence. It also discusses the fundamental characteristics that define leadership in this scenario and potentially determine a positive experience for both the conductor and the orchestra, resulting in high-quality sound. The theoretical framework of the thesis is based on the Transformational Leadership model, which describes leadership as a relationship of shared growth, articulated around four dimensions: influence through idealization, inspirational motivation, individualized attention, and intellectual stimulation. Methodologically, the research adopts Grounded Constructivist Theory, which allows theoretical models to be induced from the iterative interpretation of data. Data collection was carried out in the context of the work of the Spanish National Orchestra, through semi-structured interviews with ten guest conductors, observation of rehearsals, and the organization of a focus group with a sample of musicians from that institution. The comparative analysis of these sources allowed for the identification of patterns of interaction, leadership styles, and perceptions of artistic effectiveness by both groups. The results show that the interaction between guest conductor and musicians is based on a dialectical relationship, marked by sources of antagonism that generate permanent tension between individual control and collective resistance. To address this dialectic, the analysis finds evidence of transformational leadership behaviors on the part of the conductors, which are in turn positively valued by the musicians. Thus, the best-perceived conductors are those who, in addition to technically mastering the works and gestural aspects, communicate a clear interpretive vision and value the expressive autonomy of the musicians in the orchestral performance during rehearsals, which thus become spaces for collective growth. Effective leadership is also manifested in the impression management that the conductor makes on the musicians, in his attentive listening and in his sensitivity to the microdynamics of the group, which are also part of the style marked by transformational leadership. In conclusion, the new perspective provided by this interdisciplinary research extends our current knowledge of the role of the guest conductor, discussing their work as a practice of artistic leadership that aims not only to achieve excellence in the musical result of concerts, but also to contribute value in terms of professional growth for the musicians with whom they work at any given time.","abstract_has_math":false,"creators":["Simón Cordero, Cristina"],"institution":"Universidad de La Rioja (España)","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Rodríguez Fernández, Pablo L. (null)"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2026,"date_issued":"2026","date_published":"2026","updated_at":"2026-07-24T06:27:11Z","subjects":[],"languages":["spa"],"rights":["LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://dialnet.unirioja.es/servlet/oaites?codigo=399606","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Rodríguez Fernández, Pablo L. 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Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://dialnet.unirioja.es/servlet/oaites?codigo=399606"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The aim of this doctoral thesis is to analyze the leadership of guest conductors in their work with musicians in symphony orchestras. To address this issue, the research starts from the observation of a double gap: on the one hand, the scarcity of musicological studies that analyze conducting beyond aspects of pure gestural technique or the myth of the “charismatic maestro”; on the other hand, the absence of empirical models in organizational psychology that consider the specificity of the artistic context. In view of these shortcomings, an interdisciplinary approach is proposed that understands orchestral conducting as a process of collective construction of musical meaning, where leadership is exercised through mechanisms of symbolic, emotional, and aesthetic influence. The research focuses on the figure of the guest conductor, who exercises a type of ephemeral leadership characterized by his or her temporarily restricted interaction with the orchestra and the need to generate credibility and cohesion in a limited rehearsal time. The thesis analyzes the stages and mechanisms that characterize this guest conductor-musicians relationship, which is forged within a complex context of interaction and mutual relationships of influence. It also discusses the fundamental characteristics that define leadership in this scenario and potentially determine a positive experience for both the conductor and the orchestra, resulting in high-quality sound. The theoretical framework of the thesis is based on the Transformational Leadership model, which describes leadership as a relationship of shared growth, articulated around four dimensions: influence through idealization, inspirational motivation, individualized attention, and intellectual stimulation. Methodologically, the research adopts Grounded Constructivist Theory, which allows theoretical models to be induced from the iterative interpretation of data. Data collection was carried out in the context of the work of the Spanish National Orchestra, through semi-structured interviews with ten guest conductors, observation of rehearsals, and the organization of a focus group with a sample of musicians from that institution. The comparative analysis of these sources allowed for the identification of patterns of interaction, leadership styles, and perceptions of artistic effectiveness by both groups. The results show that the interaction between guest conductor and musicians is based on a dialectical relationship, marked by sources of antagonism that generate permanent tension between individual control and collective resistance. To address this dialectic, the analysis finds evidence of transformational leadership behaviors on the part of the conductors, which are in turn positively valued by the musicians. Thus, the best-perceived conductors are those who, in addition to technically mastering the works and gestural aspects, communicate a clear interpretive vision and value the expressive autonomy of the musicians in the orchestral performance during rehearsals, which thus become spaces for collective growth. Effective leadership is also manifested in the impression management that the conductor makes on the musicians, in his attentive listening and in his sensitivity to the microdynamics of the group, which are also part of the style marked by transformational leadership. In conclusion, the new perspective provided by this interdisciplinary research extends our current knowledge of the role of the guest conductor, discussing their work as a practice of artistic leadership that aims not only to achieve excellence in the musical result of concerts, but also to contribute value in terms of professional growth for the musicians with whom they work at any given time.","La presente tesis doctoral tiene como objetivo analizar el liderazgo de los directores invitados en su trabajo con los músicos en las orquestas sinfónicas. Para abordar esta cuestión, la investigación parte de la constatación de una doble laguna: por un lado, la escasez de estudios musicológicos que analicen la dirección más allá de aspectos de pura técnica gestual o de la mítica del “maestro carismático”; por otro, la ausencia de modelos empíricos en la psicología de organizaciones que contemplen la especificidad del contexto artístico. Frente a estas carencias, se propone un enfoque interdisciplinar que concibe la dirección de orquesta como un proceso de construcción colectiva de significado musical, donde el liderazgo se ejerce mediante mecanismos de influencia simbólica, emocional y estética. La investigación se centra en la figura del director invitado, que ejerce un tipo de liderazgo efímero caracterizado por su interacción temporalmente restringida con la orquesta y la necesidad de generar credibilidad y cohesión en un tiempo limitado de ensayos. La tesis analiza qué etapas y mecanismos caracterizan esta relación director invitado-músicos, que se fragua dentro de un complejo contexto de interacción y relaciones mutuas de influencia. Asimismo, discute las características fundamentales que definen el liderazgo en este escenario y potencialmente determinan que se produzca una experiencia positiva, tanto para el director como para la orquesta, que se traduzca en un resultado sonoro de calidad. El marco teórico de la tesis se basa en el modelo de Liderazgo Transformacional, que describe el liderazgo como una relación de crecimiento compartido, articulada en torno a cuatro dimensiones: influencia por idealización, motivación inspiradora, atención individualizada y estimulación intelectual. Metodológicamente, la investigación adopta la Teoría Fundamentada Constructivista, que permite inducir modelos teóricos a partir de la interpretación iterativa de los datos. La recogida de datos se realizó en el contexto del trabajo de la Orquesta Nacional de España, a través de entrevistas semiestructuradas a diez directores invitados, observación de ensayos y la organización de un grupo focal con una muestra de músicos de dicha institución. El análisis comparativo de estas fuentes permitió identificar patrones de interacción, estilos de liderazgo y percepciones de eficacia artística por parte de ambos grupos. Los resultados muestran que la interacción entre director invitado y músicos parte de una relación dialéctica, marcada por unas fuentes de antagonismo que generan una permanente tensión entre control individual y resistencia colectiva. Para hacer frente a esta dialéctica, el análisis encuentra evidencias de comportamientos propios de liderazgo transformacional por parte de los directores, que son a su vez valorados positivamente por los músicos. Así, los directores mejor percibidos son aquellos que, además de dominar técnicamente las obras y los aspectos gestuales, comunican una visión interpretativa clara y valoran la autonomía expresiva de los músicos en la ejecución orquestal durante los ensayos, que se convierten así en espacios de crecimiento colectivo. El liderazgo eficaz se manifiesta asimismo en la gestión de la impresión inmediata que el director genera en los músicos, en su escucha atenta y en la sensibilidad hacia las microdinámicas del grupo, que también forman parte del estilo marcado por el liderazgo transformacional. En conclusión, la nueva mirada que aporta esta investigación interdisciplinar extiende nuestro conocimiento actual sobre el rol del director invitado, discutiendo su labor como una práctica de liderazgo artístico que tiene como objetivo, además de la excelencia en el resultado musical en los conciertos, la aportación de valor en términos de crecimiento profesional para los músicos con los que trabaja en cada momento."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Liderazgo bien temperado: Mecanismos de influencia entre director invitado y músicos en la orquesta sinfónica"]}]}],"canonical_facts":{"dc:contributor":["Rodríguez Fernández, Pablo L. (null)"],"dc:creator":["Simón Cordero, Cristina"],"dc:date":["2026"],"dc:description":["The aim of this doctoral thesis is to analyze the leadership of guest conductors in their work with musicians in symphony orchestras. To address this issue, the research starts from the observation of a double gap: on the one hand, the scarcity of musicological studies that analyze conducting beyond aspects of pure gestural technique or the myth of the “charismatic maestro”; on the other hand, the absence of empirical models in organizational psychology that consider the specificity of the artistic context. In view of these shortcomings, an interdisciplinary approach is proposed that understands orchestral conducting as a process of collective construction of musical meaning, where leadership is exercised through mechanisms of symbolic, emotional, and aesthetic influence. The research focuses on the figure of the guest conductor, who exercises a type of ephemeral leadership characterized by his or her temporarily restricted interaction with the orchestra and the need to generate credibility and cohesion in a limited rehearsal time. The thesis analyzes the stages and mechanisms that characterize this guest conductor-musicians relationship, which is forged within a complex context of interaction and mutual relationships of influence. It also discusses the fundamental characteristics that define leadership in this scenario and potentially determine a positive experience for both the conductor and the orchestra, resulting in high-quality sound. The theoretical framework of the thesis is based on the Transformational Leadership model, which describes leadership as a relationship of shared growth, articulated around four dimensions: influence through idealization, inspirational motivation, individualized attention, and intellectual stimulation. Methodologically, the research adopts Grounded Constructivist Theory, which allows theoretical models to be induced from the iterative interpretation of data. Data collection was carried out in the context of the work of the Spanish National Orchestra, through semi-structured interviews with ten guest conductors, observation of rehearsals, and the organization of a focus group with a sample of musicians from that institution. The comparative analysis of these sources allowed for the identification of patterns of interaction, leadership styles, and perceptions of artistic effectiveness by both groups. The results show that the interaction between guest conductor and musicians is based on a dialectical relationship, marked by sources of antagonism that generate permanent tension between individual control and collective resistance. To address this dialectic, the analysis finds evidence of transformational leadership behaviors on the part of the conductors, which are in turn positively valued by the musicians. Thus, the best-perceived conductors are those who, in addition to technically mastering the works and gestural aspects, communicate a clear interpretive vision and value the expressive autonomy of the musicians in the orchestral performance during rehearsals, which thus become spaces for collective growth. Effective leadership is also manifested in the impression management that the conductor makes on the musicians, in his attentive listening and in his sensitivity to the microdynamics of the group, which are also part of the style marked by transformational leadership. In conclusion, the new perspective provided by this interdisciplinary research extends our current knowledge of the role of the guest conductor, discussing their work as a practice of artistic leadership that aims not only to achieve excellence in the musical result of concerts, but also to contribute value in terms of professional growth for the musicians with whom they work at any given time.","La presente tesis doctoral tiene como objetivo analizar el liderazgo de los directores invitados en su trabajo con los músicos en las orquestas sinfónicas. Para abordar esta cuestión, la investigación parte de la constatación de una doble laguna: por un lado, la escasez de estudios musicológicos que analicen la dirección más allá de aspectos de pura técnica gestual o de la mítica del “maestro carismático”; por otro, la ausencia de modelos empíricos en la psicología de organizaciones que contemplen la especificidad del contexto artístico. Frente a estas carencias, se propone un enfoque interdisciplinar que concibe la dirección de orquesta como un proceso de construcción colectiva de significado musical, donde el liderazgo se ejerce mediante mecanismos de influencia simbólica, emocional y estética. La investigación se centra en la figura del director invitado, que ejerce un tipo de liderazgo efímero caracterizado por su interacción temporalmente restringida con la orquesta y la necesidad de generar credibilidad y cohesión en un tiempo limitado de ensayos. La tesis analiza qué etapas y mecanismos caracterizan esta relación director invitado-músicos, que se fragua dentro de un complejo contexto de interacción y relaciones mutuas de influencia. Asimismo, discute las características fundamentales que definen el liderazgo en este escenario y potencialmente determinan que se produzca una experiencia positiva, tanto para el director como para la orquesta, que se traduzca en un resultado sonoro de calidad. El marco teórico de la tesis se basa en el modelo de Liderazgo Transformacional, que describe el liderazgo como una relación de crecimiento compartido, articulada en torno a cuatro dimensiones: influencia por idealización, motivación inspiradora, atención individualizada y estimulación intelectual. Metodológicamente, la investigación adopta la Teoría Fundamentada Constructivista, que permite inducir modelos teóricos a partir de la interpretación iterativa de los datos. La recogida de datos se realizó en el contexto del trabajo de la Orquesta Nacional de España, a través de entrevistas semiestructuradas a diez directores invitados, observación de ensayos y la organización de un grupo focal con una muestra de músicos de dicha institución. El análisis comparativo de estas fuentes permitió identificar patrones de interacción, estilos de liderazgo y percepciones de eficacia artística por parte de ambos grupos. Los resultados muestran que la interacción entre director invitado y músicos parte de una relación dialéctica, marcada por unas fuentes de antagonismo que generan una permanente tensión entre control individual y resistencia colectiva. Para hacer frente a esta dialéctica, el análisis encuentra evidencias de comportamientos propios de liderazgo transformacional por parte de los directores, que son a su vez valorados positivamente por los músicos. Así, los directores mejor percibidos son aquellos que, además de dominar técnicamente las obras y los aspectos gestuales, comunican una visión interpretativa clara y valoran la autonomía expresiva de los músicos en la ejecución orquestal durante los ensayos, que se convierten así en espacios de crecimiento colectivo. El liderazgo eficaz se manifiesta asimismo en la gestión de la impresión inmediata que el director genera en los músicos, en su escucha atenta y en la sensibilidad hacia las microdinámicas del grupo, que también forman parte del estilo marcado por el liderazgo transformacional. En conclusión, la nueva mirada que aporta esta investigación interdisciplinar extiende nuestro conocimiento actual sobre el rol del director invitado, discutiendo su labor como una práctica de liderazgo artístico que tiene como objetivo, además de la excelencia en el resultado musical en los conciertos, la aportación de valor en términos de crecimiento profesional para los músicos con los que trabaja en cada momento."],"dc:format":["application/pdf"],"dc:identifier":["https://dialnet.unirioja.es/servlet/oaites?codigo=399606"],"dc:language":["spa"],"dc:publisher":["Universidad de La Rioja (España)"],"dc:rights":["LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI"],"dc:title":["Liderazgo bien temperado: Mecanismos de influencia entre director invitado y músicos en la orquesta sinfónica"],"dc:type":["text (thesis)"]},"updated_at":"2026-07-24T06:27:11Z"}