Abstract
AbstractThis article traces the creative process of six to five, a work for 20 guitarists with a special role for the conductor, premiered by the Royal Conservatoire of Antwerp's guitar ensemble. The piece was commissioned by the author from the American composer Jessie Marino as part of research into the role of the instrumentalised conductor. The article explores the ways in which Marino deployed the conductor to meet her artistic goals, testing at each step the extent to which her utilisation rises to the level of instrumentalisation. Applying political theories offered by, among others, Michael Hardt and Antonio Negri, the article also considers the extent to which Marino deployed the conductor as a tactical leader in both the rehearsal process and the performance of six to five.
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