...There are quite a few other techniques that I would broadly lump broadly into this category. Each could have their own essay, and some already do. Here are a few examples:

• Knowing when to stop and fix something.

• Knowing how to prioritize between competing priorities.

• Knowing when to move on from a passage.

• Knowing when practicing under- or at-tempo would be (in)effective....

"these differences are equally plain, yet only to those who have been initiated by practical work."

Simon Rattle rehearses the choir and orchestra of the Bavarian Radio Symphony Orchestra as they get ready for a performance of Haydn’s Creation. This brief clip demonstrates rehearsal instructions centered choral diction around a brief passage in Haydn’s Creation. The frequent stopping and starting indicates rare high-quality footage of a professional organization engaged in a true detail rehearsal, not merely a dress rehearsal run-through.

A list of some of the music sites and sources I read.

"And being a role model means that there are going to be members of your family, people who live in your neighborhood, your classmates who watch you, and say, 'Oh! That's how it's done!'"

Edmondson gives four characteristics of an Intelligent Failure

1. The failure takes place in a novel situation.

2. The context “presents a credible opportunity to advance toward a desired goal.”

3. Due dilligence (practice, preparation, research, deliberate process, etc.) is undertaken….

…while removing context can cut away the unimportant, it also runs the risk of cutting away the glue that holds the music together in the first place.

“….taking the elevator down another level.”

“Pearson has managed a feat here by succinctly building on Klein’s earlier definition but expanding it to include a range of conscious activity that can be performed on and around the unconscious activity. Malcolm Gladwell famously called our subconscious ‘the locked door,’ but on Pearson’s account, there might be a few ways to slide some paper under the door, or to put an ear to the door for some helpful signals.”

…This is the type of practical analysis that interests me: the kind that aims squarely at enhancing the performer’s ability to consistently perform a desired shape. Tabuteau accomplishes this by first asking the performer to extending her mind - “offloading” musical thoughts onto the score for safekeeping. But it isn’t merely a way to store information; it is also a way to refine our musical thinking in the first place.

…With this view of the classroom came other ideas: that students are empty vessels to be filled; that students just need to sit still in order to learn…. However, even as the Wachowskis were writing, selling, and filming The Matrix, the first stirrings of a new milieu around human cognition and music education… these new ideas portrayed students… as capable (en)actors and co-creators of knowledge and skill…

According to Preston Smith (no relation), the core aspects of comedy improv include:

1. Listen – As simple as this seems, it is probably one of the most difficult skills to master. Listening will free you from having to think of what you are going to say a head of time.

2. Agreement (Yes, And…) – Assuming you have listened, you will be able to agree with what was said AND add information. Agreement is what allows a scene to progress!

3. Team Work (Group Mind) – Improv is a vast mechanism of give and take and support. The group mind is greater then the individual.

… students can get a diploma in music from a reputable institution without ever receiving any training in rehearsal technique…. It’s just not a thing.

It is for the conductor to decide, but how can a conductor know? Some of this boils down to expertise, having a plan, and having an easy-to-read clock to help stay on the plan. That said, it’s helpful to have some idea of what the norms look like, perhaps with a heuristic or model or guidepost.

“Don't criticize. If a thing is wrong and you don't know exactly how to set it right, say nothing.”

— [George] Bernard Shaw - The Art of Rehearsal

. There are at least three categories of activity to think through on paper when aiming at professional reflection:

1. What worked/didn’t work this time?

2. What should we work on next rehearsal/class?

3. What should I work on in the meantime to improve my rehearsal technique/teaching?

“No, it’s not a record,” not really. It’s working. You have to work on paper and this is the paper. Okay?”

— Richard Feynman

"The above ideas were hot research topics and were much debated in the late 1980s and early 1990s. Now they seem to be commonly accepted as truisms."

I have always appreciated Kyle Gann’s website for its resources for Florence Price’s Symphony No. 3. Recently, I took time to investigate some of the other resources he freely provides, including his own compositions, as well as links to his many books and albums. Among the resources on the site is a terrific “Chronology of the Symphony: 1730-2019,” listing years and major symphonies composed and/or premiered that year.