Wind orchestra conducting student: “I wish the role of military bands as musical national defence was more widely recognised”
Read an interview with Soila Takanen, who is about to graduate as a military conductor.
How did you discover wind instruments and military music?
I originally graduated as a music teacher from Jyväskylä in 2016 and played in the university wind orchestra, Puhkupillit. Even before that, I had played in the local band in my hometown of Kuortane, and wind music came to me almost as a family tradition. During my time with Puhkupillit, I got the opportunity to try conducting, and it felt natural and rewarding.
The idea of conducting a wind orchestra was solidified when I completed voluntary military service in the Conscript Band of the Finnish Defence Forces. There, I received encouragement and experience in actual conducting training. I was accepted into the Sibelius Academy in 2022, and having served in the military, choosing the military conducting path felt like the obvious route – especially since there are currently, and soon will be, open positions in military bands due to retirements. It provided a clear professional direction.
Collaboration with professional orchestras has been central to my studies, and visiting military bands gives a valuable view of the working field. Compared to other conducting roles, military conducting includes more administrative duties. Our education also includes specific courses related to Defence Forces leadership and military music officer responsibilities, which we complete at the National Defence University. To be accepted into the military conducting programme, students must have completed military service and pass both the Sibelius Academy entrance exams and the Defence Forces’ aptitude tests.
What does your degree consist of?
A constant element of our studies is the training orchestra – the “kapubändi” – which we work with mainly on Monday and Tuesday evenings. Lecturer Petri Komulainen holds preparatory sessions where we delve deeper into the repertoire. Petri is excellent at teaching conducting technique.
Of course, we also have instrumental lessons. My main instrument is the tuba, and my secondary is percussion. We also take score reading classes. Otherwise, in the master’s phase, we have quite a lot of freedom in choosing our studies.
I’ve considered myself a fairly visual learner. Here I’ve realised that photographic memory alone isn’t enough – conducting is highly physical. Through performance coaching and Feldenkrais classes, I’ve become more familiar with my primary instrument: my own body, hands, and facial expression. Score reading is like a brain teaser, especially in wind orchestras, where you deal with transposing instruments
We also have “exchange weeks” during which teachers from choral and orchestral conducting swap classes. Having a different teacher often inspires you to experiment and can reveal new perspectives on your development.
Here, you really have to think carefully about what you want. I’ve found the conducting studies more personal than teacher training.
What is the wind orchestra conducting class like?
The group is small and tight-knit. That way, everyone gets ample time in front of the orchestra – which is the most important thing. I think we have a great atmosphere. There’s no fear of judgement; instead, we support and discuss openly. We also give each other space. A healthy discussion culture is crucial, so no energy is wasted on worrying about what others think.
What are your career plans after graduation?
I will be employed by one of the Defence Forces’ military bands, but I don’t yet know which one. I’m open to all possibilities – one must be ready to move anywhere from Rovaniemi to Turku. Usually, the “starting post” is with the Conscript Band. The great thing there is meeting young people, and my pedagogical skills and teacher training are especially useful. A conductor isn’t a teacher, but the same group dynamics often apply.
I will be the second female military conductor to graduate from the Sibelius Academy, after Music Captain Aino Koskela. I understand that women in this field are still somewhat of a novelty. On the other hand, women doing voluntary service in the Conscript Band is fairly established, though the numbers vary. Women have been working as musicians in military bands for some time now, and more female conductors are coming. I want to show by example that this career path in music is possible.
I believe my strengths are in social skills and connecting with musicians, which I consider essential – instruments don’t play themselves, it’s the musician behind them. I’ve also received praise for the clarity of my conducting gestures. It’s vital to recognise what the music demands: as a conductor, I must bring that out of the orchestra so the audience hears it too. At the same time, efficiency is key: rehearsal time is valuable and shouldn’t be wasted. One must always identify what efficiency means in any given situation.
What does the Finnish wind orchestra and military band field look like today?
As a board member of the Finnish Wind Band Association, I’ve thought a lot about this. Wind bands used to exist in nearly every municipality. Some areas still have excellent models that we’re trying to highlight and share more widely. As conductors, we’ll often work with amateur ensembles and act as educators as well. Recruiting new players is a common challenge in the wind music world. Coming from a small town, I understand how significant a band performance can be. That meaning shouldn’t be forgotten. We need cooperation and the courage to be visible.
t’s also vital to reinforce the role of military bands as the Defence Forces’ “musical calling card” at events and ceremonies. I hope their contribution to musical national defence is recognised: we are visible and foster positive spirit through music. Military bands also offer creative opportunities for composers, for example through premieres and commissioned works.
What advice would you give to someone interested in becoming a military conductor?
The application process itself is already a valuable learning experience. Listen to yourself: is this the right moment to apply? What matters most is being authentic. The entrance exams look for potential and trainability—you don’t need to be fully formed..
My first year was mostly about adapting to a new city, big changes, and personal challenges. In such a situation, it’s easy to fall into the illusion that everything must fall into place immediately. You have to give yourself time: the process is constantly ongoing, and your brain is working even subconsciously. It’s good to remind yourself of how far you’ve come.
Ultimately, being a conductor can be a lonely profession. You need to be able to get along with everyone – that’s a given – but it’s hard to prepare in advance for social dynamics. Our studies don’t focus heavily on leadership or managerial skills; that training mostly comes from the Defence Forces. Although human resource management isn’t a core part of the music curriculum, I find people skills very important. Also, the hierarchy in the Defence Forces is unique. I think a lot about how I can apply my pedagogical skills in my future work environment.
It’s vital for students to take care of their wellbeing. The right balance between rest and practice is personal. I’ve tried to slow down a bit: you don’t need to rush everywhere. Being outside helps, and reducing phone use makes a difference too. For me, visiting flea markets is a way to unwind – no need to think about music. I enjoy listening to radio shows or audiobooks to get new ideas.