Running Head: Leadership Interview

Leadership Interview with Anthony Tony DiGrazia

Caitlin Leffingwell
Eastern University

LEADERSHIP INTERVIEW

Abstract
In order to better understand how leadership theories and approaches can be practiced in
concrete and effective ways, I interviewed Anthony Tony DiGraziaa retired music director
from the Department of Higher Educationregarding his role in launching an instrumental
music program in the elementary schools of Bloomfield, Connecticut. This paper begins with an
overview of this interview, which fell into three parts: a description of Tonys specific leadership
role in Bloomfield, an explanation of what experiences and people influenced that role, and
finally his thoughts on leadership in general. The paper then concludes with an analysis of how
his highly effective leadership relates to the various concepts that we have discussed thus far in
classprimarily the trait approach, skill approach, and transformational and charismatic
leadership theories. In doing so, I have gratefully discovered not only a deeper understanding of
leadership in practice, but also a valuable resource and supportive mentor.
Introduction
Just before Christmas last year, I received an unexpected email from someone named
Anthony DiGrazia, who claimed to be a methods instructor searching for someone to teach
Suzuki violin for Connecticuts Alternate Route to Certification (ARC) Program. Upon googling
him, as is my precautionary approach with anyone emailing about their search for a violin
instructor, I found his claim to be quite true. Furthermore, I discovered an inspirational article in
the Hartford Courant that told of his pivotal post-retirement role in launching a music program in
Bloomfielda town bordering the North End neighborhood in Hartford where I am currently
trying to launch a strings program (Goode, 2005). Thoroughly intrigued, I accepted the position
without further hesitation and eagerly set up a time to discuss exactly what it might entail. The
logistical part of that discussion lasted for about 15 minutes. The ensuing conversation about his
background and experience running successful music programs throughout Connecticut lasted

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for about an hour. As a candid Sicilian veteran with equal amounts dynamic personality, hardearned wisdom, and musical talent, Tony graciously answered my unending questions with such
a flood of relevant insights that I eagerly sought his help when tasked with this assignmenta
choice that ultimately provided even more leadership insights than I ever could have imagined.
Interview
Tony kindly accepted my interview request after learning more about the assignment
requirements, and we met in the ARC methods classroom in March to dive deeper into his
specific work launching the Bloomfield music program, the factors leading up to and influencing
that position, and his view on leadership overall. I conducted the interview as an informal
conversation guided by the questions that can be found in Appendix A, and it lasted for
approximately an hour before we then began talking about the upcoming Suzuki classes.
Leadership Role: When asked to expound upon his leadership role in Bloomfield, Tony
began by describing many of the logistics involved in launching this urban instrumental music
program from scratch. Bloomfields director of performing arts, Dr. Joseph Olzacki, had
personally invited himdespite just retiring after a very successful stint as music director in an
affluent neighboring townto launch a band program in the towns three elementary schools
with the hopes of developing a feeder program for the towns struggling high school music
programs. In part because his daughter also worked in the district as a music teacher, Tony
accepted the job and quickly got to work. Since the program would be offered starting in fourth
grade, Tony went to every third grade class to interview students and demonstrate the various
instruments using all sorts of lively, interactive strategies. He emphasized the less popular
instruments to boost interest but ultimately signed almost every student up for an instrument
based on preference and fit.

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After sending letters to parents regarding the basics of renting and other policies, he then
spent the first few weeks of school simply volunteering for lunch duty, buying breakfast for kids,
and generally letting everyone settle into the school routine as he began building relationships
with staff and students. After this period, he approached teachers to determine suitable lesson
times and began meeting with students in homogeneous small groupsfirst in the early hours
before school, then during specials, and finally during classes as teachers began allowing it. In
just a few short months, virtually all of these beginning students were ready to play Christmas
musica success rate that continued to grow throughout his many years in the position.
When asked what he thought were some of the key components in this success, Tony
emphatically replied, Because Im d*** good at my job. When asked exactly what that meant,
he began by explaining that he focuses on expediency by not wasting any time in getting
students to play their instruments. He also referenced the importance of protecting his students,
mastering his instruments, developing people skills, giving kids a chance to talk, and emanating
the desire and energy needed to motivate others. A full list of these insights, which he compiled
over years of teaching, can be found in Appendix B and range from logistical recommendations
(accomplish basics early in the year) to character requirements (dont whine and dont take
bribes). Despite the fact that this environment entailed working with primarily black students
from low-socioeconomic backgrounds and differed sharply from his previous work in an affluent
white school district, he expressed that his approach was not for everybody but gave him a
reputation for success in any setting because I know what to do, and Im good at it. Thats why
people call me.
Leadership Influences: The road to this successful music program began for Tony in his
hometown of Patterson, New Jersey, where his cousin Johnnyhimself a musicianfirst bought
Tony an alto saxophone so that the two could play gigs together. In addition to mimicking his

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cousins style, Tony began taking $2 lessons from a talented local musician named Abe Smith
his first and only real music teacherup until entering the Marine Corps soon after graduating
high school. Although his dad had wanted him to be a pig farmer, Tony soon joined the Marine
Band and honed his skills on multiple instruments during daily rehearsals over the next five
years. Despite the fact that he could not afford to perform like the guys I listened to, he took
Marine college courses and eventually earned his degree in music by what he deemed to be
sheer work ethic. With the kind of dogged focus that helped him essentially memorize an
entire music history textbook, he eventually ended up accepting a series of jobs in New England
that secured his reputation for running high-performing and well-organized band programsa
reputation that eventually earned Dr. Olzakis invitation to start the Bloomfield program.
Leadership Insights: After asking Tony to elaborate on this specific example of
leadership and the people and events that influenced his journey there, I asked him to explain his
general approach to leadership in urban contexts. Without much hesitation, he stated that a leader
is someone who is not afraid to take chancessomeone aware of potential consequences but
experienced and brave enough to step into the unknown and navigate it safely. He included that a
leader is concerned about other people, knowledgeable on his subject matter, good at his job, and
energetic. Initially including the importance of being reasonably well-spoken as well, Tony
nonetheless also told of an uncharismatic commander who could barely communicate but knew
his stuff so well that Tony would have followed him anywhere. Similarly, he emphasized the
importance of honesty but mentioned that leaders should also be willing to fudge a little if in
the best interest of those involved.
Analysis
Learning about Tonys approach to leadership in establishing the Bloomfield music
program brought to mind many of the leadership concepts that we have discussed in class, but

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his powerful personality and the inherently self-focused nature of interviews led most naturally
to an analysis rooted more in leader-centered theories than the situational or relational theories
like servant leadership, whole systems leadership, or the partnership model. Rather than
revolving around an explorative, nurturing sense of group growth, Tonys leadership seemed to
stem more from a confident and authoritative sense of direction that guided his vision to teach
[and] coachstudents not music. As such, the following sections briefly analyze how his
leadership in Bloomfield aligned most clearly with the trait approach, skill approach, and
transformational and charismatic leadership.
Trait Approach: Although Northouse (2013) remarks that modern research considers
theories revolving solely around intrinsic leadership characteristics less relevant than those that
take into account the contextual relationship between people in a social situation (p.19), the
trait approach nonetheless bolsters our understanding of leadership by providing an extended
list of traits that individuals might hope to possess or wish to cultivate if they want to be
perceived by others as leaders (p.23). Both in launching the Bloomfield program and even in
our interview, Tony consciously exhibited a majority of these traits. Intelligence, determination,
and integrity characterized his journey through the Marines and music school, while his
sociability and extraversion clearly led an impressive number of students and staff to support the
music programa task greatly aided by the emotional intelligence that stemmed from his
combination of social skill, self-awareness, and motivation (Northouse, 2013, pp.23-26;
Goleman 1998). His most striking leadership trait, however, was an abundance of selfconfidence, which proved to be something of a theme throughout the interview as he repeatedly
attributed success to his knack for running quality music programs. Ultimately, the fact that his
followers associated him with traits connected with leadership helped Tony successfully launch
this program even in a very different context than prior experiences (Northouse, 2013, p.27).

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Skill Approach: While the trait approach focuses on the internal qualities of a leader, the
equally leader-centered skill approach focuses on external skills and abilities that can be learned
and developed (p.43), which suggests that leadership stems from the ability to use ones
knowledge and competencies to accomplish a set of goals or objectives (Northouse, 2013,
p.44). In this sense, Tonys confident emphasis on competence and repeated assertion that he
knows his stuff alluded to the fact that he views skill as the foundation of leadership; he knew
that his musical and organizational mastery gave him a sort of expert power that, especially
when combined with copious amounts of legitimate and referent power, helped him quickly
launch and sustain a quality music program (Hower, 2005, p.115). Similarly, Mumfords skillbased model involves competencies (problem-solving skills, social judgment skills, and
knowledge) and individual attributes (general cognitive ability, crystalized cognitive ability,
motivation, and personality) that Tony exhibited in abundance, which also help to explain his
impressive leadership outcomes: effective problem-solving and high performance (Northouse,
2013, p.48). His awareness of these strengths led Tony to become what Quinn (1996) refers to as
an extraordinarily competent person who plays a particularly powerful role in an organization
(p.116), but without the self-absorbed pride that can often create a tyranny of competence
(p.115). As such, Tony exhibited high technical and human skill that produced success within
this supervisory role as a teacher and program director (Northouse, 2013, pp.44-45).
Transformational and Charismatic Leadership: Because these trait and skill
approaches tend to be more descriptive than prescriptive, they also directly address neither the
motivation behind leadership nor the relationship between leader and followers. Listening to
Tony describe his work in Bloomfield and even reading his compilation of insights from years of
teaching (Appendix B) reveals not only a highly directive and highly supportive coaching
approach (Northouse, 2013, p.100), but also a high level of awareness and concern for the

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growth of others (Autry, 2001). He is a man who trusts his vision and pursues it so
wholeheartedly that others follow just as wholeheartedly (Quinn, 1996, p.85). In this way, I
believe that his display of authoritative, self-confident leadership can best be encompassed not
just by the basic leader-centered theories but particularly by transformational and charismatic
leadership theories as well.
As Northouse (2013) summarizes, such theories emphasize leadership that is concerned
with improving the performance of followers and developing followers to their fullest potential
(p.185) through intrinsic motivation and follower development (p.191). The fact that Tony
returned to his daughters struggling school district even after retiring from a successful career
exemplified his ability to transcend [his] own interest for the sake of others by lending his
matchless skill for the betterment of others involved (Northouse, 2013, p.187). This service
stemmed in part from his embodiment of the personality characteristics of a charismatic leader[,
which] include being dominant, having a strong desire to influence others, being self-confident,
and having a strong sense of ones own moral values (Northouse, 2013, p.188). Throughout his
time in Bloomfield, Tony also exhibited charismatic behaviors in his ability to appear
competent to followers,communicate high expectations[, and]exhibit confidence in
followers abilities to meet these expectations (Northouse, 2013, pp.188-189). With a clear
vision and the determination to achieve it, Tony was able to create a transformative connection
with his students and co-workers that drew an increasingly large number of students to the world
of musical proficiency and all the rewards that accompany it.
Conclusion
Although I have spent relatively little time with Tony since our providential introduction
last fall, I already feel like a better person and better teacher because of his candid wisdom,
charismatic personality, and generous spirit. The opportunity to interview this remarkable leader

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not only provided more insight into his specific leadership role in launching an urban
instrumental music program, but also into what influenced his leadership there and how he views
this important topic in general. His own analysisperhaps due in part to his age and military
experienceseemed primarily centered around the more old school trait and skill approaches,
yet Tonys highly effective leadership style also seemed to correlate with more transformational
and charismatic leadership theories as well. In pursuing his vision for the highest quality music
program possible, he selflessly used his charismatic traits and unique skills to honor the
personal dignity and worth of all who [he] led, and to evoke as much as possible their own innate
creative power for leadership (Sims, 2005, pp.10-11).

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Appendix A: Interview Questions

1. Could you describe your work launching the Bloomfield elementary school music
program?
a. What was your role in this new music program?
b. What were some of your specific strategies in that role?
c. What happened as a result?
2. Could you elaborate on what or who influenced your work in that position (people,
writings, etc.)?
a. What past experiences led up to that position?
b. Are there any ways that this role influenced you? Please elaborate if so.
3. How would you describe leadership in general?
a. What do you think makes someone a good leader?
b. Is there anything else you would like to add about leadership in the specific
Bloomfield context or otherwise?

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Appendix B: Tony DiGrazia ARC: Thoughts

Children like to talkabout themselves
At podium: silence begets silence
Language of music/parents occupation
Have fun
Teachcoachstudents not music
Do not delve deeply into technical aspects
Bus, lunch, recess duty
Get down
Compliment dress, hair style etc.
Listen to your kids
Percussion before school
Suggest performances to admin.
Ensembleskitchen, office, phone
First yeardo not be a know-it-allfollow existing procedures
Sight read
Dont take my idsspecial ed., art, vocal music, duties, field trips, field days, health, DARE,
graduation, earth day, enrichment, cultural programs, fire drills, staff development, snow days,
surprise programs, religious holidays, other holidays, mastery tasting, the mile run.
Not sure: call for help
Dont whine
Learn to keep mouth shut
Rightgo. Unsureno.
Vocal vs. instrumental
Expediency
Accomplish basics early in year
Temperaturecold vs. hot
Band secretary
Phone calls to parents after three month rental
Use computer
Close to students
Custodians, kitchenset-up
Method book = socio-economic
Student teachers: interview and transcript
String French horn; spring on foot join; G#, Eb saxophone, spring lower joint clarinet.
On board repair and piano tuner
Own sound system PTO

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Do not accept bribes

Be honest to parents and kids
Document
Repeat over and over
Happy birthday, Auld Lang Syne, Irish eyes
Who terminates concerts, principal or music teacher
Take kids up to 8th and dotted quarter notes Dec; percussion 16th notes; pass out concert music
Dec
Clarinets over break Dec. Jan.
Initiates lessons buzzing
Soloist with band rehearse at least twice
Directional sounding instruments
Mechanical aspects interfere with intonation
Summer school 23 days 23 lessons
Most parents known their kids
Know your music dealersfly by nightthey will come to you
Call local stores speak to manager if too many problems
Suggest workshops dealing with your area
Posters correct spelling
Lesson plans differ from classroom teachers
Administration keeps record of absence
School nurse
Letter headnot To Whomuse complete address
Criminal record
Video along with resume
Driving students
Familiar with school formsbus, field trips, building requisitions
Data base inventory music and instruments
What has come before you
Community involvement, new construction
Ranges of instruments
Folders
Private teachers
Regionalall state competitions, adjudicationscalessolosight read
Marching bandjazz bandensembles
Seating for band
Selection of music
Report cards may want to modify

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References
Autry, J. (2001). The servant leader: How to build a creative team, develop great morale, and
improve bottom-line performance. Prima Publishing. California.
Goleman, D. (1998). What makes a leader? The Harvard Business Review.
2004 version retrieved from https://hbr.org/2004/01/what-makes-aleader
Goode, S. (2005, August 31). They want kids to play: Retired music teacher
joins daughters school district. The Hartford Courant. Retrieved from
http://articles.courant.com/2005-08-31/news/0508310633_1_musicteacher-instrumental-music-program-general-music
Hower, (2005). Enlightened power: How women are transforming the practice of leadership.
Chapter 7: Influencing for impact (pp.111-131). Jossey-Bass. San Francisco.
Northouse, P. (2013). Leadership: Theory and practice. Sixth Edition. Sage Publications. New
Delhi.
Quinn, R. (1996). Deep change: Discovering the leader within. San Francisco: Jossey-Bass.
Sims, B. (2005). Servanthood: Leadership for the new millennium. Wipf and Stock Publisher.