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Toward a theory of conducting motion /Koch, Christopher Jason. January 2003 (has links)
Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 151-155).
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Doctoral thesis recital (lecture recital)Garrett, Monte A. 11 June 2012 (has links)
A critical edition of Georg Philipp Telemann's Missa sopra Christ lag in Todesbanden (TWV 9:3) / text
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Doctoral Thesis Recital (Lecture Recital)Acosta, Peter Alexander 22 January 2013 (has links)
"Jug Blues & Fat Pickin'" / text
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From analysis to gesture : a comprehensive approach to score preparation for the conductorStrouse, Lewis H. January 1987 (has links)
The purpose of this study was to develop a comprehensive and carefully detailed approach to score preparation which would be adaptable to all kinds of music. As a result of reviewing selected approaches to score preparation and general musical analysis techniques, a Comprehensive Approach to Score Preparation (CASP) based upon three levels of deductive analysis was created. These levels are described as Level I--Basal Structure Analysis; Level II--Review of: Supplementary Information; and Level III--Detailed Structural Analysis. The sequence of Levels was based upon (1) the importance of formulating appropriate conducting gestures and (2) the most efficient method of learning an extended musical work.Level I, Basal Structure Analysis, explores the score in terms of musical elements that may be translated directly into gesture without further study of structural comparisons. Level II, Review of Supplementary Information, surveys the historical and stylistic background of the work and the composer. The final stage of the CASP process, Level III--Detailed Structural Analysis, identifies the individual components of the musical structure as each relates to the larger structure and to the conductor's emotive interpretation.Conclusions1. The musical experience effects various modes of emotional energy in appreciative listeners as well as non-appreciative listeners, and musical scores should be interpreted on the basis of emotional energy.2. The elements of the conductor's musical interpretation are transmitted to the players and to the audience by means of the conductor's personality.3. The musical elements of articulation, dynamics, and tempo are the most important determinants of variations in musical interpretations.
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The effect of differential feedback on closed- versus open-hand conducting position /Dease, Joseph Paul, VanWeelden, Kimberly. Madsen, Clifford K. January 1900 (has links)
Thesis (Ph. D.)--Florida State University, 2007. / Advisors: Kimberly VanWeelden and Clifford K. Madsen, Florida State University, College of Music. Title and description from dissertation home page (viewed Mar. 12, 2008). Document formatted into pages; contains viii, 72 pages. Includes bibliographical references.
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An investigation of current instruction practices for the undergraduate instrumental conducting student concerning left hand technique and facial gestures /Chapman, Christopher Carl. January 2008 (has links)
Thesis (D. Mus. Arts)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 122-131).
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A study and analysis of ideas on communication in modern orchestral conducting drawn from selected readings.Garber, Herbert. January 1971 (has links)
Thesis (Ed.D.)--Teachers College, Columbia University, 1971. / Typescript; issued also on microfilm. Sponsor: Charles W. Walton. Dissertation Committee: J. Marion Magill. Includes bibliographical references.
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A computer-based trainer for music conducting the effects of four feedback modes /Schwaegler, David Gary. January 1900 (has links)
Thesis (Ph. D.)--University of Iowa, 1984. / Includes bibliographical references (leaves 95-99).
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Balancing chorus and orchestra in performance problems and solutions for conductors of the nineteenth century and today /Turner, Kelly J. January 1900 (has links)
Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Welborn Young; submitted to the School of Music. Title from PDF t.p. (viewed May 11, 2010). Includes bibliographical references (p. 137-143).
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Creating through dialogue : the conductor’s role during the process of first performanceKiiski, Ruut January 2015 (has links)
In this study I will research and reflect on the conductor's role during the process of preparation for a first performance. I will present differences between two kinds of working processes: one where the conductor is working with a contemporary composer on a piece of music that is going to be performed for the first time in contrast to one where he or she is working with traditional repertoire or with music already performed. Throughout the process I will also focus on the dialogue between the conductor and the composer. The work consists of three parts. The first part is an overview of the process and its phases from the conductor's point of view. I go through the process and introduce some key points and challenges associated with it. In the second, practical part of my work I adduce a case of my own as an example of the experiences related to working with a composer in the process of première preparation. In the third part I suggest one solution for facilitating a better dialogue between the conductor and the composer.
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