Selected Project (M.A.)--Brigham Young University. School of Music, 2004. / Includes bibliographical references.

Thesis (Ph. D.)--Michigan State University. Dept. of Music, 1998. / Includes bibliographical references (leaves 241-253).

It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.

Thesis (Ph. D.)--University of North Texas, 2001. / Includes bibliographical references (p. 303-307).

Thesis (Ph. D.) -- Florida State University, 2003. / Document formatted into pages; contains 204 pages. Advisor: Judy K. Bowers, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-19-03). Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-132). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Frederick D. Mayer. Dissertation Committee: Gladys Tipton. Includes bibliographical references.

Dissertation (PhD) Florida State University, 2006. / Advisor: Clifford K. Madsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 120 pages. Includes biographical supplies. Includes bibliographical references.

The purpose of this study was to identify and describe the convictions about choral conducting is held and applied by Caro Carapetyan which may have contributed to his superior choral work. The primary source of information was a series of personal interviews with Carapetyan. The report was organized into five sections. The first part supplied background material. Subjects covered in the report include philosophy, the relationship between conductor and singers the conductor's knowledge of music history and literature, rehearsal planning, conducting technique the selection of singers, choral tone, blend and balance, diction, intonation, rhythm, and dynamics. Each of the chapters in Parts II, III and IV includes a summary and some comparisons with other choral music sources. The fifth part is a summary of the findings, conclusions, and recommendations. Recommendations for choral conductors and future researchers are included.

Thesis (M. Mu.)--Georgia State University, 2007. / Title from file title page. John B. Haberlen, committee chair; N. Lee Orr, Duncan Couch, committee members. Electronic text (47 p. : music) : digital, PDF file. Description based on contents viewed Dec. 14, 2007. Includes bibliographical references (p. 47).