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.

No description available.

The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program. The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program. This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal. The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.

No description available.

published_or_final_version / Physics / Doctoral / Doctor of Philosophy

No description available.

No description available.

No description available.

No description available.

No description available.