Doctor of Philosophy / Curriculum and Instruction Programs / Frederick Burrack / This study examined the characteristics of the score study processes implemented by three collegiate wind band conductors. Participants engaged in anticipatory discussion, think-aloud score study session, and a follow up interview to verify researcher inference and observation. Using a multiple case study methodology, the research focused on identifying the individual score study process of each conductor and the impact held beliefs and educational influences had on these processes. The research then compared cases to identify common and unique interactions across participants.

This study investigated the effects of score study on novice conductors’ nonverbal and verbal conducting behaviors. Presented with a brief musical excerpt of which they had no prior knowledge, undergraduate conducting students (N = 11) conducted and rehearsed a live brass quartet. After an initial conducting session, participants in the experimental group (n = 6) received two individual 30-minute score study tutorials, while the control group (n = 5) received no assistance. All participants returned one week after the first conducting session to conduct and rehearse the ensemble for a second time. Brass quartet members and three experienced conductors, all whom were blind to the experimental condition, evaluated participants’ conducting in terms of eye contact, facial expression, effective gesture, ability to lead toward a musically accurate performance, knowledge of the score, and pacing. Significant differences were found between the score study and control conditions. The brass quartet members’ ratings for eye contact and knowledge of the score were higher for the participants who studied the score. I found no significant differences between conditions in the ratings given by experienced conductors. At the conclusion of the second rehearsal, brass quartet members accurately identified five of the six conductors who had received score study assistance and four of the five conductors who had not. Experienced conductors were asked to identify the order of the two videos of each conductor. They accurately identified the order of five of the six score study conductors’ videos. Identifications of participants’ videos in the control group were mostly inaccurate and reflected much disagreement among the experienced conductors. In reviews of the participants’ written and verbal responses about their experience and the comments provided by brass quartet members and experienced conductors, I noted three characteristics that distinguished those who engaged in score study from those who had not: (1) more meaningful, instrument-specific eye contact; (2) greater confidence and comfort; and (3) more effective gestures and other nonverbal behaviors in rehearsal, all of which seemed to result from a more clearly defined interpretation of the music. / text

The purpose of this study was to create and gain consensus of an essential curriculum for teaching score study in the undergraduate instrumental conducting class. Questions to be answered by this study were what methods, materials, and evaluations should be used to teach score study to undergraduate instrumental conducting students? Resolving the questions required the collection of information on the methods, materials, and evaluations used in teaching score preparation in the undergraduate instrumental conducting class and the opinions of conductors and teachers of conducting about those methods, materials, and evaluations.

The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.

This thesis examines the conductor's preparation process of learning and interpreting the score before standing in front of an ensemble. The research is based on studies of historical and modern conducting handbooks supplemented by interviews with professional conductors. A selection of the preparation methodologies presented in the litterature and the qualitative study are tested and examined in the preparation process of two concerts. Finally the selected methodologies are compared and judged on two key factors; efficiency and the quality of the final artistic result. The results of the study are presented both as a list of conditions that can ensure an effective preparation process with a high quality of the final artistic result and as a concrete methodology that can be applied and adapted by any conductor in his or her own preparation process. / <p>Som dokumentation af eksamensarbejdets kunstnerlige del vedhæftes:</p><p><strong>Videoindspilning af koncert 22. maj med Östgöta Blåsarsymfoniker</strong></p><p>B. Crusell: Ouverture fra "Den lilla slavinnan"</p><p>V. Persichetti: Serenade no. 1 for Ten Wind Instruments</p><p>G. Mahler – IV. sats fra Symfoni nr. 4 (arr. Gustav Aske Sønksen, 2021) </p><p><strong>Lydindspilning af koncert 28. maj med Ludvig Dahlström (bratsch) og KMH-studenter</strong></p><p>P. Hindemith: Der Schwanendreher </p>