Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-24T00:19:58.202Z Has data issue: false hasContentIssue false
  • English
  • Français

Towards a Model of Effective Communication: A Case for Structured Teaching of Conducting

Published online by Cambridge University Press:  18 December 2008

Colin Durrant
Get access Rights & Permissions [Opens in a new window]

Abstract

Recent teaching with PGCE secondary music students has revealed that conducting ensembles is a musical activity in which they have variable knowledge, skills and experience. It is a general expectation, nevertheless, that music teachers still conduct choral and instrumental ensembles as part of their job in schools, and some may also undertake such roles in the wider community. This paper seeks to identify from research literature aspects of effective conducting that warrant greater attention. This forms part of a research project which is exploring definitions of effective conducting and making an analysis and case for more structured teaching in this area within higher education.

Type
Research Article
Information
British Journal of Music Education , Volume 11 , Issue 1 , March 1994 , pp. 57 - 76
Copyright
Copyright © Cambridge University Press 1994

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Boult, A. (1920) A Handbook on the Technique of Conducting. Oxford: Hall.Google Scholar
Boult, A. (1963) Thoughts on Conducting. London:Phoenix House.Google Scholar
Chesterman, R. (ed.) (1990) Conductors in Conversation. London:Robson Books Ltd.Google Scholar
Cooksey, J. (1992) Working with the Adolescent Voice. St Louis, Missouri: Concordia.Google Scholar
Dearnley, C. (1970) English Church Music 1650-1750. London:Barrie & Jenkins.Google Scholar
Decker, H. & Herford, J. (1973) Choral Conducting Symposium. Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Decker, H. & Kirk, C. (1988) Choral Conducting: Focus on Communication. Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Dickson, J. (1992) ‘The training of conductors through the methodology of kinesthetics.’ Choral Journal of the American Choral Directors Association, 22 (8).Google Scholar
Fiocca, P. (1986) ‘A descriptive analysis of rehearsal behaviours of junior and middle high school directors.’ Doctoral dissertation, Ohio State University.Google Scholar
Glaser, R. (1992) ‘The history and development of five prominent choral directors and the importance of their methodologies in the performance of choral music in America’. Unpublished graduate paper, University of Utah.Google Scholar
Gonzo, C. & Forsythe, G. (1976) ‘Developing and using video-tapes to teach rehearsal techniques and principles.’ Journal of Research in Music Education, 24 (1), 32–41.CrossRefGoogle Scholar
Grechesky, R. (1985) ‘An analysis of non-verbal and verbal conducting behaviours and their relationship to expressive musical performance.’ Doctoral dissertation, The University of Wisconsin-Madison.Google Scholar
Green, E. (1981) The Modern Conductor. Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Gumm, A. (1991) ‘The identification and measurement of music teaching styles.’ Doctoral dissertation, University of Utah.Google Scholar
Kahn, E. (1975) Elements of Conducting. New York: Schirmer (2nd edn).Google Scholar
Kaplan, A. (1985) Choral Conducting. New York & London: W. W. Norton Co.Google Scholar
Karpicke, H. (1987) ‘Development of an instrument to assess conducting gesture and validation of its use in orchestral performance’. Doctoral dissertation, University of Houston.Google Scholar
Knutson, B. (1989) ‘Interviews with selected choral conductors concerning rationale and practices regarding choral blend.’ Council for Research in Music Education, 102, 86–88.Google Scholar
Leman, J. (1992) ‘Conducting gestures, voice and expressive singing’ in Thurman, L. & Welch, G. (eds) Bodymind and Voice. Minneapolis: The Voice Care Network.Google Scholar
Lewis, K. (1977) ‘The development and validation of a system for the observation and analysis of choral conductor gestures.’ Dissertation Abstracts International, 38.Google Scholar
Marvin, J. (1988) ‘The conductor's "process"’ in Paine, G. (Ed.) Five Centuries of Choral Music: Essays in Honor of Howard Swan. New York: Festschrift Series No. 6, Pendragon Press.Google Scholar
McElheran, B. (1977) Conducting Technique. New York: Oxford University Press.Google Scholar
Moe, D. (1973) ‘The choral conductor and twentieth century choral music’ in Decker, H. & Herford, J. (eds) Choral Conducting Symposium. Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Osman, N. (1989) ‘The development of a communication skill evaluation instrument: an instrument designed to assess the communication skill of the conductor in the choral rehearsal.’ Doctoral dissertation, University of Missouri-Kansas City.Google Scholar
Parker, H. (1990) ‘Ensemble members’ perception of student conductor effectiveness.’ Doctoral dissertation, University of Kansas.Google Scholar
Petty, R. (1987) ‘An evaluation of procedures to develop selected choral rehearsal skills.’ Doctoral dissertation, Ohio State University.Google Scholar
Pfautsch, L. (1973) ‘The choral conductor and the rehearsal’ in Decker, H. & Herford, J. (eds) Choral Conducting Symposium. Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Rives, C. (1983) ‘Selected conductors' perceptions of aesthetic rehearsal techniques.’ Doctoral dissertation, Arizona State University.Google Scholar
Swan, H. (1987) Conscience of a Profession. North Carolina: Hinshaw Music, Inc.Google Scholar
Thurman, L. (1977) ‘A frequency and time description of selected rehearsal behaviours used by five choral conductors.’ Doctoral dissertation, University of Illinois.Google Scholar
Thurman, L. & Welch, G. (eds) (1992) Bodymind and Voice. Minneapolis: The Voice Care Network.Google Scholar
Watkins, R. (1986) ‘A descriptive study of high school choral directors' use of modeling, metaphorical language and musical/technical language related to student attentiveness.’ Doctoral dissertation, University of Texas at Austin.Google Scholar
Whitten, L. (1988) 'Integrity in the teaching and performing of choral music’ in Paine, G. (Ed.) Five Centuries of Choral Music: Essays in Honor of Howard Swan. New York: Festschrift Series NO. 6, Pendragon Press.Google Scholar
Yarborough, C. (1975) ‘Effect of magnitude of conductor behaviour on students in selected mixed choruses.’ Journal of Research in Music Education, 37, 219–230.Google Scholar