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The Elements of Expressive Conducting begins with a synthesis of various movement theories which allow beginning conducting students to understand how best to use their body as an expressive instrument. Strategies for developing musical expression beyond pedagogical execution are discussed in each chapter. The text further explores merging musical preparation with a healthy, tension-free approach to an individual's movement. Readers will also find strategies for developing the coordination between the ear and body; ways to transfer "every day" movements to the art of conducting; and suggestions for building to a professional level of success.FeaturesExercises which stimulate the imagination and inform the bodyVideo examples of these exercises on the publisher's websiteDrawings of imaginative ways to consider beat patternsMusical examples chosen to reinforce specific conducting fundamentalsPractical strategies drawn from the author's more than four decades of pedagogical experience
Expressive Conducting: Movement and Performance Theory for Conductors applies the insight of movement and performance theory to the practice of conducting, offering a groundbreaking new approach to conducting. Where traditional conducting pedagogies often place emphasis on training parts of the body in isolation, Expressive Conducting teaches conductors to understand their gestures as part of an interconnected system that incorporates the whole body. Rather than emphasizing learning specific patterns and gestures, this book enables student and professional conductors to develop a conducting technique that is centered around expressing the themes of the music. Drawing parallels to the worlds of acting, this text treats the body as the conductor’s instrument. Coaching notes derived from years of experience as a performance movement specialist offer readers approachable methods for eliminating communication barriers—both conscious and subconscious—to encourage optimal performance, highlighting acting theory, movement exercises and the significance of weight distribution. Unlike other conducting approaches, this text understands that conducting resonates throughout the entire body and is not conveyed by the hands or baton alone. With a comprehensive consideration of the conductor’s body and movements, featuring over 50 original illustrations, Expressive Conducting advances strategies for improving one’s conducting skills in rehearsal and performance. Jerald Schwiebert has developed a practical language for expressive conducting. Together, Schwiebert and Barr present a text that is suitable for conducting students, instructors, and professionals alike.
Music. Spiral bound.
From the publisher. Basic Conducting Techniques is a practical and innovative textbook that provides sound, time tested procedures and material for the beginning conducting class. Students and professors have responded enthusiastically to the hands-on, conductor competency approach of this student–oriented textbook with its clearly stated objectives and performance tests.
Although the bibliography of literature about personalities in the conducting world is extensive, a comprehensive, scholarly study of the history of conducting has been sorely lacking. Georg Schünemann's respected study, published in 1913, was brief and restricted to the procedures of time-beating. No work has attempted to examine the role of the orchestral conductor and to document the evolution of his art from historical, technical, and aesthetic perspectives. Dr. Elliott W. Galkin, musicologist, conductor, and critic-twice winner of the Deems Taylor award for distinguished writing about music-has produced such a work in A History of Orchestral Conducting. The central historical section of the book, which examines chronologically the theories and functions of time-beating and interpretative concepts of performance, is preceded by discussions of rhythm, development of the orchestral medium, and the evolving characteristics of orchestration. Conductors of unusual pivotal influence are examined in depth, as is the increasingly complex psychology of the podium. Critical writings since the time of Monteverdi and the birth of the orchestra are surveyed and compared. Analyses of conducting as an art and craft by musicians from Berlioz to Bernstein and commentators from Mattheson, Bernard Shaw, and Thomas Mann to Jacques Barzun, are described and discussed. A fascinating collection of engravings, wood cuts, photographs and caricatures contributes to the richness of this work.
Communication Research on Expressive Arts and Narrative as Forms of Healing: More than Words examines a number of widely used expressive arts therapies from a communication perspective, providing case studies and other qualitative investigations focused specifically on communication aspects of expressive therapies including drama, music, and dance/movement therapies. This collection, edited by Kamran Afary and Alice Marianne Fritz and authored by contributors with experience as educators, artists, and licensed therapists, integrates communication, therapy, and pedagogy to explore the role and efficacy of expressive arts therapies. Scholars of communication, performing arts, and mental health will find this book particularly useful, along with mental health practitioners and scholars conducting fieldwork.
(Berklee Guide). Learn the essential practices of contemporary conducting. This book will teach you to use the motions, cues, patterns and practices used to lead ensembles, whether for orchestra, band, musical theater, opera, film orchestra, or other type of ensemble. You will learn techniques for keeping time, signaling musicians, and crafting your unique interpretation of the score, as well as how to command the stage presence necessary to lead a large ensemble whether for concert performances or synching live performers to other media, such as film, recordings, musical theater and dance. Video demonstrations and annotated scores of orchestral excerpts from Beethoven, Mozart, Tchaikovsky, and others illustrate and let you practice various conducting challenges, such as cadenzas, rubato and quickly changing time signatures. Also included are interviews with some of the most accomplished conductors of your time, such as John Wiliams, Lalo Schifrin, JoAnn Falletta, John Morris Russell and others, providing perspective from the concert hall podium to the Broadway pit to the Hollywood sound stage.
Using Expressive Arts to Work with Mind, Body and Emotions combines theory, research and activities to produce practical suggestions for enhancing client participation in the therapy process. It surveys the literature on art therapy; somatic approaches; emotion-activating models; use of music, writing and dreamwork; and the implications of the new findings in neuroscience. The book includes step-by-step instructions for implementing expressive therapies techniques, and contains a wide range of experiential activities that integrate playful yet powerful tools that work in harmony with the client's innate ability for self-healing. The authors discuss transpersonal influences along with the practical implications of both emotion-focused and attachment theories. Using Expressive Arts to Work with Mind, Body and Emotions is an essential guide to integrating creative arts-based activities into counselling and psychotherapy and will be a useful manual for practitioners, academics and student counsellors, psychologists, psychotherapists, social workers and creative arts therapists.