Choral Conducting and the Construction of Meaning: Gesture, Voice, Identity
It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? This book explores these questions at both theoretical and practical levels. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.
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analytical approach articulation barbershop beat patterns behaviours Bertalot bodily body language Bram Cambridge chameleon effect Chapter choir choir members Choral Conducting choral culture Choral Music choral practice choral practitioners choral singing choral sound choral traditions chorus clip concept conducting gesture conducting technique conductor conductor and choir context develop direct discourse discussion distinction downbeat Ehmann elements emotional contagion ensemble ethnomusicology example experience focus Garretson genres gestural vocabulary gospel growth point hand Hence ictus idea identity Igor Stravinksy image schema individual instruction interaction involved James Jordan Lakoff Leslie Woodgate London McNeill meanwhile metalanguages metaphors method movement Music Education musical meaning musicians musicology nonverbal communication participants Paul Ekman performance phrase physical practitioner literature produce rehearsal observations relationship repertoire rhythmic Samuel Adler sense shared singers social specific structure studies style suggest taxonomy technologies texts theoretical theory understand vibrato vocal vocal production voice