Screen LibraryThe modern conductor：a college text on conducting based on the technical principles of Nicolai Malko as set forth in his The conductor and his baton
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| Main Authors: | |
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| Group Author: | ; |
| Published: |
Pearson Prentice Hall,
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| Publisher Address: | Upper Saddle River, N.J. |
| Publication Dates: | c2004. |
| Literature type: | Book |
| Language: | English |
| Edition: | 7th ed. |
| Subjects: | |
| Item Description: | Conductor and his baton. |
| Carrier Form: | xix, 252 p.: ill. ; 25 cm. |
| ISBN: | 0131826565 (alk. paper) |
| Index Number: | J615 |
| CLC: | J615 |
| Call Number: | J615/G795/7th.ed |
| Contents: |
Includes bibliographical references (p. 243-247) and indexes. pt. 1. Technique -- 1. So you want to be a conductor? -- Sharpening your tools -- Relaxation : the starting point -- Unskilled mischief makers : the arms -- The two basic training exercises -- Exercises for practice : training the ear -- 2. The conductor : basic time-beating -- Time-beating in THREE ; in FOUR -- Starting the sound : the preparatory beat -- Stopping the sound : cutoff gestures -- Music for performance -- 3. The Baton -- Ease with the baton -- Visibility of the baton -- What type of baton to choose? -- Exercises for practice : the baton -- 4. TWO, ONE, SIX, FIVE, and subdivided beats -- Thinking like a conductor -- Time-beating -- Divided patterns -- Music for performance -- Other styles of time-beating -- Exercises for practice : divided beats -- Music for performance -- 5. The expressive gestures -- The line of connection -- The interplay of time and space -- The expressive gestures : active, passive -- The ACTIVE GESTURES : legato, staccato, tenuto -- The ACTIVE GESTURES (After-the-beat responses) : the gesture of syncopations (GoS) -- The PASSIVE GESTURES : "dead" gestures -- Refining the preparatory beat-- Exercises for practice : developing expression in the gestures -- Music for performance -- 6. Phrasing, tempo changes -- Phrasal analysis and phrasal conducting -- Music for performance -- Tempo changes -- The up-ictus -- Music for performance -- 7. Developing the left hand -- Building independent action in the hands -- Cuing -- Other left-hand conducting functions -- Exercises for practice : cuing and left-hand independence -- 8. The fermata -- Definition of the fermata -- Fermatas classified by length -- The fermata that continues the music without a stop (Caesura) -- The fermata followed by a complete cutoff (a rest on a Caesura) -- The fermata with Caesura lines (//) continuing immediately -- Some difficult types of fermata -- Exercises for practice : handling the fermata -- 9. Beyond TWO, THREE, FOUR, and SIX : twentieth-century innovations -- Lopsided time-beating -- Fast FIVES -- Combinations of pulses in slow or moderate tempos -- SEVENS -- Strange combinations of NINES, TWELVES, ELEVENS -- Conducting accents and cross accents -- Exercises for practice : cross accents, irregular time-beating -- Music for performance -- 10. Melding and the virtuoso technique -- Melding -- The virtuoso technique -- The shift from technique to music making -- Creative conducting : variety--seven types -- Conclusion -- Music for performance -- pt. 2. Score Study -- "Zig-Zag" -- 11. Clefs and transpositions -- The C clefs -- Transposing instruments -- Some additions and exceptions -- The two basic rules for transposition -- Table of transposition intervals -- Exercises for practice : skills in clefs and transposition -- 12. Instrumental conducting : orchestra and band scores -- Band and orchestra : comparisons and contrasts -- Orchestra scores -- Band scores -- Twentieth-century and contemporary scores -- The aleatoric score -- Exercises for practice : acquaintance with instrumental scores -- 13. Choral conducting -- Part one : score structure -- Exercises for practice : beginning reading choral scores -- Part two : score performance -- Preparing for rehearsal -- Exercises for practice : difficult rhythms -- Exercises for practice : choral interpretation -- 14. Applied musicianship : orchestra, band, chorus -- Band or orchestra? -- Musicianship factors : orchestra, band, chorus -- Two performance customs : band and orchestra -- Orchestral bowing principles -- Exercises for practice : score interpretation--band, orchestra, chorus -- 15. The conductor as collaborator : concertos and opera -- Conducting concertos -- Conducting works for chorus and orchestra -- Recitatives -- Conducting opera -- 16. Memorizing the score : performing the score -- The memorizing process -- A word about the metronome -- Performing the score : rehearsing -- Specific rehearsal do's and don'ts -- The public performance -- Building a career -- Audition/rehearsal check-list -- Final words -- Appendix A. Seating charts -- Appendix B. Instrumentation -- Appendix C. Classification of bowings -- Appendix D. Terminology for the conductor -- Appendix E. The training exercises in sequence -- Appendix F. Psychological conducting. |