Choral Conducting : Focus on Communication

Preface ix Prologue: The Importance of Communication 1(2) The Conductor 3(3) Interpreter of Music 3(1) Teacher of Skills 3(1) Organizer of Experiences 4(1) Self-motivated Learner 5(1) Sensitive Human Being 5(1) Relating Gesture to Musical Expression 6(24) Posture 7(2) Position of Arm and Hand 8(1) Right Hand Gesture Movement 9(1) Character and Style of Gesture Communication 10(4) Marcato Practice 11(2) Staccato Practice 13(1) Legato Practice 13(1) Leggiero and Portato Character 14(1) Meter and Tempo 14(2) Duple Meter 15(1) Triple Meter 15(1) Preparatory Gesture 16(1) Practice of Sound Preparation 16(1) The Fermata 16(3) Fermata Practice 18(1) Association of Gesture Practice and Music 19(1) Timing and Character of Cues 19(1) Subdivisions of Meter 20(4) Additional Gesture Practice 23(1) Left Hand Gesture 24(5) Facial Expression 29(1) Preparing for Music Making: Score Study 30(51) Establishing Historical Perspective for Score Study 31(38) The Renaissance (ca. 1430-1580) 31(10) The Renaissance-Baroque Transitional Period 41(1) The Baroque Era (1580-1770) 41(13) The Classic Period (1770-1830) 54(1) The Romantic Era (1830-1900) 55(3) The Twentieth Century 58(11) Procedures for Score Analysis 69(2) Score Analysis Models 71(10) Score Marked for Rehearsal 75(6) Creating Music with the Choral Instrument 81(22) Practical Suggestions 82(1) Examples of Score Study: Rehearsal Presentation Guides 82(21) The Rehearsal: Aesthetic Performance 103(15) Responsibilities of the Conductor 104(7) Rehearsal Planning 104(4) Improving Aural Acuity 108(1) Rehearsal Principles 108(1) Long-Range Planning 109(1) Rehearsals with Instruments 110(1) Focus in Rehearsal Planning 111(3) Children's Choirs 111(1) Adolescent Choirs 112(1) Adult Choirs 113(1) Church Choir Rehearsals: Special Considerations 113(1) Models for Rehearsal Planning 114(4) Developing the Choral Instrument 118(18) The Physiology of the Singing Process 119(3) Breath Management 119(1) Phonation 120(1) Resonance and Amplification 121(1) Diction 122(5) Vowels: Phonetic Spelling 123(1) The Schwa (e) and Unaccented Short I (I) Vowels 123(1) Diphthongs 124(1) Consonants 125(1) Rhythmic Timing of Consonants and Diphthongs 125(1) The American r 126(1) Additional Suggestions for Placement of Consonants 127(1) Sensitivity to Text 127(3) Word and Syllable Stress 127(1) Text and Structure 128(1) Text-Timbre Relationships 129(1) The Added Dimension: Communication 130(1) The Singing Process: A Sequence of Developmental Exercises 130(2) Preparation for Singing: Posture and Physical Movement 130(1) Breathing and Phonation 131(1) Additional Exercises 132(4) Exercises for Proper Beginning of Sound (Phonation) 132(1) Associating Breath Connection with Vowel Stream 132(1) Encouraging Resonation 132(1) Extending Range 133(1) Developing Vocal Agility 134(1) Developing Clarity of Articulation 134(2) Developing Musical Skills and Responsiveness 136(14) Listening 136(1) Ear Training and Sight Singing 137(10) Choruses of Children 138(5) Choruses of Adolescents or Adults with Minimal Reading Skills 143(4) Awareness of Phrasing 147(1) Sensitivity to Relationships 148(1) Cognition 149(1) Recapitulation 149(1) Selecting Repertory and Building the Concert Program 150(26) Criteria for Repertory Selection 151(2) Vocal and Emotional Maturity 151(1) Teaching-Learning Objectives 151(1) Artistic Potential and Musical Responsiveness 152(1) Guides for Examining Editions 153(1) Facilitating the Search for Repertory 154(1) Concert Programs: Philosophical and Practical Considerations 155(3) Encouraging Musical Growth and Understanding 155(1) Providing Aesthetic Satisfaction 155(1) Ensuring Enjoyment of Singers and Audience 156(1) Serving Special Occasions 156(1) Developing Community Feeling 157(1) Building a Concert Program 158(4) A Unifying Theme 158(1) The Shape of a Concert Program 158(1) The Opening Selection 159(1) Placement of Music Demanding Intense Concentration 159(1) Placement of Serious and Lighter Selections 159(1) Contrast within Sections 160(1) Audience Participation 161(1) The Program Ending 161(1) Types of Concerts 161(1) Examples of Program Building 162(9) Examples of Centerpieces for Concert Programs 171(5) Epilogue 176(3) Sensitivity 177(1) Proportion 177(1) Relationship 178(1) Appendix A Projects for Students of Conducting 179(8) Appendix B Guides for Teachers of Conducting Classes 187(16) Appendix C Capitalization of Titles and Pronunciation Guides 203(10) Capitalization of Titles 203(1) English 203(1) Latin, Italian, and French 203(1) German 204(1) Phonetic Spelling and Pronunciation in Foreign Languages 204(9) Phonetic Equivalent Chart 204(1) Liturgical Latin 205(2) German 207(3) French 210(3) Appendix D Selected Repertory 213(18) Children's, Adolescents', Treble, and Male Choruses 213(15) Music for the Church Choir 228(3) Glossary 231(9) Bibliography 240(5) Music for Class Study and Conducting 245(124) Index 369