Inner-Impulses and Gestures of Orchestral Conducting: The Psycho-Physical Function of Musical Leadership

Author: Proskurknya, Oleg
Year:2011
Pages:448
ISBN:0-7734-1509-2
978-0-7734-1509-6
Price:259.95
The author analyzes the phenomenon of the temporal interval (or time-lag) between a conductor’s action and appearance of the sound. The temperal internal is either ignored or only vaguely recognized by the generally accepted conducting methods.

Reviews

“…The author points toward a higher level of gestural communication and of continuous feedback and adjustment which, together with refining one’s musical concept to the highest degree, constitute great musical leadership.” -Prof. Heather R. Buchman, Hamilton College

“… there is a critical period of reaction time that must be taken into account in mastering the coordinated activity of the respondent to his opponent or conductor. The author has brought this observation, and the resulting alteration in technique required of the conductor…”-Dr. J. Michael Hemphill, Medical College of Georgia

Table of Contents

Foreword I by Heather Buchman

Foreword II by Dr. Robert Tomaro

Preface

Acknowledgements

Introduction

PART I. FROM ICTUS TO CONCEPTUAL MOTION

Chapter 1: Evolution

Forming a Sovereignty

Chapter 2: Anatomy of the Strike

Instrumental Response

Time-lag

Ictus and Click

Instrumental Reflexes and Conducting

Chapter 3: The Art of Spirit

Clichés and Imagination

Action and Concept

PART II. DIMENSIONS OF CONDUCTING

Chapter 4: The Syntax and

Semantics of Conducting

The Power of Sound Governance

Contour of Sound

Semantics of Gesture

Chapter 5: Inner Mechanisms

Inner and Outer:

Fundamental Methodological Predicaments

Conceptual Motions

Inner Will

Chapter 6: Interactive Techniques

Relaxation

Incorporating Relaxation

Chapter 7: Milieu of Communication

Modification of the Beat

Emancipation of Metrical Schemes

Rounded Motion

The Zone of Communication

The Technique of Attention Gathering

The Communicative Position of the Arm

The Cycle of Interactions

Dimensions of Perception

PART III. METHODOLOGY

Chapter 8: Development of the Apparatus

External Features of the Apparatus

Body Posture

Primary Arm Position

Down-beat Position

The Plane of Conducting

Modification of the Wrist Strike

Chapter 9: The Preparatory Motion-Impulse

The Preparatory Upbeat-Impulse

Double- and Triple-Meter

Preparatory Motions/Upbeats

Double-Meter Motion

One-Pattern Triple-Meter Motion

Combination of Double- and Triple-Meter Motions

Beat Connection (Intermediary Upbeat)

Beats’ Connection throughout Schemes in

Various Dimensions

Chapter 10: The Upbeat as a Conceptual Action

Establishing a Sense of the

Vicinity (Contour) of Sound

Fusing the Upbeat and the Contour of Sound

Intermediary Upbeats and the Contour of Sound

Chapter 11: Types of Upbeats

Suspended Mode

Converted Mode

Converted Suspended Mode

Rebound

Pendulum

Chapter 12: Active Muscular Relaxation

Breath Control, Active Muscular

Relaxation and the Contour of Sound

Chapter 13: Inner Techniques

Inner Impulse

Inner Vocalization (Auditory Differentiation)

Anticipation of Musical Texture

Multi-leveled Manifestation of the Arms

The Method of Juxtaposition and Comparison

Chapter 14: Baton

Afterword

Translated Excerpts

Bibliography

Index