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 + shipping | |
| (Click the PayPal button to buy) | ||
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
“… 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
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