MEEDS, from p. 56
that in regards to choral ensembles, high conducting plans received the lowest ratings of expressivity in both performance and conducting while lower conducting gestures evoked fuller and lower breaths, which can directly impact support and lead to a richer ensemble sound.
Unrestrained tone explains issues of exertion of physical energy and tension in musical performance (Gumm, 2012). Singers produce their best tone when experiencing the least amount of tension. We may be able to rehearse without tension, but once the concert arises nerves kick in, resulting in tension. This can happen for both singers and conductors alike. Phillips (2016) suggests that conductors look upon nervousness as excitement and states the importance of communicating this idea to their ensemble. This is especially poignant when working with young singers as performance anxiety may be a new concept for them. Gestures can also impact tension. Acklin (2009) suggests that some gestures that increase tension are those with palms up, stabbing or fisted gestures. Gestures that cause the least amount of tension include those with palms down and sideways phrase shaping (Acklin, 2009).
Gumm’s (2012) expressive functions include musical events described within the score, things like dynamics or tempo changes, all of which implement strong usage of the left hand. While expressive gestures are not limited to the left hand it is important for young conductors to note and practice the independent use of the left hand to demonstrate expressive functions. I would even suggest taking a few practice runs where you drop pattern entirely and only conduct expressive aspects of the piece.
Motivational functions are often achieved without conducting and are sometimes non-verbal (Gumm, 2012). The power of eye contact and facial expression are closely linked to motivational functions because they communicate with individual singers. Musicians will take their own understanding of these non- verbal cues and adapt them into their understanding of the music. Conductors can get better at motivational functions by practicing them before rehearsal and connecting them with interpretations of text and other expressive aspects of the music. You can even check the effectiveness on your ensemble by recording your rehearsal.
spring 2017 |
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Psychosocial functions are when conductors explain their rationale for using a certain gesture, rather than implementing it and assuming the ensemble will follow (Gumm, 2012). Including psychosocial functions in your rehearsal time will draw upon your musicians’ own background experiences (Gumm, 2012), and allow you as the conductor the unique opportunity to understand your ensemble’s considerations of gesture. Take the time to understand the collective atmosphere of the ensemble and build upon past experiences. Allowing musicians the freedom and respect to express their ideas will better enable you, the conductor, to do the same.
Expressivity is a tricky concept and is difficult to understand, especially with its connection to sound. I believe that even though expressivity is often associated with experienced conductors, young conductors can learn to become expressive through practice and understanding of gesture influence. While I can’t guarantee all of these functions will work for all ensembles, I hope that a better awareness of these functions will help conductors, young and old, achieve a better sound all musicians strive for.
Acklin I. Amy (2009). The Effect of Conducting on Ensemble Performance: A “Best-Evidence” Synthesis Retrieved from ProQuest Dissertations and Theses database. (UMI No. 3385224)
Gumm, A. J. (2012). Six Functions of Conducting: A New Foundation for Music Educators. Music Educators Journal,99(2), 43-49.
Phillips, K. H. (2016) Directing The Choral Music Program, second edition. New York, NY: Oxford University Press.
Silvey, B. A., & Fisher, R. A. (2015). Effects of Conducting Plane on Band and Choral Musicians’ Perceptions of Conductor and Ensemble Expressivity. Journal Of Research In Music Education, 63(3), 369-383.
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