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Six Functions of Music Conducting: A New Foundation

Learn to conduct music AND musicians who make the music
by

Alan Gumm

on 18 September 2011

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Transcript of Six Functions of Music Conducting: A New Foundation

6 Functions of Conducting Overview
Two traditional functions focus on reflecting the music: Mechanical Precision & Expressive
Four functions focus on the musicians who make the music: Motivational, Physical Technique, Unrestrained Tone, & Psychosocial Mechanical Precision Expressive Motivational Physical Technique Psychosocial Unrestrained Tone Conclusion: A new standard of excellence already in practice in the profession. Questions?
gumm1aj@cmich.edu Traditional right hand patterns that convey beat-related characteristics of music: beat-points, accent, meter, tempo Independent left hand gestures and facial expressions that convey expressive characteristics of music: phrase shape and intensity, dynamics, and tempo changes. Attention-getting changes in conductor intensity: alerts, points, smiles, winks, & glances before the next musical moment Gestures that mimmick or guide musician's energy, strength, speed, direction, and weight of motion: breathing, articulation, bowing, and other instrument-specific actions. Upward, rising, lifting, floating, hovering, circular, spiraling gestures to counteract downward and inward force of traditional conducting.
Conduct smaller, slighter, or stop so the ensemble freely joins in tone & tempo Gestures drawn from familiar experiences—dance, acting, mime, metaphors
Students mirror the conductor, learn to conduct, and share in interpreting music A streamlined, organized, adaptable, multifunctional approach to learning and improving conducting
A more complete foundation especially for music educators. Fosters a deeper mastery of conducting than offered by traditional gestures alone
Focuses the conductor beyond the musical score to address the musicians who make the music. Video Examples:
Professional (labeled for you)
Honors Ensemble (labeled for you)
Classroom (detect changes for yourself) based on research of Alan Gumm
assisted by Sharyn Battersby, Kathryn Simon, & Drew Shankles
Full transcript