AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL 0 AND ...
Transcript of AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL 0 AND ...
AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL 0 AND CONDUCTING TECHNIQUES OF SELECTED
JUNIOR AND SENIOR HIGH SCHOOL BAND CONDUCTORS
by
Munro Hunting Sherrill \
Submitted in Partial Fulfillment
o£ the
Requirements £or the Degree
DOCTOR OF MUSICAL ARTS
Supervised by Roy E. Ernst,
Eastman School o£ Music
University of Rochester
Rochester, New York
1986
AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL
AND CONDUCTING TECHNIQUES OF SELECTED
JUNIOR AND SENIOR HIGH SCHOOL
BAND CONDUCTORS
by
Munro Hunting Sherrill
Chairman: Roy E. Ernst
This study analyzed the rehearsal and
conducting techniques of eight teachers of school bands
by a systematic analysis of rehearsal video tapes.
Four JUnior high school end four senior high school
conductors participated in the study. The criteria for
selection were excellent festival records and
reputations for having developed successful music
programs.
The conductors were videotaped rehearsing
their bands at their own schools in an environment as
close to normal as possible. The initial tepee were
screened for examples of the following four main areas
of the study: <1> warm-up/tune-up procedures, <2> the
teaching o£ balance, <3> the teaching of intonation,
and <4> the teaching of rhythM. These four areas are
described in Chapters Three through Six. Other
examples of rehearsal techniques, such as rehearsal
planning and the correlation of theoretical concepts
and compositional techniques are mentioned in Chapter
Seven. Chapter Eight surveys five criteria of
conducting involving physical/visual techniques used by
each conductor: i.e. posture, right hand position, left
hand postion, eye contact, and performer response.
Appendix A lists the frequency of specific
rehearsal obJectives and techniques: articulation,
phrasing, dynamics, expression, precision, rhythm,
tone, tuning, the use of tenuto/rubato, modeling by
playing <instrument> and singing, and the use of
positive reinforcement. The data found in Appendix B
indicate the frequency of the following conducting
techniques: eye contact, staccato beat, sudivided
beat, transitions, legato beat, hand cueing, eye
cueing, change in beat size, contrast in beat styles,
independence of hands, and releases/fermat!. A log of
warm-up/tuning procedures using scales, chorales,
rhythm studies, chord studies, articulation studies,
technical skill builders, individual tuning, and verbal
instructions can be found in Appendix C.
Eight tapes containing nearly seven hours of
taped material were reviewed to produce a master tape
which provides examples of individual conducting
behavior. Each taped example on the master tape is
discussed in the text o£ the study.
Examples were found o£ the conductors teaching
within the four main categores:
intonation, balance, and rhythm.
tuning and warming up,
The study, however,
£ound only minimal examples in the following
sub-categories: odd meter passges, unusual or
difficult rhythms, and mixed meter. Other desired
examples of conducting behavior, such a facial
expression, eye contact and expressive beat patterns
were found to be minimal.
ACKNOWLEDGEMENTS
I wish to express my gratitude to my advisor,
Dr, Roy E. Ernst, for his support, and seemingly
unending patience and understanding. His ever present
encouragement has been a positive factor in the
completion of this study.
I am especially indebted to the eight public
school conductors who eo willingly contributed their
skills.
A special word of thanks is given to my
conducting advisor, Dr. Donald Hunsberger, for his
support and encouragement. In addition, a thank you is
extended to Dr. Richard Grunow, of the Music Education
Department of the Eastman School of Music, for serving
on my dissertation reading committee along with Dr.
Hunsberger.
Many heartfelt thanks are extended to the
following members of the Instrumental Music Staff of
the Fairport Central School District: Kenneth Brown,
Louis DeBonzo, Richard DePasquale, Thomas Ghidiu,
Elinor Osborn, Richard Osterling, Donald L. Poole,
Waldo Woodworth and William Woodworth. Their
encouragement and support of my work at the Eastman
School o£ Music is greatly appreciated.
Appreciation is extended to the Board of
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Education of the Fairport Central School District for
granting me a sabbatical leave for advanced graduate
work.
Finally, I em grateful to my wife, Jeanette,
end sons, Matthew and Jason, for their patience and
understanding.
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TABLE OF CONTENTS
ACKNOWLEDGEMENTS...................................... ii
LIST OF TABLES..... • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • v
Chapter I. Introduction. . • • . • • • • • • • • • • • • • . . • • . . . • • . • . 1
II. Relevant Research......................... 6
III. Warm up/Tune up Procedures................ 22
IV. Teaching Ensemble Balance................. 29
V. Teaching Intonation....................... 35
VI. Teaching Rhythm........................... 42
VII. Other Rehearsal Techniques................ 51
VIII. Other Conducting Techniques............... 57
I X • Summary. • • • • • . • • • . • • • . • • . • • • • • • • . . • • • • • . . • 65
APPENDIX A. Rehearsal Techniques Frequency Chart...... 72
APPENDIX B. Conducting Techniques Frequency Chart..... 73
APPENDIX C. Log of Warm-Up/Tuning Procedures.......... 74
APPENDIX D. Correspondence with Conductors............ 75
APPENDIX E. Follow-up Correspondence with Conductors. 77
APPENDIX F. List of Conductors' Names and Schools..... 78
B I BLI OGRAPH Y • • • • • . • . • • • • • • • • • • • • • • • • • • • • • • • • . . • • • • • • • • • 79
Table
1
2
3
4
5
6
7
8
LIST OF TABLES
Consecutive Order of Taped Examples Contained in Chapter III. Warm-up/Tuning Procedures ••••
Consecutive Order o£ Taped Examples Contained in Chapter IV. Teaching Ensemble Balance •.•••
Consecutive Order of Taped Examples Contained in Chapter V. Teaching Intonation ••••••••••.•
Consecutive Order o£ Taped Examples Contained in Chapter VI. Teaching Rhythm •••••••••••••••
Talking/Playing Percentages ••••••••••..•.••..••
Consecutive Order o£ Taped Examples Contained in Chapter VII. Other Rehearsal Techniques •••
Evaluative Criteria for Conducting •••••..••..••
Consecutive Order of Taped Examples Contained in Chapter VIII. Other Conducting Techniques.
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Page
28
34
41
49
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58
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Chapter I
INTRODUCTION
Videotaped examples of conductors
demonstrating methods of problem solving during
rehearsal ere generally not available as an
audio-visual resource to college conducting and music
education instructors. By viewing videotaped examples
of exemplary conductors, conducting students would have
the opportunity to examine the nonverbal language of
body motion, eye contact, and facial expression as well
as the verbal communication used in the preparation of
music during rehearsals and performances.
Purpose. The purpose of this study is to
provide obJective information about the conducting and
rehearsal procedures used by successful music teachers.
This information and the videotaped examples may be a
useful resource for college music education classes~
conducting classes, and classes or inservice workshops
for public school teachers.
Significance. The resource tapes should
lead instrumental music teachers to use a broader range
of conducting and rehearsal techniques and to become
more discriminating in selecting techniques for
specific purposes. If successful, this procedure could
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be developed and expanded for use by choral and
orchestral teachers.
Procedures. This study contains
videotaped examples of JUnior and senior high school
band conductors in their own schools working with their
bands under conditionB that most closely duplicate
normal day-to-day rehearsal procedures. Each conductor
was taped during one regularly scheduled band
rehearsal. The tapes were analyzed to identify
selected conducting and rehearsal techniques. The
selected examples were electronically tranferred to a
final master videotape, which serves as part of the
completed study.
For purposes of anonymity the names of the
conductors and their schools do not appear on the tapes
and appear only in the appendices of the study. The
participants were aware that anonymity would not be
possible on the video tapes.
Limitations of the Study The study
produced a wide range of musical examples, largely due
to the £act that no restrictions, limitations or
requirements were placed on the conductors in the
selection of music. In addition, the music included
examples from easier levels of difficulty <Level II,
New York State School Music Association> to more
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advanced levels of difficulty <Level VI, New York State
School Music Association). These varying levels o£
technical development contributed to the difficulty in
identifying identical examples o£ rehearsal and
conducting techniques from more than one or two
conductors. This problem was anticipated, but teachers
were not asked to perform the same music because it
would have detracted from normal conditions and created
the appearance that the teachers were being tested.
Because of this decision in designing the study,
however, examples were not found of rehearsal
procedures for such areas as assymetric meters and
mixed meters because they were not present in the music
chosen by the teachers.
When enlisting the services of the conductors
for this study several limiting criteria were observed.
The conductors were chosen on the basis of their
individual reputations as outstanding teachers and the
consistenly high festival ratings on their bands. No
attempt was made to select teachers on the basis o£
their conducting technique. There was some hesitation
to being taped for the purposes o£ analysis and
evaluation, but all eight conductors agreed to the
terms, with some demanding varying degrees of control
over the use of the tapes.
The selection of teachers was limited to an
area o£ not more than one-hundred miles from Rochester,
New York. Since there may be regional characteristics
or traits in the conducting examples due to influences
in the area, this may limit the extent to which the
conclusions can be generalized.
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It should also be noted that there are no
women or members of minority groups serving as
conductors in the study as there were very few women or
minority group conductors at the JUnior high or senior
high level at the time o£ the study. 0£ those who were
teaching at this level, none met the remaining
criteria.
No attempt was made to alter the quality of
either the pictures or sound from the video equipment.
Sufficient sound and picture quality were maintained at
all times to properly assess the work of the study.
Organization o£ the study. The review o£
significant related literature is discussed in Chapter
Two. Chapter Three reports the warm-up and tuning
procedures used by the conductors in the study.
Chapter Four contains examples of conductors dealing
with balance problems in band rehearsals. Chapter Five
deals with the solving of intonation problems and
Chapter Six discusses how the conductors dealt with
rhythmic problems. Chapter Seven reports on other
teaching strategies not included in the ma)or component
areas o£ Warm-up/Tuning, Balance, Intonation and
Rhythm. Chapter Eight presents a sequential
description of the study outlining the specific
procedures and recommendations £or further study.
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Appendices A, B, and C <i.e., Rehearsal
Techniques Frequency Chart, Conducting Techniques
Frequency Chart, and Log o£ Warm-up/Tune-up Procedures
and Time) include specific findings which are pertinent
to the written study. Appendices D, E, and F contain
letters o£ correspondence to the conductors as well as
their identity and school districts.
Chapter II
REVIEW OF THE RELATED LITERATURE
With the invention of television and the
development o£ videotape recording techniques,
researchers have recently <within the last twenty-five
years) begun to explore the potential of this medium as
an educational tool. Numerous studies have used the
videotape recorder as an evaluative tool. Most of the
studies discussed here use the videotape recorder for
self-evaluation, or for evaluation of students by
either the instructor, other students or a set of
Judges. Many of the researchers use data collected
from the tapes to develop observational forms for
analytical purposes.
For the purposes of this study, the video
recorder was not used as a tool to evaluate and/or
modify behavior, but rather to present visual examples
of techniques for study by conducting students.
Interestingly, no studies were found that used
videotaped examples of instrumental conducting and
rehearsal techniques in this fashion.
Although not a study utilizing videotape, the
study completed by Matthews <1963> reinforces the need
for further study of the methods of teaching conducting
at the college level. Matthews' premise stated that it
was necessary to establish standards for the teaching
of conducting in colleges and universities. By means
of a questionnaire he gathered data from three
differing population groups: 1> school music
conductors in Oregon, 2> professors of conducting and,
3> a criterion group of the ten .. best .. school music
conductors selected by five professors of conducting.
Among the eight final recommendations, the need for
increased practical experience was emphasized and
seemed most pertinent to this study.
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Hunter <1968) studied "the effectiveness of
instant replay television as a method for teaching
certain physical aspects of choral conducting."
Hunter's null hypothesis, stated "there would be no
statistically significant difference between the means
of the experimental and control groups in overall
achievement in conducting ability: in proficiency of
preparatory beat, basic beat movement, dynamic
indication, cut-offs, cueing, independence of hands,
use of face and eyes; and in appropriateness o£ posture
and attention to musical detail." This null hypothesis
was upheld in all areas. Hunter further states:
Despite the fact that no statistically significant results were obtained, the consistency with which the results favored the experimental group and the enthusiastic response of everyone connected with the experiment indicate a definite value for instant replay television in teaching conducting.
Zdzinski <1969> believed that the visual
impact of a conductor is the key to his communication
with the ensemble. He states:
Since conducting a musical ensemble is primarily a visual effort on the part of the conductor as he directs and controls the performance of the ensemble through his motions and gestures, it was felt that a more direct means of feedback to the student conductor could be offered by a visual record of his efforts, as compared to the standard instructional techniques of the college conducting class.
Zdzinski chose to use 8mm film rather that
videotape to record the student conductors. Both
silent and sound 8mm pictures were used, with no
conclusion drawn as to which was more effective.
Zdzinski concludes:
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The use of visual records of conducting performances did in fact offer the opportunity for the student conductor to take advantage of a more direct means of feedback than that offered by standard class procedures of viewing end analysis. In addition it was found that the films offered some unique values of reinforcement and clarification of points of focus about a student's skill when used by the instructor in individual conferences.
Papke (1972> investigated the rehearsal
behavior of instrumental music directors by utilizing
an evaluative instrument he called the Papke Instrument
for Evaluating Rehearsals <PIER>. Types of musical
experiences, musical learnings, and director rehearsal
behavior were studied for the purpose of
self-evaluation. The program was also used £or the
expansion of perspectives for secondary instrumental
curricula.
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For this descriptive study, Papke began with a
pilot study questionnaire selecting rehearsal items for
the PIER. The results were combined into a final
questionnaire sent to twenty instrumental directors.
Eighteen <90%> of the questionnaires were returned.
Each director was videotaped at two rehearsals by
technicians in their own schools. Papke categorized
the data into three main areas: 1> Rehearsal Climate,
2> Rehearsal Techniques in Instrumental Techniques and
Music Education <warm-up~ rehearsal>~ and 3> General
Director Rehearsal Attitude. In addition, director
verbalization was tallied into: 1> "primarily
instrumental skills, .. 2) "material related to
instrumental skills and music education," and 3>
.. primarily music education materials." Papke
concludes:
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There was significant unanimity among directors in the sample pertaining to instrumental music philosophies. There was significant difference in the percentage scores of 'primarily instrumental skills' and 'primarily music education materials.' There was a significant amount of rehearsal time taken up by director verbal time: specifically for 'directions.' There was a significant decrease in tallies for 'primarily music education materials' from rehearsal one to rehearsal two. There was a significant number of directors receiving a rating of ••1 .. (well attended to> for item 125, 'musical understanding, knowledge, appreciation and creativity emphaized.' There was a significant lack of availability o£ written instrumental music curricula .•.
In his recommendations Papke cites the need
for teachers to: <1> broaden the rehearsal content,
<2> reevaluate philosophies and obJectives of the
instrumental program to reflect present rehearsal
behavior, <3> reexamine efficiency of rehearsal time,
<4> make rehearsals more comprehensive by expanding the
musical experiences, and <5> devote more time to
self-evaluation of rehearsal behaviors.
Yarbrough <1973> used videotape for analysis
o£ high end low magnitude conducting gestures. A split
screen was utilized for the simultaneous observation of
both conductor and student. The study revealed ••There
was a significant difference in student attitude
towards the high magnitude conductor versus the low
magnitude conductor. Students preferred the high
magnitude conductor ...
Gonzo and Forsythe <1976> used videotape
examples of exemplary choral conductors as an aid to
instruction in en undergraduate conducting course at
the University of Illinois. From the twenty-six hours
of tapes, nine categories <i.e., pitch, rhythm,
phrasing, dynamics, interpretation, text, intonation,
note accuracy, and conducting technique> were selected
and individual tapes of each category were produced.
Each category-tape contained examples of specific
teaching techniques, musical problems, and singers'
vocal behavior. The teaching techniques reflect
examples of problem solving, discovery method,
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modeling, and lecture-discussion. The musical problems
identified for each category-tape included a wide range
of musical problems encountered in a typical rehearsal
situation.
For this proJect, the video tape recorder, two
cameras and a special effect generator allowing
split-screen image were used. Because of the
sophistication of the equipment, the capability of
zooming in on both the conductor and the individual
students provided close observation of student
responses to the conductor's verbal and physical
commands.
For the conducting classes, the tapes were
used three different ways: <1> in class as part of the
teacher's presentation, (2) viewed individually outside
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of class, and <3> as part of a quiz session supervised
by a graduate assistant. In addition, three
experimental tapes were made that contained brief
excerpts of choral rehearsals, each representing some
principle or aspect of behavior modification. A
posttest only control group design was used in this
application to compare observational skills.
As a part of this proJect, the tapes were used
to enable the viewer to observe a choir singing a
phrase musically after the phrase had been rehearsed by
the conductor. Thus, a maJor obJective was to provide
opportunities in observing the process of error
detection and how the corrections were handled by
different conductors. Gonzo and Frosythe state:
No quantitative data were collected for this phase of the proJect, and therefore the following discussion is JUdgmental. In the first approach, it seemed apparent that the students who had the benefits of the instructor's commentary followed by a discussion perceived more of what was happening on the tapes concerning the cause and effect of a specific excerpt in the teaching-learning process than did the students who had no teacher's help.
It was difficult to assess the effectiveness
where students could sign out the tapes and view them
independently without benefit of the instructors'
commentary. These students " •••. reported the tapes
were an aid to their understanding of conducting and
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rehearsal technique." The quiz section contributed
effectively to the discussion approach.
Rhonda Jeanne Fleming <1977> developed a study
to explore possible advantages resulting from the use
of the videotape recorder prior to the live conducting
experience and during each student's practice in
preparation for the live rehearsal. Fleming
established a null hypothesis stating:
At the end o£ one ten-week quarter o£ study there will be no significant difference in conducting skill between those students who utilized guided practice materials with the videotape recorder and those students who do not utilized guided practice materials <a=.OS>.
Twenty-two students enrolled in the beginning
choral conducting course at Florida State University
participated as the sample population in this
pretest-treatment-posttest designed study. Evaluation
of conducting skill was by a panel of three
adJUdicators who ranked the twenty-two conductors on a
scale o£ one to five on thirty-three items describing
desired conducting behavior. These items were
categorized into eight areas representing physical
characteristics of conducting skill: <1> body posture,
<2> preparatory gesture, <3> placement o£ meter
patterns, <4> cueing and releasee, <5> independence of
hands, <6> character of gesture as it portrays musical
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detail, <7> facial expression and eye contact, and <8>
dynamic indications. Each conductor was videotaped and
subsequently evaluated by the three adJudicators who
ranked and paired them. One member of each pair was
randomly assigned to either the Experimental or Control
Group.
Students in the Control Group were given
freedom to conduct music from the packet of music
provided to all choral conducting students. The
Experimental Group was assigned specially prepared
materials. Students in the Experimental Group were
given two private video-practice sessions per week
where they were recorded and made self-evaluations of
their conducting of the selected pieces. A
pre-existing feature of the Choral Conducting Program
at Florida State University included the videotaping of
Laboratory Chorus conductors, followed by individual
playback and discussions. The Wilcoxon Signed-Rank
Matched Pairs test was used to analyze the pretest and
posttest data. This test revealed no significant
difference between groupe at the time of the pretest.
The resuts of postteat, however, indicated a
significant difference <a=.OS> favoring the
Experimental Group.
Recent research indicates nonverbal
communication has a great influence on the quality o£
15
communication in the classroom. Roshong <1978)
developed an observational instrument that would
inventory the nonverbal communications of conductors to
see if relationships exist between the observed
nonverbal behavior and the nature of the task being
performed. Roshong selected four procedures used in
rehearsals: 1> starting performance~ 2> stopping
performance~ 3> sustaining performance~ and 4)
instructing. These four elements of rehearsals were
edited from videotapes of three Ohio college band
directors. Three observers viewed the edited episodes
and recorded their observations on the observation form
which categorized each behavior into one of six
categories. The intensity of each behavior was rated
on a scale of one to five. Roshong states:
The process of this investigation and the interpretation of the data have led to the following conclusions:
1) The observation instrument developed in the study is a viable means of recording both the type and quality of subJects' nonverbal behavior that occurred during the videotaped episodes.
2> The categorization of the episodes in the activities of starting, stopping, sustaining, and instructing presented a method of placing the conductors' nonverbal behavior in the context of the musical rehearsal.
3> The inter-observer reliability estimates, when viewed in relation to the short observer training time, indicate that the instrument was easy to use by observers who were familiar with the task of conducting.
4) The method of observation made it possible to define the patterns of nonverbal behavior demonstrated by the subJects during a particular rehearsal event.
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5) There were some commonalities of nonverbal behaviors observed during specific rehearsal events that were displayed by the subJects of this study. These were facial approval and forward movement during starting and sustaining events; facial disapproval, eye contact with the group, and movement away from instruction.
Through the use of videotape, Keller <1979>
investigated the effects of teacher-student feedback on
the acquisition of selected basic conducting skills.
Keller's hypothesis was that the procedure of using
videotape replay with teacher-student feedback will
significantly improve the development of basic skills
in beginning conducting. The skills selected for the
study were: < 1 > posture, < 2 > baton position, < 3)
preparatory beat, <4> ictus, <5> phrase indication, <6>
cueing, and <7> fermata. The study utilized a Control
Group of eleven students and an Experimental Group of
eight students. A Conducting Evaluation Form <CEF>
where the selected skills could be recorded for
evalution, was designed by the author. All students
were videotaped at the beginning and end of the course,
using a specified composition for each taping session.
A panel of Judges scored each student's performance on
the pretest and posttest. Although all students were
taught a "traditional" approach, the Experimental Group
had their conducting videotaped on five separate
occasions at two week intervals during the quarter.
The students in the Experimental Group reviewed their
taped examples individually with the instructor who
offered feedback during the viewing sessions. The
evaluation was recorded on the CEF and given to the
student at the end of the feedback session. The data
collected from the three JUdges were subJected to the
statistical treatments of a t-test, analysis of
variance, and Pearson Product Moment Correlation.
Conclusions from the sudy are:
1) Videotape feedback was an effective technique in the teaching of basic conducting skills.
2> Videotape feedback was most effective in improving the skills of fermata, cueing, and posture and baton position.
3) The pretest/posttest example proved to be a reliable testing instrument.
4> The use of the Conducting Evaluation Form <CEF> proved to be an effective instrument in providing feedback to subJects.
Researchers Kelly, Wapnick and Yarbrough
<1979> compared the effect of two videotaped feedback
techniques on improvement in conducting skills of
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beginning conductors. In one technique, students spent
time in sessions with an experienced conducting
instructor. For the second technique, students
independently viewed videotapes with behavioral
observation forme end checklists.
Pretests and posttests consisted of four,
four-measure examples of 214, 314, 414, and G/8 meters
which were conducted and taped by each student for
analysis. Both the Control Group and Experimental
Group were pretested, but only the Experimental Group
was posttested.
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Results indicated the instructor oriented
group yielded more to instructor's comments and help on
eye contact, score preparation, technique and
mannerisms, while the experimental group indicated
more concern for facial expression, body movement and
rehearsal time.
verbal content.
Both groups showed equal rating in
In addition, an instructor rating
survey indicated no significant differences between
groups in "instructor warmth," "academic intellectual
content," or "student work/input."
The study recommended that further research be
done to determine the extent to which modeling is a
necessary component of learning conducting behaviors.
The authors state ''It may be that it is not as
necessary at basic levels as at later stages when more
complex gestures are required."
The concept of using developed, specialized
skills by professionals to teach the same skills to
novices was studied by Yeager. <1980) Skilled gymnasts
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performed three physical skills while being
photographed on high speed film. The pictures provided
general individual rhythms which were transcribed into
musical notation for later verification and use as a
teaching tool. The study concluded that the use of
rhythmic patterns of skilled gymnasts does not enhance
the learning of gymnastic skills by beginning gymnasts.
Jordan (1980) evaluated the effectiveness of
videotape instruction when used as a supplement to
classroom instruction in beginning conducting classes.
Three sub-problems were explored: <1> How can the
validity and reliability of a test designed to evaluate
gestures for conducting fermat! and cue be established?
<2> What is the relative effect of videotape
instruction with printed supplementary materials
compared to printed supplementary materiels alone on
the effectiveness of gestures for conducting fermat!
and cues by students involved in beginning conducting
clesses? <3> What are the opinions o£ beginning
conducting students concerning the use of videotape
instruction as a supplement to classroom instruction in
conducting?
For this, Jordan used a poattest only control
group, experimental group design for evaluation. In
his findings, Jorden states:
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Videotape supplementary instructional materials as used in this study had a significantly positive effect upon the effectiveness of gestures for conducting fermat! and cues.
In her article '"Evaluating and Improving
Conducting Skills, .. Leslie Jane Hunt (1981> raised the
question of how music educators assess the e££ect o£
their conducting skills. She asks:
How can the director be sure that nonverbal communication through the use of hand, body and facial gestures actually convey to the ensemble the rhythmic, dynamic, and emotional contents of the musical score?
Hunt suggests that one method of evaluating
effectiveness of nonverbal communication be through the
evaluation of the ensemble performance. In addition,
she suggests it would be helpful to know which forms of
nonverbal communication most effectively improve the
ensemble's performance.
Hunt suggests that viewing videotapes alone
without a specific set of goals to work toward may be
useless. Karren Lewis <1978> addreeeed this problem in
a paper presented to the Music Educators National
Conference Annual Meeting in 1978 entitled "The
Development and Validation of a System for the
Observation and Analysis of Choral Conductor Gestures."
Lewis developed en observation instrument called the
Choral Conductor Observation System <CCOS>. Her study
21
included seventeen descriptive categories of specific
conducting gestures and was used to evaluate conducting
students at the University o£ Nebraska and the
University of Texas. The study's conclusion reads:
The CCOS was rated very highly as an additional feedback mechanism by beginning conducting students, and that it can provide a valid method for evaluating the progress of conducting students.
The CCOS also seems effective at identifying and coding conducting gestures both quantit~tively and qualitatively.
In light of the increasing number of studies
using videotape to gather data about conductors, it
seems difficult to deny the effectiveness of this
technique for self-evaluation and classroom
instruction. Currently, the use of videotaped lessons
using examples for inclusion in music curricula is not
widespread. The potential for this medium, serving as
a resource for the many skills acquired through visual
learning, has yet to be tapped.
Chapter III
WARM-UP/TUNE-UP PROCEDURES
Each conductor in the study used a warm-up
procedure~ but there were significant variations in the
type and duration of warm-up used. <See chart,
Appendix C>. Rehearsal length in the study varied from
the average school class period of 45 minutes to an
evening rehearsal o£ 90 minutes. During the five cases
of a 45 minute rehearsal~ the conductors spent from 5
~inutes to 10 minutes with an average of 8.6 minutes on
a warm-up procedure. Of the remaining rehearsals of
70, 75 and 90 minutes~ the warm-up period was 9, 15 and
15 minutes respectively. In moat cases, the length of
the warm-up period was related to the length o£ the
rehearsal period.
In all but one case, scales were employed as a
warm-up device. The use of scales varied from the
generally accepted "band scale" o£ B-flat concert to
the use of all fifteen maJor scales played through the
circle of fifths. The technical requirements o£ scale
performance varied from one beat per scale degree
(conductor C>, eighth note and sixteenth note rhythmic
patterns on each scale degree <conductor B>, to one
sixteenth note for each scale degree <conductors F and
23
H>, to scales in thirds on eighth notes (conductor D>.
The use of partial scales was used by one conductor
(conductor E> as a technical mechanism to develop
finger dexterity. Two conductors used scales on whole
notes to develop the feeling of an internal pulse in
each player by setting a tempo and then not conducting
or giving any hint of a visible beat. The extent to
which conductors used scales as technical devices was
largely dependent on the skill level of the band. The
conductors of the younger bands did not employ rapid
scales or technical warm-ups as much as the conductors
of the more experienced bends.
Conductors C and D employed separate rhythmic
warm-ups without scale patterns. Conductor C
verbalized instructions for rhythmic patterns to be
played on a single note, concert F. For example, .. Play
a triplet, two eighths, one quarter and two eighths on
concert F."
For a unique system of rhythmic development,
conductor D has devised a rhythm pattern sheet kept in
each player's folder. This sheet has 120 rhythm
patterns, each in 2/4 meter. The students are taught a
verbal assocation based on syllables developed and used
by Edwin Gordon (1971> <TAPED EXAMPLE #1, meter
#0000). During each rehearsal warm-up period the
conductor selects patterns at random or according to
plans established for coordination with rhythmic work
in specific band pieces. The use of this form o£
rhythmic and pattern warm-up is a valuable tool in
accelerating the learning of rhythmic patterns, so
often a problem for younger students. In the case of
24
Conductor D, his use of these patterns is the first
phase in establishing a curriculum that will eventually
be used by all the bands in hie District.
Six of the conductors utilized the chorale as
part of their warm-up procedures. Treasury of
Scales by Leonard B. Smith <1952> was used by
conductors F and H. Conductors A, D and E used an
unidentified four-part chorale similar to the chorale
form of Johann Sebastian Bach. All conductors using
chorales sought similar goals. All emphatically
stressed eye contact from the players and all focused
on the development of listening skills which enhance
tone, intonation, balance, and precision. All used the
chorale as a tuning device, stressing listening skills
between individuals, within sections, and within the
total ensemble.
Other warm-up devices used by some conductors
included technical skill builders such as rapid single
tongueing for all wind players and compound tongueing
for brass players. Conductors D and H used a metronome
25
for precise rhythmic continuity for tongueing
exercises. Brass players were given lip flexibility
exercises by conductor D. Conductor F employed the use
of vocalization from the Treasury of Scales <TAPED
EXAMPLE #2, meter #0420>.
Of the eight conductors, four tuned the band
by using a visual tuner such as the "strob-o-scope"
type. Two conductors tuned their bands by a pitch
sounded by an instrument in the band. No conductor
used an audio type tuner to establish an accurate
pitch. Conductors B and D, after making a visual
inspection of the strobe tuner, would tell the student
to "push in" or .. pull out .. or tell them if they were
sharp or flat <TAPED EXAMPLES #3, metter S0457 and #4,
meter #0786>.
Conductor H tuned the band using a tuba, an
increasingly popular method of tuning <TAPED EXAMPLE
#5, meter #1098>. The rationale behind this form of
tuning lies in the belie£ that the overtone series
reinforces itself as a group tunes £rom the bottom of
the sound spectrum. This is fundamentally different
than tuning all instruments to a visual tuner which
allows no variation in the extreme low and high
instruments. Some conductors feel greater brilliance
end sonority of sound exists when the lower instruments
are tuned below and the higher instruments are tuned
26
above the actual pitch to give an illusion of apparent
pitch. More specifically, tubas are generally tuned
eight to ten cents below and £lutes are generally tuned
eight to ten cents above the actual pitch <on a strobe)
to give an apparent pitch matching that of the middle
range instruments, such as oboes, trumpets, clarinets,
etc •• The same rationale exists in the opposition of
tuning pianos with a strobe tuner; a fine piano tuner
will stretch the octaves through the range o£ the piano
giving the illusion o£ accurate intonation, but when
checked against the accuracy o£ the electronic strobe
tuner the outer octaves will appear to be out o£ tune.
Conductor F required all students to sing the
tuning note before they played their instrument <TAPED
EXAMPLE #6, meter #1217>. Conductor B tuned each
individual and made a JUdgement based on his own sense
of pitch. All eight o£ the conductors emphasized the
importance of playing in tune while their group was
involved in the general warm-up period. Two o£ the
eight made no further attempt at tuning beyond the
general warm-up period. Six conductors tuned their
band individually. One conductor took time during the
remaining band rehearsal to repeat a tuning procedure.
Others referred, at times to intonation and tuning in a
general manner.
In all cases, the warm-up and tuning methods
27
were very much a regular part of each conductor's
rehearsal procedures. Unfortunately, the concepts and
values in teaching tuning skills were often not
reinforced sufficiently during the rehearsals which
followed. It seems likely that unless the conductor
can make a connection between warm-up/tuning exercises
with the performance of music, students will learn the
tuning procedures by rote and lack the understanding to
carry the concepts of intonation over into the
performance. Spontaneous and creative use of
warm-up/tune-up material is vital in keeping the
student thinking and alert to the complexities found in
the actual performance of music. For example, a
conductor might wish to dwell on the changing
tonalities found in a composition and use the same
modulatory process in an exercise prior to rehearsal.
Similarlly, concepts of extended chordal harmony
utilizing 2nds, Gths, 7ths, 9ths, make interesting
tuning exercises that can help students learn to tune
dissonant harmonies. Each of these examples show a new
approach to the development of listening skills.
Conductors of all instrumental ensembles need
to be aware of the importance of approaching warming-up
and tuning-up with a positive attitude. Treated
lightly, it will lose its meaning and become JUst
another set of motions that some conductors go through
28
that often have little or no meaning. Roy Ernst, in
his text Developing Competence in Teaching
Instrumental Music <1978), states, "The warm-up and
tuning should help to establish the mental
concentration, attitude and physical raadiness
conducive to good performance... Effective and creative
planning can make warm-ups and tuning an educational
experience every time the student participates.
TABLE 1
Consecutive Order of Taped Examples of Warm-ups and Tuning
Contained in Chapter Three
TAPE TAPE COND BRIEF DESCRIPTION OF EX. NO METER ID.
COMPOSITION/ COMPOSER
1 0000 D
2 0420 F
3 0547 B
4 0786 D
5 1098 H
6 1217 F
Use of syllables for teaching rhythm patterns
Singing last chord of a warM up exercise
Use of strobe in tuning
Use of strobe in tuning
Tuning from the tuba
Aural development in in tuning - singing the tuning note
''Treasury of Scales .. , Leonard Smith
JR/SR HIGH
Jr
Sr
Jr
Jr
Sr
Sr
Chapter IV
TEACHING ENSEMBLE BALANCE
The evaluation of balance is primarily a
discretionary Judgement made by the conductor and
perfomere relative to the orchestration o£ the music,
and compositional techniques found in the music.
Conductors will vary in their own JUdgements as to the
relative importance of each aspect of the composition,
creating differences in interpretation. Generally, the
teachers in this study did not pursue an
individualistic interpretation much beyond emphasizing
the printed instructions.
Improper balance o£ voices in a musical
ensemble can be the result of several problema, for
example, the balance o£ notes within a melodic line
with supporting background is frequently difficult to
achieve. Conductor B handles this problem in
Symphonic Overture by Charles Carter <1963> by
pointing out the unmusical effect of having notes of
higher pitch within a melodic line sounding louder than
those of lower pitches. His method of calling the
players' attention to the problem is singing the line
the way they are playing it. The conductor then sings
29
it to them the correct way and tells them to "taper
of£" on the second note,. in this case the higher pitch
<TAPED EXAMPLE #7,. meter #1298>.
30
Inherent balance problems exist when
countermelodies are employed in the compositional
structure of a piece. Conductor C approaches this
problem by referring to a section of the piece without
a countermelody and drawing a contrast to the new
section with a countermelody. In Chorale and
Processional by Rex Mitchell <1980> there is a
countermelody at letter "C... The conductor verbally
points out the new countermelody in the oboe and flute
and asks the rest of the group to be sure they can hear
it. This type o£ instruction is an effective method of
achieving an awareness of balance <TAPED EXAMPLE #8,
,_eter #1462>.
Balance can sometimes be improved by altering
the printed dynamics. An example of this can be found
by watching Conductor E prepare the Southern Tier
Suite by Walter Hartley <1974>. In this example,
we find the conductor advising the third clarinets to
play their low E trill louder than the written "piano."
Here again, we see the problems caused by range and the
effect it has on proJection and balance <TAPED EXAMPLE
#9,. meter #1581>.
Conductor H discusses the importance of
dynamics in reference to a totally balanced band sound
when working with Nicolai Rimsky-Korsakov's
Scheherazade, arranged by Mark Hindsley <1956>
31
<TAPED EXAMPLE #10, meter #1669>. In this example, the
conductor points out the importance of listening to the
total sound of the ensemble and balancing within that
apparent structure. regardless of what the printed
dynamic dictates. He stresses here the absolute
importance of listening skills required by all members
of the ensemble.
Common among the various types of balance
problema is the overbalance of one note within a chord.
Conductor A deals with this problem in The Empire
Stirkes Back. by John Williams, arranged for band
by Jack Bullock <1981>. The problem is identified by
the conductor singing the offending note and verbally
calling it to the attention of the player<s>. The
section is repeated and the band performs it acceptably
<TAPED EXAMPLE #11. meter #1751>.
Conductor B deals with another common problem
in bands: overplaying from the percussion section.
Symphonic Overture by Charles Carter <1963> is
again the piece. Here the conductor simply identifies
the problem and deals with it verbally <TAPED EXAMPLE
#12-meter #1801>.
Improper balance is often due to problems in
scoring by the composer or arranger •• Conductor D
altered the scoring to A Tribute to Jim Croce by
32
Gilman <1974> by asking the flutes to play a section
one octave lower. As he points out, the French Horns
have di££iculty in proJecting over the higher notes in
the flute line <TAPED EXAMPLE #13, meter #1851>.
Although this particular band of six flutes and five
Horns does not have the problem of an imbalanced
instrumentation, many school bands have problems in
balance because o£ the lack of adequate numbers of Horn
players and other not-so-popular instruments. In many
cases, such problems can be remedied by simple
alterations in scoring, octave doublings and couplings.
The teaching of balance can be handled in
warm-up procedures as well as later in the rehearsal.
Since good balance in any ensemble depends on listening
skills, the warm-up can provide the opportunity for
learning such skills. Conductor E shows how such a
learning situation can be created with long tones
played in scale patterns. In this situation, as in all
the previous examples, the conductor describes the
imbalance to a performer, who in turn, makes a
correction (TAPED EXAMPLE #14, ~eter #1988>.
In summary, good balance is achieved by
developing listening skills, and in some cases, by
33
making changes in written dynamics or scoring or both.
The most effective ways to improve listening skills are
through rehearsal techniques which emphasize them in
full band situations. While many other facets o£
performing can be learned in a lesson or at home during
a practice session, balance can only be learned while
performing with the other members o£ the organization.
As students improve their level of listening skills
they will gradually acquire the ability to "cross
reference .. their own part to the total sound spectrum
surrounding them in rehearsal and performance.
34
TABLE 2
Consecutive Order o£ Taped Examples Contained in Chapter IV. Teaching Ensemble Balance
TAPE TAPE COND BRIEF DESCRIPTION OF EX. NO. METER ID.
COMPOSITION/ COMPOSER
JR/SR HIGH
7 1298 B
8 1462 c
9 1581 E
10 1669 c
11 1751 A
12 1801 B
13 1851 D
14 1988 E
Balancing notes in a higher Symphonic Sr tesitura. Overture
Balancing countermelodies
Altering printed dynamics to help balance.
Discussion on dynamics
Balancing a note within a chord.
Balancing instrumental sections in the ensemble.
Fixing balance by proper alteration of the scoring.
Developing listening skills to fix balance problems.
C. Carter
Chorale and Jr Processional Rex Mitchell
Southern Tier Suite W. Hartley
Sr
Scheherazade Sr RimskyKorsakov/arr. M. Hindaley
Empire Strikes Back J. Williams err/ J. Bullock
Sr
Symphonic Jr Overture C. Carter
A Tribute Jr to Jim Croce Gilman
Sr
Chapter V
TEACHING INTONATION
Intonation problems come from several
different sources within an ensemble. The teachers in
this study demonstrate methods for correcting problems
that commonly occur in bands.
Instrument Problema. Students are
frequently subJected to playing on old, worn out
instruments, many o£ which have been handed down
through the family or school district. Others are
forced into this dilemma because of financial
considerations. Regardless of the reason, playing an
instrument is difficult in itself and playing on an
instrument with built in intonation problems is nearly
impossible. Due to the accoustical properties of
musical wind instruments, even the best
professionally-made wind instruments have built-in
intonation problems. To compensate £or this instrument
de£iciency, the per£ormer must learn the degree to
which each note on their instrument is flat or sharp.
This can be achieved through individual practice wih an
electronic tuner and careful listening and analysis
over a period of time. After the problems have been
pitch of out of tune notes. Thus, poorly made or worn
out instruments require a greater degree of adJustment
than better quality instruments.
It is important that school band conductors
have a knowledge of the basic, inherent intonation
problems on each instrument. This knowledge gives the
skillful conductor the opportunity to make
recommendations to his or her players with assurance.
For example, Conductor B makes a suggestion to a
section of his band to try an alternate fingering on
the flute which he feels will help with a particular
intonation problem. The piece is, Symphonic
Overture by Charles Carter <1963> <TAPED EXAMPLE
#15, meter #2054>.
In a similar situation, Conductor C, again
working with Rex Mitchell's Chorale and
Processional <1980>, suggests to the trumpets that
the use of their 3rd valve slide would improve the
intonation on their low "D .. <TAPED EXAMPLE #16, meter
#2092).
Conductor B gave an excellent explanation
dealing with the problems of the inherently poor
intonation of specific notes of the flute and trumpet
<TAPED EXAMPLE #17, meter #2150>.
36
Unequal development in the physical and
mental aspects of musical performance. In younger
performers. the physical capacity to play often does
not keep abreast with their mental capacity to
understand how to play. This inequity of musical
growth is quite common and proves very frustrating for
the intermediate student. Weak facial muscles and
slow-to-develop motor muscle coordination are possible
examples why performance levels suffer and areas such
as intonation appear to be underdeveloped. For
example. Conductor B. working with the Symphonic
Overture by Charles Carter <1963>. makes
suggestions for improving a high .. F .. in the flutes by
adding more support and not pinching with the
embouchure <TAPED EXAMPLE #18, meter #2203>.
We find another example of flute intonation
handled in similar style by Conductor C in Chorale
37
and Processional by Rex Mithcell <1980). In this
situation. the conductor recommends that the £lutes not
force the sound by pushing so hard <TAPED EXAMPLE #19,
meter #2247).
Unlike balance, intonation can be develped
outside of the rehearsal. Through the instruction of
good embouchure development, greater potential for
accurate intonation can be developed. The use of a
tuning device, allowing students to learn the physical
38
characteristics of his or her instrument, paves the way
for discriminating listening and improved intonation.
Pitch Discrimination. Many performers in
secondary schools have not learned the subtleties o£
determining pitch differences. The ability to
discriminate pitch differences can be developed,
providing there is no physical or mental impairment.
Students are generally not given obJectives'and
strategies necessary for developing the ability to
discriminate pitches. Audio visual tuners can be used
effectively for individual practice, but students must
be taught specific obJectives and practice procedures.
It is probably helpful for conductors to draw
as many references to pitch as possible during
rehear.eal situations. Young players in particular need
many aids. Conductor G gives an excellent example of
making suggestions for listening across entire sections
of the band for improved intonation as well as a
recommendation for embouchure adJustment to the flutes
<TAPED EXAMPLE #20, meter #2281>.
Intonation problems are often caused by the
inability of the performers in an organization to
adequately hear other parts being played. Less
developed players on specific parts may be weak and
thus not able to proJect their line adequately enough
to be heard, or, the seating may be arranged in such a
way as to hamper the proJection of sound. Although
this touches on the area o£ balance and or may be
considered essentially a by-product o£ poor balance,
one must deal with the resulting poor intonation.
Conductor H, in Final Covenant by Fisher Tull
39
<1979> approaches this problem by adJusting the seating
o£ the band £or improvement in intonation <TAPED
EXAMPLE #21, meter #2382>.
Summary. Although the study revealed a
variety o£ methods used in dealing with problems in
intonation, no consistency in the approach among the
conductors was apparent. Only one reference was made to
tuning procedures, and that was JUst a passing remark.
None o£ the conductors asked students to sing their
parte to internalize the pitch. Students were not
asked to make decisions about intonation. Most
conductors dealt with intonation problems through an
awareness o£ physical alternatives such as alternate
fingerings, physiological changes in embouchure or
diaphragm, and seating arrangements. There was only
one example of a conductor overtly dealing with the
development of discriminating listening skills through
carefully guided rehearsal techniques <TAPED EXAMPLE
#20, meter #2281>. Intonation problems appeared to
present the most baffling problems to the conductors in
general. SubJective listening to the tapes reveals the
least amount of improvement may have been mede in this
area for most of the bands.
40
There appears to be a need for developing more
systematic methods for improving intonation. It is
possible for example, to create a logical rationale for
procedures such as singing to internalize pitch and
having students learn to assume individual
reeponsibilites for pitch discrimination.
41
TABLE 3
Consecutive Order o£ Taped Examples Contained in Chapter V. Teaching Intonation
TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR NO. METER ID. COMPOSER HIGH
15 2054 B Use o£ alternate £ingerings SymQhonic Jr Overture c. Carter
16 2092 c Use o£ mechanical device Chorale and Jr built on instrument Processional
R. Mitchell
17 2150 D Attention to inherent ------- Jr intonation problems on flutes and trumpets.
18 2203 B Improving intonation S~mQhonic Jr through physical Overture involvement c. Carter
19 2247 c Improving intonation Chorale and Jr through physical Processional involvement R. Mitchell
20 2281 G Discussion o£ listening ------- Jr skills to improve intonation
21 2382 H Alteration of .. norms! .. Final Sr seating to enhance Covenant intonation F. Tull
Chapter VI
TEACHING RHYTHM
The conductors in this study devoted a greater
portion of their rehearsal time to rhythmic problems
and derivatives, such as precision, than any other
single aspect of performance. Two conductors dealt
with rhythmic concepts in their formal warm-up period.
Conductor C utilized pre-determined rhythmic studies of
whole and hal£ beat values. This conductor also
dictated to the players the types of notes to be played
on a unison pitch (concert F> <TAPED EXAMPLE #22, meter
#2496>. Conductor D used a written rhythmic exercise
page £or students to say with syllables. The page
contained 120 examples o£ rhythmic patterns in 2/4
meter. In the examples below the rhythm syllables were
not written, but the students were to use the syllables
used by Edwin Gordon in his book The Psychology o£
Music Teaching <1971> <REVIEW TAPED EXAMPLE #1>.
1. L mtr,n fl ' r 11 4- Jntld ~ Nl. nt I tJt ~ N~ nf
2. 2.. r t , J J. J Jj n I 7 4 I tAl 2. "" /nt ~ A/6
3. z J ] J J J J ~~J~J J J J J I 4 I ne- nt 2 T" AI tJI u• 1" 2.
4. 2. J J J ___ n } J J I 4 ~ I 6--
~ I NA N/ N~ I NA
43
Conductor F referred to rhythm syllables in
the analysis o£ a specific rhythm problem in
Sinfonietta by Ingolf Dahl <1961>. Hie approach,
although quite informal in theory, presented the need
for players to understand the sound of rhythm patterns.
For the purpose of making a point, he referred to the
names o£ geographical locations, which when spoken
reflected the sound of specific rhythm patterns, as
shown below. <TAPED EXAMPLE #24, meter #2909>.
TO-NA-WAN-DA ==== J J J J TO-NA-WAN-DA
YU--GO--SLA--VI--A J ] J J J YU-GO-SLA-VI-A
In reference to the counting patterns presented
in his warm-up procedures, Conductor D draws a direct
relationship by singing to the students the syllables to
a particular rhythm in the bass clarinets and bassoons
<TAPED EXAMPLE #25, meter #2977>. The music is~
Tribute to Jim Croce by Gilman <1974>. Conductor F,
in working on the third movement from the Sinfonietta
by Ingolf Dahl <1961>, encountered many rhythm problems
and consequently devoted much rehearsal time to this
aspect o£ the composition. In the process o£ teaching
the rhythms in question, the conductor employed the
technique o£ positive reinforcement throughout his
approach to the problems. The idea that they can do it
permeated his remarks. As an example o£ this, we find
Conductor F using the word "security .. , developing in his
students the sense of independence and feeling o£
confidence. In addition, this conductor encouraged
students to feel an inner pulse which aids in the
execution of silent beats <rests> <TAPED EXAMPLE #26,
meter #3129>. A technique used again by Conductor F in
the Sinfonietta was to have all players with a
44
particular rhythmic figure play from a specific point and
then have them repeat it without the conductor. This is
another example of encouraging the use o£ an inner pulse
<TAPED EXAMPLE #27-meter #3157>.
Perhaps the greatest problem encountered by the
conductors in the study was the adverse affect poor
rhythm had on ensemble precision. Precision problems
such as attacks, releases and general ensemble playing
were very common. It is unclear as to how many o£ the
problems in precision could be attributed to weaknesses
in conducting as compared to the students' lack o£
understanding. There is no doubt that both factors are
vital to rhythmic precision. Conductor G deals with a
precision problem in the first movement o£ the Three
45
Ayres from Gloucester by Hugh M. Stuart <1969). The
trumpets were not feeling the group o£ £our eighth notes
followed by a quarter ¢J J J J ~ ! causing a precision
problem. He points out the problem and defines the
correct rhythmic £eel by singing and whistling the
rhythm. After several attempts, the section was able to
play it correctly <TAPED EXAMPLE #28, meter #3251).
Precision is often overlooked in the total band
sound, especially in middleground and background parts.
Conductors often ignore, either consciously or
unconsciously, the function of accompaniment, thus
causing a muddied sound that unfortunately is often
accepted as a typical band sound. Conductor G, working
on the Three Ayres from Gloucester solves this type
o£ problem by defining the inaccuracies in the saxophone
and trombone parts. The rhythms were:
<¢ ~n J t 1 ~ n J ~). Singing the part correctly, followed by a verbal
explanation, and then followed by the students playing it
back several times corrected the problem. The method of
improving the precision involved placing a sostenuto mark
below the quarter note:
<¢tn J~l~n Jt) <TAPED EXAMPLE #29, meter
#3337>.
Conductor H handles a situation similar to that
of Conductor G, but on a more advanced level. The brass
46
figures in Scheherazade by Rimsky-Korsakov/arranged
by Mark Hindsley <1956> present problems in compound
tongueing. The conductor sings the rhythm and has the
brass play it. Afterwards, he uses the adJective "too
passive" in an effort to establish a mental concept of
the .. dynamic" quality o£ the passage. This demonstrates
the use of verbal descriptors to achieve a rhythmic style
<TAPED EXAMPLE #30, meter #3532>.
Describing the mathematical subdivision is a
Method of teaching dotted rhythms. Conductor C uses this
strategy in dealing with the dotted-eight/sixteenth
rhythm found in Chorale and Processional by Rex
Mitchell <1980). In this example, the conductor sings
the rhythm and then divides it by using a
numerical subdivision: ZJ. J J t,,.,.,., #31, meter #3532>
<TAPED EXAMPLE
After hearing Jubilant Prelude by Claude T.
Smith <1978) and realizing the precision problems in the
various entrances, Conductor D rehearses each section
alone and o££ers suggestions. In this particular work
similar rhythmic figures are stated in each section. By
separating the sections he is giving all involved an
opportunity to hear that figure several times as well as
giving them the opportunity to extract their own part
from the total sound. Referring to the rhythm system
used by this band in their warm-up period, the conductor
states to the trumpets the verbal associations they
should be thinking <TAPED EXAMPLE #32, meter #3627>
In the Southern Tier Suite by Walter Hartley
<1974>, Conductor E identifys a rhythm problem with this
6/8 rhythm:
6/8 1. JjJ J iiJ. J. He points out it is being played:
6/8 J. JjJ j 1 ~l. J.
47
The problem lies in the second measure of the example
where the students are over anticipating the second beat
entrance. In the second example, we see the comparison
and can understand why the confusion exists <TAPED
EXAMPLE #33-meter #3662>. This is a classic example of
how younger students are dependent upon the sounds
previously learned. When there is a slight change, it
often becomes a maJor obstacle for them.
In summary, a large variety of methods for
teaching rhythm wae used by the teachers in this study.
This was partially due to the great number of variables
present in the music itsel£. The study revealed a
combined total of at least twenty-six examples of
conductors identifying and working on rhythm problems.
Interestingly, the study revealed a limited number of
approaches to these problems. In almost every case, the
48
conductors sang the correct rhythms and expected the band
to duplicate the sound. Only in those few examples cited
above was there an ef£ort to teach a system which would
have given the students the necessary tools to carry the
knowledge into another piece with the same rhythmic
problems. Consequently, most conductors seem content to
handle rhythm proble~s on a one-at-a-time basis, perhaps
hoping some form of transfer to other music would take
place.
Regardless of the teaching techniques shown, the
study revealed a need to develop some type of systematic
approach to teaching rhythm. While many instrumental
concepts (.e.g., tone, embouchure, and technique> are
best taught in individual lesson situations, rhythm can
be easily taught in an ensemble situation as well.
Systematic methods for teaching rhythm are being used in
some school systems, utilizing concepts developed by well
known music educators. The methods, however, are not
usually extended into secondary ensembles in an organized
manner.
EX NO.
22
23
24
25
26
27
28
29
49
TABLE 4
Consecutive Order o£ Taped Examples Contained in Chapter VI. Teaching Rhythm
METER COND BRIEF DESCRIPTION OF EX. NO. ID.
2496 c
2713 D
2909 F
2977 D
3129 F
3157 F
3251 G
3337 G
Rhythm development in warJR-ups
Use o£ printed rhythm patterns for syllabization
Need to memorize sound of rhythm patterns -- use of geographical places as aids
Reference to syllable patterns used in warm-ups
Building confidence and and security, inner pulse
Separating parts for clarity, inner parte
Precision problems, lack of rhythmic security
Precision problems in accompanimental figures
COMPOSITION/ COMPOSER
Sinfonietta I. Dahl
Sinfonietta I. Dahl
Sinfonietta I. Dahl
Three Ayres
Gloucester H. Stuart
Three Ayres From Gloucester H. Stuart
JR/SR HIGH
Jr
Jr
Sr
Jr
Sr
Sr
Jr
Jr
30 3459 H
31 3532 c
32 3627 D
33 3662 D
TABLE 4 <continued>
Use of verbal descriptors to communicate rhythmic clarity and style
Mathematical explanation o£ subdivision
Reference to syllabic warm-up patterns
Comparisons o£ two similar but different 6/8 rhythms
50
Scheherazade Sr Rimsky Korsakov arr. M. Hindsley
Chorale and Jr Processional R. Mitchell
Jubliant Sr Prelude
c. T. Smith
Southern Sr Tier Suite w. Hartley
Chapter VII
OTHER REHEARSAL TECHNIQUES
Although many of the goals and obJectives of
the eight conductors in the study were similar, the
strategies used to attain them were varied. This is
due in part to the fact that no attempt to standardize
rehearsal procedures or compositions was made for the
study. Each conductor was encouraged to use rehearsal
techniques as well as conducting techniques that were
completely natural and unrehearsed. Likewise, each
conductor was asked to use music already in the
students' folders rather than prepare a particular
piece for this study.
Conductor A used a written rehearsal plan. He
finds it helpful, when doing his score study, to JOt
down on a prioritized list those items that need
specific attention. This type of lesson plan is
extremely helpful in remembering, in detail, all o£ the
areas that must be addressed in the next rehearsal.
While other conductors in the study may periodically
use a written plan, only this one example was apparent
in this study. The conductor spot-checked various
places in each composition before playing a larger
section o£ the work. It was obvious that Conductor A
had spent time outside o£ the rehearsal developing
obJectives and concepts. In TAPED EXAMPLE #34, meter
#3726, Conductor A was rehearsing Overture in
B-flat by Caesar Giovannini <1966>.
The discussion o£ theoretical concepts during
rehearsals was limited to two conductors. In each
case, the mention of a compositional technique was to
emphasize a point being made about thematic content.
Conductor B draws an analogy between Charles Carter's
Symphonic Overture <1963> and Beethoven's use of
the same four-note rhythmic motive in his Symphony
No. 5 inc minor <1808>. The maJor point here is
that the players must listen to what is happening
melodically as the piece develops so they can more
readily relate to proper articulation, style and
balance <TAPED EXAMPLE #35, meter #3789>.
52
In a smiliar situation, Conductor E discusses
the compositional technique of dovetailing and how
Alfred Reed uses it in his Passacaglia <1969>. In
this case, dovetailing indicates that one instrument
Joins the end of a melodic line that another instrument
began with the result being a continual musical thread
passed from one instrument to another. Again, this
discussion points out to the performers, the importance
of theoretical knowledge and how it enhances
preformance <TAPED EXAMPLE #36, meter #3839>.
53
There were seven identifiable examples of
conductors dealing with errore, i.e. wrong notes
<pitches>, wrong rhythms or precision problems in
ensemble performance. This was an unexpectedly low
number. The probable reason however, is that the bands
had had the music long enough to be past the stage of
learning the notes. Consequently, conductors were
generally not faced with the problem of correcting this
type o£ error.
There are many examples of conductors using
verbal instruction, including discussions about the
physical aspects o£ performing, the physics of
instrument manufacture, compositional techniques,
listening skills, memorization, concentration, and
breathing.
The percentage of time a conductor spends
talking compared to the percentage of time spent
playing was taken from a sampling of the raw data
tapes, in which the average time of the samples was
18.5 minutes with a minimum of 16 minutes and a maximum
of 20 minutes. Variation in timing among groups was
due to conductors starting and ending the various
segments o£ their rehearsal. Effort was made to
provide at least fifteen minutes o£ taped rehearsal
material but not the exact number of minutes from each
conductor. Table 5 shows the timings from these
samples.
TABLE 5
Talking/Playing Percentages
Conductor A
Total time of samgle Talking Playing Percentage of Time Talking
B Ct D E F G H
17 lin. 19 lin. 16 111in. 20 min. 20 Min. 20 Min. 16 111in. 20 11in.
7 min. 1@ Min. 9 11in. 10 Min. 9 Min. 7 Min. 6 Min. 14 Min. 9 111in. 11 Min. 8 1in. 12 Min. 7 11in. 9 min. 9 1in. 11 1i n.
* Included in this sample is ~ Minutes of additional tuning.
41~
47'/. 56~
30~
45~
40,C 4~~
45~
From these timings, the sampling indicates
conductors spend on an average o£ about 44~ o£ their
rehearsal time talking. The following is a list of the
topics the conductors talked about during the sampling:
- i1ftproving tone - alternate fingering for better intonation - fixing wrong notes - tuning <additional to the tuning period at the
beginning of the rehearsal) - i1ftproving intonation - improving dynaMics - taking ti~e to change pieces of ~usic - discussions with students about:
using adJectives to describe interpretation seating policies of the band answering questions about All-County Band
- working with individual players - iMproving articulation - iMproving rhyth• - iMproving balance - iMproving tonal balance - tone - structural aspects of ~elodic lines - repriMands for not knowing part in rehearsal - iMproving attacks
54
55
The list shows very little time was spent
discussing non-musical items. Most talking was directed
to performance problems occuring during the rehearsal.
One excpetion was Conductor D, who talked the least
amount of time <30%), and seemed not to be dealing with
some of the apparent problems of his band. It appreaed
he was forced to put more effort into controlling
discipline in the rehearsal by keeping them playing as
much as possible. Conductor E, on the other hand, who
talked 45% of the time, seemd to be dealing with more
musical problems in greater detail. Both Conductors D
and E directed JUnior high bands. Conductor C, took four
minutes to tune his band in the middle of the rehearsal.
Although badly needed, this seemed to be a disruption in
the flow of the rehearsal, causing some restlessness
among the students.
56
TABLE 6
Consecutive Order o£ Taped Examples Contained in Chapter VII.
Other Rehearsal Techniques
TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR NO. METER ID. COMPOSER HIGH
34 3729 A Spot checking a work from Overture in Sr prepared lessons plans in B-flat
c. Giovannini
35 3789 B Analogy between SymQhonic Jr material o£ two pieces Overture
c. Carter
36 3739 E Theoretical discussion Passacaglia Sr of compositional technique A. Reed of ••dovetai 1 ing. ••
Chapter VIII
OTHER CONDUCTING TECHNIQUES
Although the study showed numerous examples o£
conducting technique, it would not be practical, nor
applicable, to show all of the examples in this text.
In general, the range of conducting techniques found in
this study was limited, with a few exceptions, to only
the most basic and essential conducting techniques.
For the most part, the conductors demonstrated a static
approach to their baton technique with little variation
in beat plane, style, and meaningful use of the left
hand. Although the conductors achieved exemplary
performance standards with their bands, their
individual techniques generally lacked the anticipated
level of schooled and artistic conducting.
The following check list "Evaluation Criteria
for Conducting," found in Developing Competence in
Teaching Instrumental Music <Ernst 1978>, was used
to survey the physical/visual aspects of all eight
conductors. For this, a randomly selected tape segment
of each conductor was used to determine successful
completion of each criterion. Table 6 indicates the
number of conductors successfully completing each
criterion.
57
Rioht Hand
Left Hand
Eye Contact
TABLE 7
Evaluative Criteria £or Conducting
8 Weight evenly distributed on feet. --~Feet fairly close togPther.
7 Body erect, not bent over. _5 __ Head up.
NAf Knees relaxed, but not bent and roving.
__ 7 __ Plane of the beat at about chest height. 4 Flexibility in wrist.
_e ___ Correct baton grip (if baton is used). 3(2NA> Relaxed finger position without baton.
6 Clear beat patterns with definite ictus. 2 Expressive variety in size of beat pattern,
including hand alone, hand and forearm, and whole ar~. ____ 2 ____ Expressive variety in shape of beat pattern. _2 __ Clear preparatory beats, holds, releases.
3 Not overused, used for no purpose (mirror conducting). __ 5 __ Used for cues. _4 __ Used for emphasis.
2 Used for dyna~ic indications.
____ 5 ____ Visual contact with players •ost of the time. 4 Visual contact for all cues.
Performer Response 6 Easily following tempo ind:cations.
____ 3 ____ Easily following throuqh transitional sections. ~8!._.Looking up to accept cues. ____ 2 _____ Responding to dynamic indications.
1 Resoonding to phrasing indications. 3 Responding to articulation styles and accents. 2 Accurately performing attacks and releases.
Camments~her observations_ Following observations were made:
1 Works very fast. 1 Many rapid repetitions of problem spots (rote teaching). 5 Count off before Fmtrances, 1 Many verbal instructions. 3 Right ar1 bent at 900 and close to body. 2 Vague beat pattern
NA = NOT VISABLE ON TAPE
58
Results from this s8mpling reve8led the
following tendencies £rom the eight conductors in the
study. Five conductors had a tendency to count off
before each entrance, developing in their players a
reliance on an audible start rather than a visual
start. All conductors, with the exception o£ one,
stood erect and not bent over. Five of the eight held
their heads erect while the others tended to look into
the score. Although the tapes did not reveal the
position of the conductors' feet, all conductors stood
with their weight evenly distributed on both feet.
Seven o£ the eight conductors conducted with the plane
of the beat about chest high. Of these only two were
consistent in producing a variety of beat patterns and
sizes, as well as a variety in the shape o£ the beat
pattern. One conductor bent over so much that the
59
plane of his beat pattern was even with his head moat
of the time. This hunched over posture could be
distracting for the players to look at. Six conductors
used a somewhat static, generic beat pattern that
contained little variation for the various musical
articulations and styles that were being taught. In
each of these cases, much verbalization from the
conductors was utilized to describe the musical style
desired. Successful completion was questionable, as
the .. performer response" in Table 6 indicates.
All conductors used a baton at one time or
another end all held it in an acceptable manner. Six
conductors did not use a baton in portions o£ their
rehearsal period, i.e. warm-ups or specific chorale
type sections o£ musical compositions. Three o£ these
GO
conductors used relaxed £inger positions in both hands,
while the others did not.
entire rehearsal period.
Two used a baton for the
Although only two conductors used a variety of
conducting styles, six conducted with a clear beat
pattern and definite ictus. Two conductors used beat
patterns that were difficult to define. One
conductor's beat pattern was simply an up end down
motion £or all patterns, duple or triple. One
conductor spread his arms so much that the beat pattern
was quite distorted and with the extensive mirror
conducting taking place, appeared to confuse the viewer
as to which hand/arm should be watched.
Four of the eight conductors used a flexible
wrist when it was appropriate. Those conductors who
used a stiff wrist all the time tended to draw
attention to their arm rather than the baton. Three
conductors conducted with the right arm bent 900 at
the elbow throughout the rehearsal. This created a
distraction, possibly leading to confusion as to which
-- the elbow or hand -- was dominant visually. Ae a
contrast~ Conductor A showed an excellent example of a
staccato pattern utilizing a smaller, more stylized
beat than most conductors <TAPED EXAMPLE #37, meter
#3911>, as well as an effective legato beat in which
the larger sweeping gestures were more predominant.
<TAPED EXAMPLE #38, meter #3961>. The same conductor
presented an excellent example of varied beat size by
utilizing a smaller beat in quieter sections
contrasting the larger beats in the louder sections.
<TAPED EXAMPLE #39, meter #4023>.
While five of the conductors used the left
hand coneistently for cues, only three did not
consistently overuse the left hand in a mirroring of
61
the right hand. Four used the left hand for cueing and
only two consistently used the left hand for dynamic
indications. For a contrast, Conductor B demonstrated
an example of the use of the left hand in expressive
gestures giving a greater meaning to the musical style
being performed <TAPED EXAMPLE #40, meter #4093). In
addition, Conductor B used excellent conducting
technique in subdividing the basic beat to emphasize a
rallentando <TAPED EXAMPLE #41, meter #4168>.
Five of the conductors maintained visual
contact with their players most of the time. Several
conductors had a tendency to start conducting as well
as talk to the group without looking up from the score.
Those conductors who counted off to begin, typically
did not maintain consistent eye contact during their
starts.
As Table 6 indicates, there is greeter
consistency in specific areas of conducting technique,
such as the distribution of weight on the feet,
erectness of the body, the plane of the beat, and the
baton grip. Conversely, in certain areas there is a
62
definite lack of consistency in conducting technique
such as the variety and size of beat patterns, the
expressive variety in the shape of beat patterns, clear
preparatory beats, holds and releases, and the lack of
use of the left hand for dynamic indications.
Generally the left hand mirrored the right hand. The
sampling showed an inconsistency between conductors in
the position of the head, flexibility in wrists, use of
the left hand for cues and emphasis and both forms of
eye contact.
An analysis of how many times the conductors
made a direct reference to their conducting was made
using the same segments of the raw data tapes that were
used for the Chapter Seven section on percentages of
talking vs. playing. This sampling revealed three
examples, one from each of three different conductors
where they mentioned conducting to the students. The
only significant example was Conductor A who conducted
63
the closing segment of The Empire Strikes Back
<Williams/err. Bullock, 1981) two di£ferent ways,
asking the students for their preference. For the
first way, he altered his beat pattern by sustaining a
chord on one beat during a long crescendo, continuing
into a beat pattern for the final cadence and cut-off.
For the second way, he conducted the same measures by
using a continual beat pattern throughout the sustained
chord, closing cadence and cut-off. The students chose
the continual beat pattern <the second way>, although
visually and musically the sustained method,
emphasizing the crescendo, seems artistically more
satisfying. Other references by two other conductors
to their conducting were the comments: " •.•. you're not
following." And, " .••• the tempo picks up, follow the
stick."
This curious lack of reference to the
conducting aspect of rehearsing by the conductors in
the study may possibly be a reflection of the degree of
importance they place on the physical/visual importance
of their rehearsing methods.
TABLE 8
Consecutive Order of Taped Examples Contained in Chapter VIII. Other Conducting Techniques
64
TAPE TAPE COND BRIEF DESCRIPTION OF EX. NO. METER ID.
COMPOSITION/ JR/SR
37 3911 A
38 3961 A
39 4023 A
40 4093 B
41 4168 B
Staccato style beat
Legato style beat
Varied beat size
Expressive use o£ L.H.
Subdivision of beet pattern
COMPOSER HIGH
Sr
Sr
Sr
Jr
Jr
Chapter IX
SUMMARY
This study analyzed the rehearsal and
conducting techniques of eight teachers of school bands
by a systematic analysis of rehearsal videotapes.
Unlike most other studies using videotape, the purpose
was to observe teachers in their most normal
situations, rather then in an experimental setting.
The purpose of the study ia to provide obJective
information about what experienced and successful music
teachers actually do. This information and also the
examples on videotape may be useful for conducting and
~usic education classes. This study is limited to the
gathering and analysis of rehearsal end conducting
examples, end does not include evaluation of the use o£
the tapes in conducting or music education courses.
Eight conductors, located within a 100 mile radius of
Rochester, New York were selected because of their
success in developing exemplary banda in their
respective schools. All were public school teachers,
four from Junior High Schools and four from High
Schools. These teachers were videotaped at their own
schools, rehearsing their own bands under near normal
conditions.
The raw data tapes, consisting of
approximately two hours of each conductor, were
screened for all types of rehearsal and conducting
techniques. A procedure was developed for identifying
and classifying selected teacher behaviors.
Outstanding examples were selected to be used within
the textual content of the written document, with each
individually identified and transferred to a master
tape. The master tape, consisting of consecutive
examples coordinated with the text, accompanies the
written document and can be viewed as the reader
proceeds through the text.
The electronic equipment used to video tape
the study was a reel-to-reel Panasonic Video Tape
Recorder model NV-3020 and a Panasonic Video Camera
model 910VN. The audio pick up was a lapel-type
microphone made by Shure. With the exception of the
tapes of Conductor H, where the light level was
insufficient, the video quality was adequate for this
66
study. Unfortunately, the video tape recorder did not
have adequate capabilty for monitoring the audio
portion of the recording during the taping sessions.
Because of this, a poor ground connection on the
microphone was evident only upon final viewing on a
television monitor after the taping session. The
situation was rectified and several tapes were made
with good audio quality, only to find a recurrence of
the problem during several later tapes. Consequently,
not ell of the tapes have good sound quality.
The use o£ the lapel microphone and its cord
proved to be somewhat awkward for some of the
conductors who wished to move around among the players
during rehearsals. Although this was a handicap, it
remains the best available method with the possible
exception of a wireless microphone. Least desirable
was a stationary microphone on a stand directly in
front of the conductor.
67
In every video taping session, the camera and
recorder were set up behind the last row of the band.
As might be expected, the presence of the equipment
created an abnormal situation for the students and the
younger students had more difficutly focusing their
attention on their conductor. The older students
adJusted more readily and were not distracted by the
equipment. Interestingly, every conductor felt his
band was more responsive and better behaved than usual
during the taping.
The recordings were analyzed to identify
specific rehearsal and conducting procedures. Each
procedure was classified according to the obJective,
such as teaching rhythm or teaching intonation.
68
Procedures that did not fall into any of the four main
categories are described in an "other .. category. In
the written text, descriptors were used to interpret
the visual impact of each example in such a way that
the reader would be able to understand even without the
taped example.
The final cassette master tape was made from
the reel-to-reel raw data tapes by electronic copying.
The equipment used for copying from the reel-to-reel
raw data tapes was: <1> a Panasonic Video Camera
#PK957 for character displays, and <2> a Panasonic
Cassette Recorder #PV6000 and Panasonic Video Cassette
Tuner #PV-A600 for transfer from the reel to cassette.
Video equipment has improved dramatically
since the raw data tapes for this study were made.
Equipment features which are now readily available
which would improve the study include cassette formats
and sterophonic sound. The use of a video cassette
recorder with sterophonic sound would make it possible
to record the conductors on one channel and the
ensemble on the other, providing control over the
balance of the two. The use of a wireless microphone
would be ideal, but in lieu of that a good quality
lapel microphone is suitable. An electronic stop watch
superimposed on the master tapes would facilitate
editing. Electronic editing controls that previously
69
cost thousands of dollars can now be purchased for much
less. The video quality of the edited tapes could be
improved with an electronic image enhancer.
Standardizing musical examples would make it
possible to provide a greater degree of comparability
of conducting styles and rehearsal techniques. It
would also control the number and type o£ problema
encountered. Although there are advantages in doing
this, it would also create the disadvantage of making
the rehearsal less representative of normal conditions.
Teachers may also be lese willing to participate.
Since moat other studies have been in conducting
classes or other controlled situations, a strength of
this study is that the data were derived from the
analysis of teachers in their normal routines and
situations.
Although the purpose of this study was to
gather and analyze data, a separate study should be
conducted to evaluate the premise that they could be
effectively used in college classes. A aeries of
separate studies could utilize orchestral and choral
conductors. A resource of video taped examples of
conducting and rehearsal techniques could be created
through a "programmed" rehearsal of outstanding
conductors of either secondary school or college level
conductors working with their own groups. The format
would speci£iy in advance the procedures to be
demonstrated. This could include specific rehearsal
deficiencies, staged by conductors, for analysis in
conducting class, providing opportunity for class
members to m8ke JUdgemental decisions about conductor
behavior.
70
71
APPENDICES
72
APPENDIX A
REHEARSAL TECHNIQUES FREQUENCY CHART GATHERED FROM RAW DATA TAPES
COND. COND. COND. COND. COND. COND. COND. COND. A B c D E F G H
SR HI JR HI JR HI JR HI SR HI SR HI JR HI SR HI
ARTICLUATION 0 1 0 1 0 0 1 2
BALANCE 2 3 1 1 3 0 0 2
DYNAMICS 0 0 0 1 1 0 0 0
EXPRESSION 0 1 0 0 1 0 0 1
FORM ANAYLSIS 0 1 0 0 1 0 0 1
INTONATION 0 4 2 4 3 0 2 2
MODELING-PLAY 0 0 1 0 0 0 0 0
MODELING-SING 0 0 1 0 1 0 0 0
PHRASING 0 0 0 1 1 0 2 1
POSITIVE REINFORCEMENT 0 1 1 0 0 3 0 2
PRECISION 0 0 0 4 0 0 3 3
RHYTHM 0 0 1 0 3 5 0 1
TENUTO-RUBATO 0 3 0 0 0 0 0 1
TONE 1 1 0 0 0 0 1 2
TUNING <IN REH.> 2 0 0 0 0 0 0 0
73
APPENDIX B
CONDUCTING TECHNIQUES FREQUENCY CHART GATHERED FROM RAW DATA TAPES
COND. COND. COND. COND. COND. COND. COND. COND. A B c D E F G H
SR HI JR HI JR HI JR HI SR HI SR HI JR HI SR HI
EYE CONTACT 0 0 0 0 0 0 0 0
STACCATO BEAT 1 0 1 0 0 0 0 0
SUBDIVIDED BEAT 1 2 0 0 0 0 0 0
TRANSITIONS 1 0 0 0 0 0 0 0
EYE CUE 1 0 0 0 0 0 0 0
LEGATO BEAT 1 1 0 0 1 0 0 1
CUEING 1 2 0 0 0 1 0 0
CHANGE IN BEAT SIZE 1 1 0 0 0 0 0 2
CONTRAST IN BEAT STYLES 0 1 0 0 0 0 0 3
INDEPENDENCE OF HANDS 0 3 0 0 0 0 0 0
RELEASES FERMAT I 0 1 0 0 1 0 3 1
APPENDIX C LOG OF ~RM UP/TUNING PROCEDURES ~D TIMES
COND. A COND. B COND. C COND. D COND. E COND. F COND. 6 CDND. H SR HI JR HI JR HI JR HI SR HI SR HI JR i1I SR HI
PERIOD i-ENGTH 4f:. .w 70 90 45 45 45 45 75 ~1MiJ;i L8-.'G'H 10 9 ;r:
J..J 10 5 8 10 15
SCALES Bb ~ s & Jt s +-Bb obly t-extens1ve 1-partial I-ascending +-eyes closed +-all lllaJOr on CHGRALES +-J.S.Bacn r-ot of pc. * * Treasury of Treasury of
Scales #19 Scales 173 Rhythm variation deals ~/ silence
RHYTI-!M STUDIES t-on 'F' original * verbal inst. studies in
raanuscript VERBAL balance eye contact eye contact rhythm devel. eye contact eye contact listening INSTi1UCTIONS eye contact tuning listening listemng tuning tuning tuning concentration
tuning tuning eye contact balance key devel. listemng tuning
CHORD S7UD IES rbalance circle of 5ths ART:CULATION using cnord
f1"0111 piece for douole toungue excercises
TECHNICAL SKILL ~o-tongueing singing tongueing BUILDERS w/ M.ll. tongueing using Treas.
flexitlility Treas. of of Scale #1 in ~rass Scale #19
INDIVIDUAL TUNING no no no yes yes-not yes yes yes-listen to extensive tuiJa; all 1st
chair players then total band
-..J ~
• = INCORPORATED IN FORMAL WARM UP PROCEDURE, NOT TREATED AS A SEPARATE ACTIVITY
APPENDIX D
CORRESPONDENCE WITH CONDUCTORS
Dear ______________ _
19 Woodcrest Circle Fairport, New York 14450 November 7, 1980
75
As you may know, I am presently enrolled at the Eastman School of Music as a graduate student pursuing a D.M.A. in Music Education. As part of my requirements for the degree, I am undertaking a videotape study that will provide college music education students the opportunity to view outstanding examples of conducting and rehearsal techniques of selected public school band conductors. This study will identify and analyze rehearsal and conducting techniques employed by exemplary public school conductors working with their own school bands during a normal rehearsal.
Being familiar with your work and your success in both the NYSSMA spring evaluations and on the concert stage, I would like to include you and your band in this study. Please bear in mind that the study is not an evaluation of you or your band, but is simply a record, both in dsecription and on videotape, of the conducting and rehearsal techniques that you employ with your band to accomplish the goals and obJectives of your teaching strategies. You will be one of four to eight conductors participating in this study. It is important for you to know that in the written portion of the study I will guarantee anonymity for all of the participating conductors. I£ in the future the videotapes are to be used beyond the purposes o£ the dissertation, I could no longer guarantee anonymity. I£ the need to use the tapes in a capacity beyond the dissertation develops, I will ask for your permission before any use is permitted.
All o£ the conductors in thie study will be taped a total of four hours o£ rehearsal time on non-consecutive days. By requesting non-consecutive days I will be avoiding rehearsals that would include the same music and probably deal with similar problems. To effectively carry out my task I want to be as unobtrusive as possible during the rehearsals: the only request I will ask of you is that you wear a lapel microphone to enable me to record your voice with the videotape.
76
Due to the fact that I am under a time deadline~ I would like to have your response as soon as possible. I would like to start taping before Christmas vacation. Scheduling may be somewhat tricky with this many conductors~ therefore~ I will be calling you during the week of November 16th at either your school or your home to find out if you will be able to participate in this study. I will also be finding out what your band schedule is end when you would be able to have me come. If you have any questions please call me at home <collect) 716-377-2435. The best time would be any weekday evening between 6:30 end 7:00 PM.
I sincerely appreciate your consideration of the above request and I fully understand how precious each minute o£ rehearsal time is to you. Consequently~ I will make every effort to be completely self-sufficient in regards to equipment set-up etc.~ etc.
Thank you very much for your help.
Sincerely~
Munro H. Sherrill
Dear
APPENDIX E
FOLLOW-UP CORRESPONDENCE WITH CONDUCTORS
19 Woodcrest Circle Fairport, New York 14450 May 27, 1981
In regard to my videotape graduate proJect at the Eastman School of Music, I would like to inform you that it will not necessary for me to do a second session with you. My advisor, Dr. Roy Ernst and I feel the data thus far collected is sufficient and can be used in conJunction with additional data I will be collecting during the next year at Fairport.
I want to take this opportunity to thank you very •uch for your cooperation and support during this proJect. If and when the final proJect becomes complete I will offer you the opportunity to review the final document and tapes.
Sincerely,
Munro H. Sherrill
77
APPENDIX F
PARTICIPATING CONDUCTORS AND THEIR SCHOOL DISTRICTS
Alan Bomwell, Phelps-Clifton Springs Central School, Phelps. N.Y.
Donald DeWitt, Palmyra-Macedon Central School, Palmyra, N.Y.
Edward Lisk, Oswego City School District Oswego. N.Y.
Michael Reid, Clarence Central School, Clarence, N.Y.
Ronald A. Sutherland, Clarence Central School, Clarence. N.Y.
Charles VanBuren, Phelps-Clifton Springs Central School, Phelps, N.Y.
Mark Wheaton, Churchville-Chili Central School. Churchville. N.Y.
George Whittier. Clarence Central School, Clarence, N.Y.
78
79
BIBLIOGRAPHY
Band Music Guide from the Music Guide Series, 1982 Vol., Evanston, Illinois: Instrumentalist Publications, 1982.
Beethoven, Ludwig van. Fourth and Fifth Symphonies in Full Orchestra Score, New York: Dover Publicaions, 1976.
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