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    A Gesture Refresher

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    John Williamson
    This document provides an overview of foundational elements of conducting gesture and techniques. It discusses influential theorists and approaches, including the Alexander technique, Laban movement analysis, and theories of Hideo Saito and Rodney Eichenberger. Conductors are encouraged to study great conductors, use self-evaluation via video recording and observer feedback, and consider differences between rehearsal and performance conducting. Key elements discussed include preparatory gestures, ictus, patterns for basic and compound meters, initiation and release of gestures, and theories of effort qualities and planes of motion.

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    A Gesture Refresher

    Uploaded by

    John Williamson
    131 views4 pages
    This document provides an overview of foundational elements of conducting gesture and techniques. It discusses influential theorists and approaches, including the Alexander technique, Laban movement analysis, and theories of Hideo Saito and Rodney Eichenberger. Conductors are encouraged to study great conductors, use self-evaluation via video recording and observer feedback, and consider differences between rehearsal and performance conducting. Key elements discussed include preparatory gestures, ictus, patterns for basic and compound meters, initiation and release of gestures, and theories of effort qualities and planes of motion.

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    This document provides an overview of foundational elements of conducting gesture and techniques. It discusses influential theorists and approaches, including the Alexander technique, Laban movement analysis, and theories of Hideo Saito and Rodney Eichenberger. Conductors are encouraged to study great conductors, use self-evaluation via video recording and observer feedback, and consider differences between rehearsal and performance conducting. Key elements discussed include preparatory gestures, ictus, patterns for basic and compound meters, initiation and release of gestures, and theories of effort qualities and planes of motion.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    131 views4 pages

    A Gesture Refresher

    Uploaded by

    John Williamson
    This document provides an overview of foundational elements of conducting gesture and techniques. It discusses influential theorists and approaches, including the Alexander technique, Laban movement analysis, and theories of Hideo Saito and Rodney Eichenberger. Conductors are encouraged to study great conductors, use self-evaluation via video recording and observer feedback, and consider differences between rehearsal and performance conducting. Key elements discussed include preparatory gestures, ictus, patterns for basic and compound meters, initiation and release of gestures, and theories of effort qualities and planes of motion.

    Copyright:

    © All Rights Reserved
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    of 4

    KYACDA 2016

    A Gesture Refresher
    Christopher Aspaas, Ph.D.
    Texas Christian University
    [email protected]
    Who were/are our inspirations for gesture? Why?
    • What are the artistic qualities that we wish to emulate?
    • What are the idiosyncrasies that we may not want to emulate?
    • How does body type affect our own realization of gesture?

    “The performers should feel that he [the conductor] feels, comprehends and is moved: then
    his emotion communicates itself to those whom he directs, his inward fre warms them, his
    electric glow animates them, his force of impulse excites them: he throws around him the
    vital irradiations of musical art. If he be inert and frozen, on the contrary, he paralyses all
    about him...” - Hector Berlioz 1843

    What are some of the foundational elements of our gesture that we are taught?
    • preparatory gestures
    • ictus/tactus
    • patterns for basic meter, compound meter, assymetrical meters, etc.
    • cues & releases

    Reframing thoughts about gesture (Bodily Communication by Argyle):


    • initiation or impulse
    • sustaining or time extending
    • release or reinitiating

    Functions of the conductor:


    • mechanical
    • interpretative/expressive
    • motivational
    • technical
    • psychosocial/collaborative

    Different theories about gesture:


    • Textbook standards (Labuta, Rudolf, Green, etc.)
    • Rudolf von Laban (1879-1958)
    • Hideo Saito (1902-1974)
    • Rodney Eichenberger (b. 1930)
    Alexander Technique
    • “...a process of letting go of habitual, end-gaining responses to stimuli, so allowing
    oneself to pay consistent attention to the means by which each goal is achieved.”
    • Four Concepts of Good Use
    ◦ Allow your neck to release so that your head can balance forward and up
    ◦ Allow your torso to release into length and width
    ◦ Allow your legs to release away from your pelvis
    ◦ Allow your shoulders to release out to the sides

    Laban
    • BESS: Body; Effort; Space; Shape
    • Efforts classifed in the spectra of space, time, weight and fow
    ◦ Space: direct or fexible ◦ Weight: strong or light
    ◦ Time: quick or sustained ◦ Flow: free or bound
    • Eight efforts in combination
    ◦ Flick ◦ Slash
    ◦ Dab ◦ Punch
    ◦ Glide ◦ Press
    ◦ Float ◦ Wring

    Saito
    • Two primary beat functions based on gravity, weight, speed and intensity
    ◦ into-point
    ▪ tataki (to hit)
    ▪ shakui (to scoop)
    ▪ heinkin (even and constant speed)
    ◦ from-point
    ▪ shunkan undo (instantaneous motion)
    ▪ sen-nyu (for subdivision)
    ▪ haneage (to spring forward; bounce away from)
    ▪ hikkake (to hook; to catch with a hook)

    Eichenberger
    • Eichenberger Word Concepts: differences in sound through kinesthetic experiences
    ◦ in and out ◦ here and there
    ◦ up and down ◦ small and large
    • Power Center
    • Planes of motion
    ◦ horizontal ◦ horizontal/vertical
    ◦ vertical ◦ sagittal/vertical
    ◦ sagittal
    • Eichenberger Four Functions of Rhythm
    ◦ Downbeat (A and B) ◦ Away
    ◦ Offbeat ◦ Into

    What are the challenges?


    • Habits (ours and those of our students)
    • Tensions (known and unknown)
    • Fear
    • Kinesthetic understanding: relative and habitual
    • Time (pinpoint, record, consequate, evaluate)

    How can we continue our self-growth and self-awareness?


    • Watch great conductors as much as possible
    • Videotape self-evaluation of rehearsal and performance
    • Outside observer(s)
    • The mirror and a dry erase marker
    • Musician feedback

    Rehearsal Conducting vs. Performance Conducting?

    Resources:
    Balk, H. Wesley. Performing Power: A New Approach for the Singer-actor. Minneapolis:
    University of Minnesota Press, 1985.

    Con, Adam Jonathan. "Effective Conducting in the Choral Classroom." Choral Journal 55,
    no. 9 (2015): 30-38.

    Gambetta, Charles. "Laban Movement Analysis for Conductors: Creating a Fresh Approach
    to Conducting Gesture." Accessed October 14, 2015.
    http://www.academia.edu/7509537/Laban_Movement_Analysis_for_Conductors_Creating
    _a_Fresh_Approach_to_Conducting_Gesture.

    McClung, Alan, and Rodney Eichenberger. "The Relationship between Nonverbal


    Communication and Conducting: An Interview with Rodney Eichenberger." Choral Journal,
    1996, 17-24.

    Toews, Wayne. "Exercises to Develop the Saito Technique." www.conductorschool.com.


    Accessed October 14, 2015. http://conductorschool.com/info/ConductingExercises.pdf.
    From Gambetta, page 60

    from Gambetta, page 84

    from Toews, page 2

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