Conducting with Feeling

Conducting with Feeling

Author:

Publisher: Hal Leonard Corporation

Published: 2001

Total Pages: 112

ISBN-13: 9780634030291

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(Meredith Music Resource). A thought provoking collection of ideas by today's leading conductors on how a conductor develops feelings for a piece of music and communicates those feelings to an ensemble.


Influence of Conductor Behavior on Listeners' Perception of Expressiveness

Influence of Conductor Behavior on Listeners' Perception of Expressiveness

Author: Lewes Thomas Peddell

Publisher:

Published: 2004

Total Pages: 422

ISBN-13:

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The purposes of this study were: (a) investigate how subjects' expressiveness ratings were influenced various modes of conductor behavior; (b) evaluate and identify factors that influenced subjects' ratings, and; (c) assess the effectiveness of a Personal Digital Assistant with Continual Responses Digital Interface software (i.e., PDA-CRDI) to measure subjects' expressiveness ratings. Subjects (N = 116) were undergraduate nonmusic majors (n = 50), undergraduate music majors, (n = 42) and graduate music majors (n = 24), enrolled in a large Midwest state university.


The Inner Game of Music

The Inner Game of Music

Author: Barry Green

Publisher: Doubleday

Published: 1986-02-21

Total Pages: 236

ISBN-13: 0385231261

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Suggests techniques for overcoming self-consciousness and improving musical performances, shares a variety of exercises, and includes advice on improving one's listening skills.


Inside Conducting

Inside Conducting

Author: Christopher Seaman

Publisher: University Rochester Press

Published: 2013

Total Pages: 286

ISBN-13: 1580464114

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Exactly what does a conductor do in front of an orchestra? Internationally renowned conductor Christopher Seaman offers lively and informative answers in this wise yet humorous book. What does a conductor actually do? How much effect does he or she have? Can the orchestra manage without one? Why don't the players look at the conductor more? Is it necessary for the conductor to play every instrument? What about interpretation? What happens at rehearsals? Why do some conductors "thrash around" more than others? Who's the boss in a concerto: the soloist or the conductor? These are some of the questions that receive lively andinformative answers in this book by renowned conductor Christopher Seaman. Composed of short articles on individual topics, it is accessible and easy to consult. Each article begins with an anecdote or saying and ends with quotations from musicians, often expressing opposing views. There are many books on the art of conducting, but none like this. Music lovers wondering what the figure on the podium actually does, and aspiring conductors eager to learn more about the art and craft of leading an orchestra, will all treasure this wise yet humorous book. Christopher Seaman has been successful at both ends of the baton. After four years as principal timpanist of the London Philharmonic Orchestra, he was appointed principal conductor of the BBC Scottish Symphony Orchestra and has enjoyed a busy international conducting career for over forty years. He is now Conductor Laureate for Life of the Rochester Philharmonic Orchestra, New York, and he continues to bring great music and wise words to audiences, students, and readers around the world.


Forbidden Music

Forbidden Music

Author: Michael Haas

Publisher: Yale University Press

Published: 2013-04-15

Total Pages: 505

ISBN-13: 0300154313

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DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div