Preface and Chapter One:

Right away, I was interested in the author’s unique background. I have studied dance for years, and I am familiar with Labanotation as it is used for choreographers. I had never before considered its application to conducting. I also thought that it was interesting that he studied miming. I am interested to see how this unique background influences his writing, and I am especially looking forward to his emphasis on imagery. In the first chapter, his discussion on enlightened musical leadership offered some key goals to keep in mind. He especially emphasized how a successful conductor needs exchange nonverbal communication with the group. I also was glad that he touched on the difficulties  of listening critically while conducting. As a new conductor, it seems intimidating to be required to do both at once, so I hope that throughout the book he will offer advice on how to develop these skills.

Chapter Two:

Chapter two delves into the beginning ideas of Laban-Barteneiff system. The ideas of body, shape, space, and effort are discusses and defined. I think that having a clear understanding of these concepts will help when we begin practicing conducting. He also discussed the importance of having quality of motion over quantity, meaning that specific gestures are usually better. I also liked his focus on being available to move by relieving tension. As a singer, I strive to have as little tension as possible, so I am looking forward to seeing if this will translate to my conducting. I also look forward to exploring the challenges of imagining a clear action point and creating the most efficient movement. By understanding some of these basic concepts, which are categorized as creating positive or negative feelings, I will be better prepared to understand my beginning efforts as a conductor. I will aim to be relaxed, fluid, and specific. These exercises at the end of the chapter helped to further illustrate these concepts. The stark contrast between the positive and negative feelings created helped me to understand the concept of a delivery system, defined as the desired order of movement with mechanical ease.

Chapter Three:

The third chapter offered interesting insight on the ideas of tension and imbalance. I thought it was interesting that the author stated that stillness equates to tension. I disagree with his statement that stillness creates a fixed position with no availability to move, and I am not sure exactly what he based this idea on. I do agree that many people have problems with the way that they sit, but through Alexander Technique, one can learn how to sit straight while being completely relaxed. This is actually better for your back than constantly slouching. However, I did enjoy practicing the suggested exercises. There was such a difference between the different ways on leaning against the wall and standing up. It is so interesting how a small adjustment can create such a different feeling. I also enjoyed the exercise that extend the range of motion in the neck. We would often do exercises like this in dance, where your range of motion is also essential. The discussions of centers of gravity also reminded me of my dance training. In modern dance, the desired center of gravity is felt very low and certainly in the pelvis. bowl. However, in ballet, one must use their abdominals constantly in order to raise the center of gravity. I like that this chapter was so specific in the proper center of gravity for conducting. I think that this specificity will help me in my beginning exercises.

This video sparked my interest in the intent behind different ways of conducting. Before, I had just considered conducting from the standpoint of a choral student who needs to follow a director. Because I have been fortunate enough to have such excellent conductors, I have rarely considered the alternative ways in which they could have chosen to conduct. I thought that the different examples back to back really helped to illustrate how many different choices are possible. I enjoyed how each example illustrated a different way of maintaing control, from overly strict gestures to collaboration between musicians. His analogy comparing a roller coaster to music making was an interesting and adept interpretation, and I thought it highlighted the many aspects of collaboration that must come together for a successful performance. His last two clips of Leonard Bernstein illustrated the depth of emotion that can be expressed on one’s face, and how, in his words, “His face was the music.” This semester, I am looking forward to continuing to explore the many possible intentions and choices of conductors.