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.
I am also continually working to eliminate tension in my singing. It will be interesting to see how that physicality will transfer to conducting. What are some of the things you do to keep yourself from getting tense when you sing? Do you think those same strategies will correlate in a positive way when keeping time and leading an ensemble?
I find myself agreeing with a lot of your thoughts and comments, and I wonder if it’s because we’re approaching this from both a theater and a vocal performance background? I like that the class is starting with the movement based aspect, and I think that because we’re learning this before going more in depth into critical musical analysis, the movements will become second nature and will free us up to be able to focus on the music and develop a critical ear without distractions.
To address one of your comments, when Haithcock brings up stillness as a type of tension, I think he’s referencing the idea in the Alexander technique that living humans are never truly still, and there are always tiny movements going on within us. This was once described to me as “the tiny dance” by a movement instructor. Being still in itself is not a tension, but forcing yourself to “try” staying completely still is.
I agree with your idea that any and all tension does not necessarily lead to tension. I believe that maybe for most people it would be more difficult to be relaxed in a fixed position. However, those with backgrounds in movement do it naturally. Like you said, in ballet, a dancer holds tension in their abdominals and they learn to keep certain parts of their bodies still, say their torso, while their legs fly about the place. They do not become stiff when they hold tension in their abdominals because they learn to be relaxed and tension free everywhere else. But Haithcock, I’m sure, is probably not referring to people who have experienced backgrounds in dance.
I’m glad that you constantly refer to your dance background and think it will give you an advantage so that you are not starting this experience from scratch. When I did the exercises I noticed how dramatic of change would occur just by making a small change. I’m looking forward to doing all of these in class with our classmates and seeing everyone’s strengths and hoping to feed off of everyone’s knowledge.
Natalie, firstly I like how you made the comparison to your background in dance. I learned something new today from that! I also found it very interesting how both vocalists and horn players (or at least myself) strive for having no tension when performing at all. I could learn a lot from you when it comes to that because the first thing that happens to me is my throat closes off. You really go into great detail about each chapter. Over all a very good read, and I learned a whole lot in this too!