Author Archives: nharrell4@gsu.edu

Reflection

From my personal learning blog, I can see the many improvements I have made over the semester. I came into the semester with no experience in conducting, but my dance background was helpful during the early stages of understanding the ways in which our body moves. However, I know from the start that I have very little coordination when it comes to moving my hands independently. I think that can be seen early on in the exercise where we bounced a ball with one hand and did the kinesphere exercises with the other. When, looking back at my videos, I think I have improved a lot in this area, but I still have more progress to make. I also think that I have grown immensely in my level of comfort with the baton. As a choral singer, I am definitely not very familiar with them, but I feel like I have grasped the basic patterns and etiquette. In preparation for the final, I think I need to focus more on isolating my left hand, so that my gestures are clear and distinct. I think that lots of practice will help with this. However, because I am Voice Performance, this will be my last conducting class of my undergraduate degree. Perhaps at the graduate level I will have more chances to explore this art form.

Score Study II and Efforts Video

My video with all efforts exercises can be found at  http://youtu.be/-gKepKJknNk

Below is my Phase II Score Study Assignment:

 

PHASE II: Compositional Structure and Preparation

Relevant Literature on the Work Studied (list title, author, and periodical/texts)

Ralph Vaughan Williams, Hugh Ottaway and Alain Frogley, Grove Music Online

Palph Vaughan Williams, Micheal Kennedy, The Oxford Companion to Music

A Comparison and Analysis of Published Lists of Recommended Wind Band Literature, Timothy W Oliver, Journal of Band Research

 

 

Overall Form of the Composition: ABA Keys: Bb F

 

Flow Chart of the Entire Piece (attached) (√) __X___ Marked/Prepared Score (√) __X___

 

Body Imaging/Eurhythmics Experience of the Entire Piece (√) __X___

 

 

Chapter Six Summary

Chapter six talks about the variables of movement, which are speed, space, and weight. The speed of an object is its pace of motion toward and away from an action point. The distance traveled to and from an action point is space. Weight an illusion created when we combine speed and space. Through the “Same speed, alter space, change weight” exercises, one learns to properly use the delivery system and EFT without and tension or force. Once one has mastered this exercises, they can slightly alter it and practice “different speeds, same space, and changing weight.” The chapter goes on to explore how imagery can impact movement. He uses the example of “Games of Catch” to help one practice the action point and aural imagery.

Chapter 4-6

Chapter four of the Haithcock text focused on balancing the body. He emphasized that balancing is active, and in order to be truly balanced, all joints must be ready and available for motion. Balancing is fluid, not static. He further discussed that all motion begins with a shift in weight, which is either followed through or counterbalanced. This shift in weight revolves around the center of gravity, your pelvic bowl. In order to further understand these concepts, the author outlined several exercises to develop awareness. The first is called “Do the twist,” and it focused on feeling the rotation of your pelvis from side to side. Next, the “Pendelum” focused on moving the right and left sides of the pelvis up and down by bending the opposite knee. “Rocka-Rocka” asked the reader to practice moving the pelvis backwards and forwards in order to release tension in the lower back. Finally, the author concluded the chapter by suggesting the reader should practice rotating their knees, moving their shoulders independently, and moving the pelvis in a combination of the above exercises. All of these were designed to increase awareness and release tension.

 

Chapter five begins by introducing the kinesphere, which can be defined as both the space in which a person moves and how a person moves through space. Understanding the kinesphere is essential to understanding how the body moves, and the exercises in this chapter help to illustrate that. In the “Feet as tripods” exercises, one is instructed to shift weight between the ball of the big toe, the ball of the little toe, and the heel, all the time observing how this effects the range of motion of the entire body. “The Knees as transformers” instructs readers to attempt to do the “Torso Twist” with and without locked knees. One can observe the locked knees inhibiting the body’s range of motion and breathing. The “Pelvis as a MixMaster” exercise teaches one to release tension in the lower back and abdomen by practicing tilting the tailbone and hipbones in opposing directions. The chapter continues to teach one how to “Find the conducting stance” by lifting and lowering the arms while being conscious of tension. The author further clarifies that vertical motion is up and down, horizontal is side to side, and sagittal is forwards and backwards. He defines the natural progression of arm hinges as the “delivery system,” and uses the “Paint the wall” exercise to develop awareness. To develop an even flow of time, one must refine the delivery system through various exercises  to explore the vertical, horizontal, and sagittal planes.

 

Chapter six focuses on the variables of movement, beginning with speed, space, and weight. The pace of motion toward and away from an action point is the definition of speed. The distance traveled to and from an action point is space, and weight an illusion created using speed and space. Through the “Same speed, alter space, change weight” exercises, one learns to properly use the delivery system and EFT without and tension or force. This exercise can then be altered to practice “different speeds, same space, and changing weight.” The chapter goes on to explore how imagery can impact movement, and the “Games of Catch” help one to practice the action point and aural imagery.

Discussion of Chapters 1 – 3

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.