EDITING MU Volume 2 - Section 5 Conducting (Ch 1-5) Flashcards
1
Q
What is the role of a conductor as a servant leader?
A
A conductor as a servant leader places the needs of the organization, mission, and musicians before their own. They focus on developing their leadership style, character, and technical abilities, and invest in the musical growth and experience of others.
2
Q
How do conductors committed to servant leadership promote a positive atmosphere?
A
They remain mindful of their influence and demeanor, treat everyone with dignity and respect, and maintain high standards of musical proficiency, professional skill, and military courtesy.
3
Q
Describe the qualities that conductors committed to servant leadership possess.
A
They are passionate about their role, believe in the full potential of the band, are dedicated to the mission of the organization, and consistently seek to improve their own musical and leadership skills.
4
Q
What are the underlying messages conveyed by the Navy’s leadership traits and principles?
A
The Navy’s leadership traits and principles convey a message that challenges all to remain focused on the mission, lead with a vision, set personal and organizational goals, and be effective communicators.
5
Q
What is the significance of integrity in fostering mutual trust and confidence among an ensemble?
A
Integrity is one of the defining qualities that fosters mutual trust and confidence among an ensemble, and conductors must understand that any deficiencies in performance should not be clouded behind showmanship, charisma, or authority.
6
Q
Describe the role of a conductor as a servant leader in the context of the United States Navy Band.
A
A conductor as a servant leader in the United States Navy Band program is confident in their abilities, open to constructive feedback, and focuses on developing musicianship, fostering teamwork, and communication.
7
Q
Do mission statements within the Navy band program guide decision-making? If so, how?
A
Yes, mission statements within the Navy band program guide decision-making by informing choices on personnel, operational tempo, ensemble types, repertoire, programming, and resource allocation.
8
Q
How do mission statements within the Navy band program support higher authorities and other entities within the Department of Defense?
A
Mission statements within the Navy band program support higher authorities and other entities within the Department of Defense by serving as force multipliers and aligning with the mission of the local commander.
9
Q
Describe what a vision is and its importance for an organization or individual.
A
A vision is a clear picture of future success, written in an inspirational manner, providing a compass point for an organization or individual to focus on achieving. It helps define goals, objectives, and long/short term successes, and strengthens an organization’s culture through a unified sense of purpose.
10
Q
Define a personal vision for a conductor.
A
A personal vision for a conductor may define what type of servant leader they want to be, delineate what musical knowledge they want to attain, or reflect a desire to become more proficient in their craft.
11
Q
How can conductors ensure the musical vision is achieved?
A
Conductors can ensure the musical vision is achieved by being committed to score study, practice, and critical listening, which provide them with the knowledge and skills required to articulate a clear picture of what the music needs to express.
12
Q
Describe the role of goals in a musical organization.
A
Goals are action items that ensure a vision is achieved in smaller portions, providing clear objectives to encourage the group to challenge themselves and accomplish the mission.
13
Q
Describe the communication model in the context of a conductor and ensemble members.
A
The communication model involves the conductor as the sender, the message being the verbal and non-verbal cues, the musicians as the receivers, and their responses as feedback.
14
Q
Define the sender in the communication model described in the content.
A
In the context of the communication model, the sender refers to the conductor or leader.
15
Q
How can continuous personal development of communication skills benefit a conductor?
A
Continuous personal development of communication skills is crucial to the effectiveness of a conductor in directing, influencing, guiding, and inspiring ensemble members.
16
Q
Do musicians play a role as active listeners in the communication model described?
A
Yes, musicians are considered active listeners who constantly interpret and respond to verbal and non-verbal messages sent by the conductor.
17
Q
Describe the basic communication model illustrated in the diagram.
A
The basic communication model is a continuous cycle where the conductor is an active listener, and feedback is provided by the musician in the form of a musical response.
18
Q
What factors should the conductor consider when communicating with different receivers?
A
The conductor should consider the receiver’s role or position, experience, personality or group dynamic, and cultural background.
19
Q
Define the importance of considering cultural background in communication.
A
Considering cultural background is important to ensure that certain words and phrases are not misinterpreted, especially between different cultures or between military and civilian populations.
20
Q
How should conductors give feedback and make corrections in communication?
A
Conductors should understand the difference between feedback/corrections and reprimanding, reserving reprimanding as a last resort.
21
Q
Describe the role of the conductor in ensuring effective verbal communication.
A
The conductor must be aware of who they are communicating with and ensure their message is received as intended, considering factors such as the receiver’s role, experience, personality, and cultural background.
22
Q
Describe the importance of professional courtesy, honesty, and tact when providing feedback or making corrections.
A
Professional courtesy, honesty, and tact are important in providing feedback or making corrections to maintain dignity and respect.
23
Q
How can modifications of the voice promote accurate interpretation of a message?
A
Modifications of the voice, such as changes in volume, rise and inflection, clarity, and tempo (cadence) of the speech, can promote accurate interpretation of a message.
24
Q
Define non-verbal communication and its role for a conductor as both the sender and receiver of information.
A
Non-verbal communication includes a wide variety of gestures that can either reinforce or detract from the intent of a verbal message. It aids the conductor as both the sender and receiver of information.
25
What questions should a conductor ask when considering non-verbal gestures?
The conductor should ask (1) what message and expressive characteristics the composition is conveying, and (2) how the music's intent can be effectively communicated to the performers through their musical instruments.
26
Do conductors need to build a repertoire of gestures and expressions? If so, how can they refine these gestures?
Yes, conductors need to build a repertoire of gestures and expressions to convey music more effectively. They can refine these gestures through practice in front of a mirror, self-assessments, and feedback from colleagues.
27
Describe the significance of genuine facial expressions and meaningful eye contact for conductors.
Genuine facial expressions and meaningful eye contact serve as primary sources of non-verbal communication for conductors. When used effectively, they can have a direct impact on the interpretation of a message and the performance of music.
28
the role body language in nonbal communication during conducting.
Body language serves as a major source of energy, emotion, conviction, and confidence for a conductor, allowing them to project nonverbal communication through the extremities and torso.
29
Do bending or bouncing contribute to a conductor's presence of confidence and energy?
No, bending or bouncing diminishes the presence of confidence and reduces energy, while also distracting from important gestures or the baton.
30
Define the impact of feet placement on non-verbal communication during conducting.
Feet placed together may reinforce a martial style, influencing the non-verbal communication projected by the conductor.
31
How can a conductor use breathing to communicate non-verbally with the ensemble?
Breathing deeply (non-audible) can indicate to the ensemble to take a deep breath, and as the chest rises, it can also indicate that the musicians should play with a full and round sound.
32
Describe the significance of maintaining an upright posture for a conductor.
Maintaining an upright posture is essential for projecting confidence, energy, and non-verbal communication effectively, while also keeping the focus on important gestures and the baton.
33
Do conducting gestures communicate a message to the ensemble?
Yes, every move a conductor makes communicates a message to the ensemble.
34
Define the correct posture and stance for conducting.
The correct posture and stance involve standing straight, with feet approximately shoulder width apart, toes pointed slightly outward, and knees straight but not locked.
35
How should a conductor's body appear while conducting?
A conductor's body should appear both natural and commanding, without appearing overly strained or exhausted.
36
Describe the impact of effective posture and stance on conductors.
Effective application of posture and stance allows conductors to exhibit confidence and professionalism.
37
Do conductors need to spend time in score study and practice to ensure clear communication of gestures?
Yes, a conductor who presents a polished technique has spent countless hours in score study and practice to ensure that all gestures clearly communicate intent and are focused on the needs of the ensemble.
38
Describe the recommended shaft colors for a conductor's baton.
The recommended shaft colors for a conductor's baton are white and the natural wood tone.
39
How should a conductor's hand be positioned when conducting with or without a baton?
The conductor's hand should be naturally and slightly cupped, with fingers extended, and not overly bent above or below the wrist.
40
Define the basic hand position for conducting with a baton.
The basic hand position for conducting with a baton involves turning the palm face down, with the palm of the hand slightly cupped and fingers extended.
41
What is the significance of using a white shaft baton when wearing a black uniform?
When black is worn, the white shaft is easily seen, making it a suitable choice for conducting.
42
Do eccentric colors have a place in a conductor's baton shaft?
No, eccentric colors, such as fluorescent palettes, are not recommended for a conductor's baton shaft.
43
Describe the basic hand position for holding baton.
The basic hand involves starting with the hand in a palm-up position, grasping the baton at the junction of the handle and shaft with the thumb and forefinger, curving the remaining fingers inward towards the baton handle, and then turning the palm down towards the floor.
44
What are the four steps to achieve the proper baton grip?
The four steps are: beginning with the right hand in the basic hand position, grasping the baton at the junction of the handle and shaft with the thumb and forefinger, curving the remaining fingers inward towards the baton handle, and turning the palm down towards the floor to assume good conducting position.
45
Define the baton grip.
The baton grip involves grasping the baton at the junction of the handle and shaft with the thumb and forefinger, curving the remaining fingers inward towards the baton handle, and turning the palm down towards the floor to assume good conducting position.
46
How should the baton be held in the palm of the right hand?
It is acceptable if the baton's handle rests in the palm of the right hand, depending on the shape and length of the baton handle versus the size of the conductor's hand.
47
What should be done if the baton's handle rests in the palm of the right hand?
Ensure that the tip of the baton is in the correct position, as mentioned in Section 5, Chapter 2-5.
48
Describe an expressive gesture in conducting.
An expressive gesture in conducting involves using various aspects of conducting technique and non-verbal communication devices in a cohesive manner to deliver cues, sustain fermatas, indicate caesuras, establish or indicate changes in tempo, style, and dynamics.
49
Define contour and ictus in the context of conducting.
Contour and ictus in conducting refer to the shape of the beat pattern and the approach of the ictus point, which greatly affect the interpretation of an expressive gesture.
50
How does a conductor's posture and stance impact the execution of an expressive gesture?
A conductor's posture and stance impact the execution of an expressive gesture by ensuring that their body language effectively communicates the intended message.
51
Do expressive gestures in conducting involve pointing the baton at specific angles?
Yes, expressive gestures in conducting may involve pointing the baton at an angle somewhere between 10 and 11 o'clock, as outlined in the content.
52
Describe the role of posture and stance in conducting expressive gestures.
The role of posture and stance in conducting expressive gestures is to ensure that the conductor's body language effectively communicates the intended message, impacting the execution of the gesture.
53
Describe the role of facial expressions and eye contact in conducting.
Facial expressions and eye serve as non-verbal communication devices that enhance delivery of expressive gestures. Meaningful eye contact communicates intent, imparts impulse of will, and alerts musicians that a gesture is coming.
54
What are some examples of how the hands and arms can be used to communicate expressive gestures in conducting?
Examples include using the left arm and hand in a rise and fall motion to indicate dynamic change, turning over the hands to indicate a fermata, and adjusting the intensity of the hands to impact the musical response.
55
How does the left hand contribute to conducting, and what should it communicate when not in use?
The left hand reinforces the baton, communicates fermatas, cues, and tempo changes, and brings clarity to dynamics, shape, and contour of the music. When not in use, it should rest naturally and function independently from the right hand.
56
Define meaningful eye contact in the context of conducting.
Meaningful eye contact is achieved when the conductor looks at an individual or group, instead of just looking in their general direction. It communicates intent, imparts impulse of will, and alerts the musicians that a gesture is coming.
57
How can the conductor's facial expressions and eye contact reflect the mood of the gesture?
Varying degrees of intensity and emotion in the conductor's facial expressions and eye contact will greatly impact the musician's response, reflecting the mood of the gesture.
58
What is the significance of the left hand in conducting, and how should it be used to enhance the conductor's message?
The left hand is instrumental in communicating fermatas, cues, and tempo changes, and can enhance the overall effectiveness of the conductor's message by bringing clarity to dynamics, shape, and contour of the music.
59
How can the conductor use the left hand to highlight important expressive devices in the music?
The left hand can highlight important expressive devices such as style and articulation, enhancing the overall effectiveness of the conductor's message.
60
Describe the impact of adjusting the intensity of the hands or baton grip in delivering an expressive gesture.
Adjusting the intensity of the hands or baton grip can have a significant impact on the musical response, yielding different responses from relaxed and opened fingers (legato to light staccato) versus firm and closed fingers (accented or marcato).
61
Describe the concept of body mapping in.
Body mapping sections the's body and the podium into conducting areas to ensure clear and effective communication of non-verbal gestures.
62
What are the dimensions into which the conducting area is divided?
The conducting area is divided into three dimensions: vertical plane, horizontal plane, and sagittal plane.
63
How are gestures with the baton hand and left hand given in body mapping?
Gestures with the baton hand are given on the right side of the body, and gestures with the left hand are given on the left side of the body.
64
What should be avoided in body mapping when giving gestures?
Twisting at the waist or crossing the arms in front of the body should be avoided in body mapping.
65
Define the horizontal plane in body mapping.
The horizontal plane extends to the left and right lateral limits of the conductor's arms, with the center of the beat patterns falling approximately mid to lower chest level.
66
How does a conductor use the sagittal plane in conjunction with other dimensions?
A conductor uses the sagittal plane in conjunction with the vertical and horizontal planes to communicate gestures to the various rows of the ensemble, such as extending the baton hand outward to bring focus to the ictus or incorporating depth with horizontal movements to indicate dynamics.
67
Define the purpose of using a podium when conducting an ensemble.
Using a podium elevates the conductor so all members of an ensemble can see the gestures given, ensuring clear communication.
68
Do conductors need to adjust their position when conducting an ensemble in a seated formation?
Yes, conductors may need to slightly raise or lower the horizontal plane to accommodate the musician's line of sight with the conductor when conducting an ensemble in a seated formation.
69
Describe the recommended hand position when conducting an ensemble in a concert formation.
When conducting an ensemble in a concert formation, elevate the arms so the hands are positioned between the chest and the face, as movements below chest level may not be seen by the musicians.
70
How does a conductor indicate softer dynamic levels or lighter articulations using the sagittal plane?
A conductor may decrease depth by bringing the hands toward the body to indicate softer dynamic levels or lighter articulations, in conjunction with horizontal movements.
71
What is the significance of the downbeat and beat one in conducting?
Musicians typically identify the downbeat and/or beat one when the conductor breaks the horizontal plane, providing a clear reference for the ensemble's timing and rhythm.
72
Describe the block band formation when conducting an ensemble.
Elevate the arms so the hands are approximately eye level, placing the conducting planes no less than chest level to ensure clear visibility of beat patterns.
73
What should a conductor be conscious of when using a block band formation?
They should avoid extending the arms too high to prevent musicians from being unable to see beat patterns clearly and to reduce the risk of injury from stress on the arms and shoulders.
74
How does a conductor's height affect the block band formation?
Variations of the formation are acceptable and depend on the conductor's height.
75
Define the conducting area in a block band formation.
The conducting area is the space where the conductor's hands move, typically at eye level and no less than chest level, to guide the ensemble.
76
What is the significance of the conducting planes in a block band formation?
They ensure that the beat patterns are clearly visible to the musicians, contributing to the cohesion of the ensemble.
77
Describe the importance of visibility between the conductor and musicians during concert and block band formations.
It is important for the conductor to be in a position where they can see all of the musicians, as if the conductor cannot see a musician, it is unlikely the musician can see them either.
78
How can a conductor mitigate visibility issues with musicians during performances?
A conductor can mitigate visibility issues by increasing the depth between the musicians and the conductor or by taking one side step to the left or the right.
79
Define the key areas of visibility that should be ensured when it is impossible for the conductor to see all of the musicians during a performance.
In such situations, visibility should be ensured with the snare and bass drums, cymbals, and the lead trumpet player.
80
Describe the impact of a conductor's stage presence on a performance.
A conductor's stage presence serves as the personal link between the audience and the ensemble, representing the organization's musical ability, professionalism, and adherence to standards.
81
What are some elements of a good stage presence for a conductor?
A good stage presence for a conductor involves having a professional appearance, the motivation to deliver a quality performance, and a sincere desire to be the best representation of the organization.
82
How should a conductor acknowledge audience applause?
A conductor should allow time to acknowledge audience applause, join in their gratitude, and shake the featured performer(s) hand(s) in appreciation.
83
What is the customary gesture a conductor should make after the band has performed a piece?
After the band has performed a piece, the conductor should make a gesture to invite the band to stand and receive their applause.
84
Define the role of a conductor's smile in stage presence.
The conductor's smile communicates to the audience a feeling of warmth, grace, and appreciation, enhancing the overall performance experience.
85
Describe the fundamental similarities between compound conducting and basic conducting patterns.
Compound patterns fundamentally have the same directional movement from ictus to ictus as the basic conducting patterns.
86
What is essential for a conductor when applying compound conducting patterns?
A solid foundation of the basic conducting patterns is essential.
87
Define the most noticeable differences between compound and simple patterns.
The treatment of the divided beat within the pattern, and the travel between ictus points are the most noticeable differences.
88
How does a compound beat pattern of 6/8 travel compared to a 2/4 beat pattern?
A 2/4 beat pattern would rebound and travel evenly from ictus to ictus in a 1-&-2-& fashion, while a compound beat pattern of 6/8 would use the same simple duple pattern, but travel with a compound feel of 1-&-a-, 2-&-a.
89
Do conductors feel a slight emphasis on certain beats when conducting in a compound meter?
Yes, while conducting in a compound meter, a conductor may feel a slight emphasis (or hang), on the &-a" of every beat."
90
Describe the additional ictus points in compound conducting patterns at slower tempos.
At slower tempos, compound conducting patterns have additional ictus points traveling through the pattern.
91
Define the purpose of evenly spacing each beat throughout the compound conducting pattern for meters of 6, 9, and 12.
The purpose is to ensure that each beat is evenly spaced throughout the pattern.
92
How do conductors make decisions about the variations of conducting patterns?
Conductors make decisions based on score study and what best communicates style, meter, and tempo to the band.
93
What is the significance of the illustrations of compound conducting patterns?
The illustrations represent one of many variations, and as conductors study further, their knowledge on the variations of patterns will be increased.
94
Do compound conducting patterns still represent the basic conducting patterns at slower tempos?
Yes, at slower tempos, compound conducting patterns still represent the basic conducting patterns.
95
Describe the difference between a six beat and a compound duple pattern.
A six beat pattern consists of six beats per measure, while a compound duple pattern has two beats per measure, each divided into three sub-beats.
96
Define a compound triple pattern.
A compound triple pattern has three beats per measure, with each beat divided into three sub-beats.
97
How does Figure 3-2 and Figure 3-3 relate to the content in Section 5, Chapter 3-3?
Figures 3-2 and 3-3 likely illustrate examples of the six beat and compound duple patterns, as well as the nine beat and compound triple patterns discussed in Section 5, Chapter 3-3.
98
Describe the importance of a conductor's ability to shift smoothly between the one beat pattern and its correlating standard pattern.
It is important for a conductor to be able to shift smoothly between the one beat pattern and its correlating standard pattern in order to indicate tempo changes, emphasize different qualities in the music, and better communicate phrasing, style, and flow of the musical line.
99
Do asymmetrical patterns follow the same travel from ictus to ictus point as the basic patterns?
Yes, asymmetrical patterns follow the same travel from ictus to ictus point as the basic patterns.
100
Define asymmetrical patterns and provide examples of meters that use them.
Asymmetrical patterns are used for meters that contain uneven beat groupings, such as meters in five, seven, and eleven. Occasionally, meters in eight are considered asymmetrical, depending on the beat groupings.
101
How should conductors modify the contour of a pattern when the meter's feel reflects a compound style or its tempo is too fast for the standard pattern?
When the meter's feel reflects a compound style or its tempo is too fast for the standard pattern, conductors may modify the contour of the pattern to ensure the travel from ictus point reflects the correct pulsations of the asymmetrical divisions.
102
Describe the considerations conductors must take into account when choosing the best approach to an asymmetrical meter.
Conductors must consider the passage's metric organization, style, and tempo when choosing the best approach to an asymmetrical meter, as well as what approach will best communicate those same elements to the ensemble.
103
Describe the modification of a five beat pattern illustrated in Figure 3-6.
The modification involves slightly lengthening the first three divisions and shortening the next beat in a way that fills the last two divisions.
104
Define the modification used for meters in seven and eleven.
Meters in seven may be modified using a three beat pattern, while meters in eleven generally use a modified four.
105
How are meters in eight modified in terms of beat patterns?
Meters in eight may use the modified three or four beat patterns.
106
Do meters in eleven use the same modified beat pattern as meters in seven?
No, meters in eleven generally use a modified four, while meters in seven may be modified using a three beat pattern.
107
Describe the content of Section 5, Chapter 3-6.
The section likely contains further information or examples related to the modification of beat patterns in different meters.
108
Describe the score study process.
The score study process involves thoroughly analyzing musical notation and other information provided by the score to develop an informed interpretation and deeper understanding of the music.
109
What is the main goal of score study?
The main goal of score study is to develop an informed interpretation and deeper understanding of the music.
110
How does score study impact rehearsal preparation?
Elements discovered during score study directly impact rehearsal planning, goals, and podium techniques.
111
Define score orientation.
Score orientation is the first step in the score study process, aimed at acquiring a general understanding of the composition.
112
What are the three phases of score orientation?
The three phases of score orientation involve reviewing the front cover and introductory pages, composer's name, and additional information such as dedication/commission and publisher details.
113
Describe the information obtained during score orientation.
During score orientation, information such as the title of the composition, composer's name, dedication/commission, and additional details like publisher and date are obtained.
114
What are the four steps of the score study process?
The four steps of the score study process are score orientation, score reading, score analysis, and score interpretation.
115
Describe the objectives of score reading.
The objectives of score reading are to acquire a general sound image of the music and develop an intuitive feeling for the expressive potential of the composition.
116
Do not attempt to analyze or memorize the music. What should a conductor use instead?
A conductor should use their musical imagination, feeling, and intuition to guide them during score reading.
117
Define score analysis.
Score analysis is the in-depth and methodical study of a musical score to acquire knowledge of all the details within a composition.
118
How should a conductor approach the score reading process?
A conductor should begin with an open mind, read each measure vertically and horizontally, and make every effort not to stop.
119
Describe the elements that score analysis requires a detailed examination of.
Score analysis requires a detailed examination of melody, harmony, instrumentation, layout, tempos, meters, key signatures, symbols, signs, and musical terms.
120
What is the purpose of the introductory notes in the score study process?
The introductory notes provide further insight into the background of the composition.
121
What should a conductor use during score reading instead of a piano or recording?
A conductor should use their inner ear during score reading instead of a piano or recording.
122
Describe the process of score analysis.
Score analysis involves an in-depth and methodical study of the score to understand the full score intricacies and their level of importance.
123
What are the objectives of score reading?
The objectives of score reading are to acquire a general sound image of the music and develop an intuitive feeling for the expressive potential of the composition.
124
Describe the components a conductor should review in the score study process.
Form, rhythm, orchestration and texture, dynamics, stylistic articulations, and expressive terms.
125
What is the objective of score interpretation in the score study process?
To achieve a personal interpretation of the music.
126
How can a conductor formulate their own interpretation during score interpretation?
By using the findings from previous steps and listening to recordings and performances.
127
Define musical form in the context of score study process.
Musical form refers to the overall structure of a composition, serving as a road map indicating where the music has been, where it is, and where it is going.
128
What elements does a conductor need to make final decisions on during score interpretation?
Tempo, phrasing, dynamics, timbres and texture, and stylistic elements.
129
How does background information contribute to the score study process for a conductor?
It helps the conductor research historical information on the composer, the composition, and the style of the time period.
130
Describe the importance of understanding musical form in the score study process.
Understanding musical form is important as it serves as a road map for the composition, indicating the structure and interlocking layers of the music.
131
Do critical listening is recommended during the previous steps of the score study process?
No, critical listening is not recommended during the previous steps as it may inhibit intuitive perceptions and critical examination of score analysis.
132
What are some sample musical forms that a conductor may encounter during the score study process?
Compound or multi-movement forms.
133
Describe the different types of instrumental music forms mentioned in the content.
a. Instrumental forms include concerto, overture, suite, symphony, sonata, etc. b. There are also instrumental and vocal forms such as cantata, oratorio, mass, etc.
134
Define sectional forms and provide examples of each.
Sectional forms include binary (AB), ternary (ABA), rondo (ABACADA), arch form (ABCBA), and variations of these forms.
135
How can a flow chart be used in music interpretation and analysis?
A flow chart can be developed during score interpretation to enhance a conductor's understanding of the composition. It helps dissect and internalize the music, answer questions on musical form and orchestration elements, and analyze larger forms of music like symphonies and overtures.
136
Do flow charts recreate the full score or are they used in performances?
No, flow charts should not recreate the full score, nor should they be used in performances. They are simply sketches used for dissecting and internalizing the music.
137
Describe the possible items that a conductor may include in a flow chart.
A conductor may include the length of the piece or section, tempo, meter changes, dynamic contrasts, and important entrances in a flow chart.
