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A number of alternative patterns are presented, with the authors discussing the
strengths and weaknesses of each.
According to the authors, there is no simple solution to the challenge of
coordinating right and left hands (Kohut and Grant 1990:39) except through
slow, repetitive practice, which is in contrast with the early focus on kinaesthetic
learning. A poor example is given when they introduce cueing, where they state:
‘In executing the preparatory gesture and downbeat for the left hand cue, think of
pointing and shooting a pistol’ (Kohut and Grant 1990:40-41). This particular
example lacks sensitivity to the different styles of cueing available to the
conductor. The authors attempt to clarify their explanation in the following
chapter, in which they write: ‘this is appropriate mainly for marcato style music
performed at a soft dynamic’ (Kohut and Grant 1990:44), but it is to be
wondered why they didn’t provide this clarification in the first place. Lonis also
criticises the textbook for lacking flow within sections, suggesting that some re-
organisation would strengthen its effectiveness (Lonis 1993:40).
The book is not very well presented, with small print and very poor quality
photographs affecting the clarity of the examples of holding the baton.
Nevertheless, this is a good starting textbook for teaching beginner conductors,
due to the kinaesthetic approach initially taken.

In contrast to previously discussed textbooks, Jerry and Henry Nowak’s

Conducting the Music, Not the Musicians (2002)(1st edition) focuses on teaching
the expressive aspects of performing, which the Nowak brothers claim ‘has long
been largely ignored in most conducting, instrumental and vocal pedagogical
texts’ (Nowak and Nowak 2002:xiii). The primary philosophy of the Nowak
brothers with regard to conducting teaching is that the gestures used are an
expression of the conductor’s internal imagery of the music, which stimulates
body movements. Paraphrasing the authors, if this internal imagery is allowed to
dominate physical gestures, then understanding of the music will be expressed in
the conductor’s movements (Nowak and Nowak 2002:1). Intended for use both
by conducting classes, and by individuals interested in the study of conducting,
this textbook was used by five university conducting teachers and two
experienced Melbourne secondary school conductors from the surveys.
Nowak and Nowak prefer to teach new concepts along with the supplied musical
examples, giving plenty of opportunities to apply the new concepts, although the