AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL

0 AND CONDUCTING TECHNIQUES OF SELECTED

JUNIOR AND SENIOR HIGH SCHOOL
BAND CONDUCTORS

by

Munro Hunting Sherrill

\

Submitted in Partial Fulfillment

o£ the

Requirements £or the Degree

DOCTOR OF MUSICAL ARTS

Supervised by Roy E. Ernst,

Eastman School o£ Music

University of Rochester

Rochester, New York

1986
 AN ANALYTICAL STUDY OF VIDEOTAPED REHEARSAL

AND CONDUCTING TECHNIQUES OF SELECTED

JUNIOR AND SENIOR HIGH SCHOOL

BAND CONDUCTORS

by

Munro Hunting Sherrill

Chairman: Roy E. Ernst

This study analyzed the rehearsal and

conducting techniques of eight teachers of school bands

by a systematic analysis of rehearsal video tapes.

Four JUnior high school end four senior high school

conductors participated in the study. The criteria for

selection were excellent festival records and

reputations for having developed successful music

programs.

The conductors were videotaped rehearsing

their bands at their own schools in an environment as

close to normal as possible. The initial tepee were

screened for examples of the following four main areas

of the study: <1> warm-up/tune-up procedures, <2> the

teaching o£ balance, <3> the teaching of intonation,

and <4> the teaching of rhythM. These four areas are

described in Chapters Three through Six. Other

examples of rehearsal techniques, such as rehearsal

planning and the correlation of theoretical concepts

and compositional techniques are mentioned in Chapter

Seven. Chapter Eight surveys five criteria of

conducting involving physical/visual techniques used by

each conductor: i.e. posture, right hand position, left

hand postion, eye contact, and performer response.

Appendix A lists the frequency of specific

rehearsal obJectives and techniques: articulation,

phrasing, dynamics, expression, precision, rhythm,

tone, tuning, the use of tenuto/rubato, modeling by

playing <instrument> and singing, and the use of

positive reinforcement. The data found in Appendix B

indicate the frequency of the following conducting

techniques: eye contact, staccato beat, sudivided

beat, transitions, legato beat, hand cueing, eye

cueing, change in beat size, contrast in beat styles,

independence of hands, and releases/fermat!. A log of

warm-up/tuning procedures using scales, chorales,

rhythm studies, chord studies, articulation studies,

technical skill builders, individual tuning, and verbal

instructions can be found in Appendix C.

Eight tapes containing nearly seven hours of

taped material were reviewed to produce a master tape

which provides examples of individual conducting

behavior. Each taped example on the master tape is

discussed in the text o£ the study.

Examples were found o£ the conductors teaching

within the four main categores: tuning and warming up,

intonation, balance, and rhythm. The study, however,

£ound only minimal examples in the following

sub-categories: odd meter passges, unusual or

difficult rhythms, and mixed meter. Other desired

examples of conducting behavior, such a facial

expression, eye contact and expressive beat patterns

were found to be minimal.

 ACKNOWLEDGEMENTS

I wish to express my gratitude to my advisor,

Dr, Roy E. Ernst, for his support, and seemingly

unending patience and understanding. His ever present

encouragement has been a positive factor in the

completion of this study.

I am especially indebted to the eight public

school conductors who eo willingly contributed their

skills.

A special word of thanks is given to my

conducting advisor, Dr. Donald Hunsberger, for his

support and encouragement. In addition, a thank you is

extended to Dr. Richard Grunow, of the Music Education

Department of the Eastman School of Music, for serving

on my dissertation reading committee along with Dr.

Hunsberger.

Many heartfelt thanks are extended to the

following members of the Instrumental Music Staff of

the Fairport Central School District: Kenneth Brown,

Louis DeBonzo, Richard DePasquale, Thomas Ghidiu,

Elinor Osborn, Richard Osterling, Donald L. Poole,

Waldo Woodworth and William Woodworth. Their

encouragement and support of my work at the Eastman

School o£ Music is greatly appreciated.

Appreciation is extended to the Board of

ii
Education of the Fairport Central School District for

granting me a sabbatical leave for advanced graduate

work.

Finally, I em grateful to my wife, Jeanette,

end sons, Matthew and Jason, for their patience and

understanding.

iii
 TABLE OF CONTENTS

ACKNOWLEDGEMENTS...................................... ii

LIST OF TABLES..... • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • v

Chapter
I. Introduction. . • • . • • • • • • • • • • • • • . . • • . . . • • . • . 1

II. Relevant Research......................... 6

III. Warm up/Tune up Procedures................ 22

IV. Teaching Ensemble Balance................. 29

V. Teaching Intonation....................... 35

VI. Teaching Rhythm........................... 42

VII. Other Rehearsal Techniques................ 51

VIII. Other Conducting Techniques............... 57

I X• Summary. • • • • • . • • • . • • • . • • . • • • • • • • . . • • • • • . . • 65

APPENDIX A. Rehearsal Techniques Frequency Chart...... 72

APPENDIX B. Conducting Techniques Frequency Chart..... 73

APPENDIX C. Log of Warm-Up/Tuning Procedures.......... 74

APPENDIX D. Correspondence with Conductors............ 75

APPENDIX E. Follow-up Correspondence with Conductors. 77

APPENDIX F. List of Conductors' Names and Schools..... 78

B I BLI OGRAPH Y • • • • • . • . • • • • • • • • • • • • • • • • • • • • • • • • . . • • • • • • • • • 79
 LIST OF TABLES
Table Page

1 Consecutive Order of Taped Examples Contained

in Chapter III. Warm-up/Tuning Procedures •••• 28

2 Consecutive Order o£ Taped Examples Contained

in Chapter IV. Teaching Ensemble Balance •.••• 34

3 Consecutive Order of Taped Examples Contained

in Chapter V. Teaching Intonation ••••••••••.• 41

4 Consecutive Order o£ Taped Examples Contained

in Chapter VI. Teaching Rhythm ••••••••••••••• 49

5 Talking/Playing Percentages ••••••••••..•.••..•• 54

6 Consecutive Order o£ Taped Examples Contained

in Chapter VII. Other Rehearsal Techniques ••• 56

7 Evaluative Criteria for Conducting •••••..••..•• 58

8 Consecutive Order of Taped Examples Contained

in Chapter VIII. Other Conducting Techniques. 64

v
 Chapter I

INTRODUCTION

Videotaped examples of conductors

demonstrating methods of problem solving during

rehearsal ere generally not available as an

audio-visual resource to college conducting and music

education instructors. By viewing videotaped examples

of exemplary conductors, conducting students would have

the opportunity to examine the nonverbal language of

body motion, eye contact, and facial expression as well

as the verbal communication used in the preparation of

music during rehearsals and performances.

Purpose. The purpose of this study is to

provide obJective information about the conducting and

rehearsal procedures used by successful music teachers.

This information and the videotaped examples may be a

useful resource for college music education classes~

conducting classes, and classes or inservice workshops

for public school teachers.

Significance. The resource tapes should

lead instrumental music teachers to use a broader range

of conducting and rehearsal techniques and to become

more discriminating in selecting techniques for

specific purposes. If successful, this procedure could

 2

be developed and expanded for use by choral and

orchestral teachers.

Procedures. This study contains

videotaped examples of JUnior and senior high school

band conductors in their own schools working with their

bands under conditionB that most closely duplicate

normal day-to-day rehearsal procedures. Each conductor

was taped during one regularly scheduled band

rehearsal. The tapes were analyzed to identify

selected conducting and rehearsal techniques. The

selected examples were electronically tranferred to a

final master videotape, which serves as part of the

completed study.

For purposes of anonymity the names of the

conductors and their schools do not appear on the tapes

and appear only in the appendices of the study. The

participants were aware that anonymity would not be

possible on the video tapes.

Limitations of the Study The study

produced a wide range of musical examples, largely due

to the £act that no restrictions, limitations or

requirements were placed on the conductors in the

selection of music. In addition, the music included

examples from easier levels of difficulty <Level II,

New York State School Music Association> to more

 3

advanced levels of difficulty <Level VI, New York State

School Music Association). These varying levels o£

technical development contributed to the difficulty in

identifying identical examples o£ rehearsal and

conducting techniques from more than one or two

conductors. This problem was anticipated, but teachers

were not asked to perform the same music because it

would have detracted from normal conditions and created

the appearance that the teachers were being tested.

Because of this decision in designing the study,

however, examples were not found of rehearsal

procedures for such areas as assymetric meters and

mixed meters because they were not present in the music

chosen by the teachers.

When enlisting the services of the conductors

for this study several limiting criteria were observed.

The conductors were chosen on the basis of their

individual reputations as outstanding teachers and the

consistenly high festival ratings on their bands. No

attempt was made to select teachers on the basis o£

their conducting technique. There was some hesitation

to being taped for the purposes o£ analysis and

evaluation, but all eight conductors agreed to the

terms, with some demanding varying degrees of control

over the use of the tapes.

The selection of teachers was limited to an

 4

area o£ not more than one-hundred miles from Rochester,

New York. Since there may be regional characteristics

or traits in the conducting examples due to influences

in the area, this may limit the extent to which the

conclusions can be generalized.

It should also be noted that there are no

women or members of minority groups serving as

conductors in the study as there were very few women or

minority group conductors at the JUnior high or senior

high level at the time o£ the study. 0£ those who were

teaching at this level, none met the remaining

criteria.

No attempt was made to alter the quality of

either the pictures or sound from the video equipment.

Sufficient sound and picture quality were maintained at

all times to properly assess the work of the study.

Organization o£ the study. The review o£

significant related literature is discussed in Chapter

Two. Chapter Three reports the warm-up and tuning

procedures used by the conductors in the study.

Chapter Four contains examples of conductors dealing

with balance problems in band rehearsals. Chapter Five

deals with the solving of intonation problems and

Chapter Six discusses how the conductors dealt with

rhythmic problems. Chapter Seven reports on other

teaching strategies not included in the ma)or component

 5

areas o£ Warm-up/Tuning, Balance, Intonation and

Rhythm. Chapter Eight presents a sequential

description of the study outlining the specific

procedures and recommendations £or further study.

Appendices A, B, and C <i.e., Rehearsal

Techniques Frequency Chart, Conducting Techniques

Frequency Chart, and Log o£ Warm-up/Tune-up Procedures

and Time) include specific findings which are pertinent

to the written study. Appendices D, E, and F contain

letters o£ correspondence to the conductors as well as

their identity and school districts.

 Chapter II

REVIEW OF THE RELATED LITERATURE

With the invention of television and the

development o£ videotape recording techniques,

researchers have recently <within the last twenty-five

years) begun to explore the potential of this medium as

an educational tool. Numerous studies have used the

videotape recorder as an evaluative tool. Most of the

studies discussed here use the videotape recorder for

self-evaluation, or for evaluation of students by

either the instructor, other students or a set of

Judges. Many of the researchers use data collected

from the tapes to develop observational forms for

analytical purposes.

For the purposes of this study, the video

recorder was not used as a tool to evaluate and/or

modify behavior, but rather to present visual examples

of techniques for study by conducting students.

Interestingly, no studies were found that used

videotaped examples of instrumental conducting and

rehearsal techniques in this fashion.

Although not a study utilizing videotape, the

study completed by Matthews <1963> reinforces the need

 7

for further study of the methods of teaching conducting

at the college level. Matthews' premise stated that it

was necessary to establish standards for the teaching

of conducting in colleges and universities. By means

of a questionnaire he gathered data from three

differing population groups: 1> school music

conductors in Oregon, 2> professors of conducting and,

3> a criterion group of the ten .. best .. school music

conductors selected by five professors of conducting.

Among the eight final recommendations, the need for

increased practical experience was emphasized and

seemed most pertinent to this study.

Hunter <1968) studied "the effectiveness of

instant replay television as a method for teaching

certain physical aspects of choral conducting."

Hunter's null hypothesis, stated "there would be no

statistically significant difference between the means

of the experimental and control groups in overall

achievement in conducting ability: in proficiency of

preparatory beat, basic beat movement, dynamic

indication, cut-offs, cueing, independence of hands,

use of face and eyes; and in appropriateness o£ posture

and attention to musical detail." This null hypothesis

was upheld in all areas. Hunter further states:

 8

Despite the fact that no statistically significant

results were obtained, the consistency with which
the results favored the experimental group and the
enthusiastic response of everyone connected with
the experiment indicate a definite value for
instant replay television in teaching conducting.

Zdzinski <1969> believed that the visual

impact of a conductor is the key to his communication

with the ensemble. He states:

Since conducting a musical ensemble is primarily a

visual effort on the part of the conductor as he
directs and controls the performance of the
ensemble through his motions and gestures, it was
felt that a more direct means of feedback to the
student conductor could be offered by a visual
record of his efforts, as compared to the standard
instructional techniques of the college conducting
class.

Zdzinski chose to use 8mm film rather that

videotape to record the student conductors. Both

silent and sound 8mm pictures were used, with no

conclusion drawn as to which was more effective.

Zdzinski concludes:

The use of visual records of conducting

performances did in fact offer the opportunity for
the student conductor to take advantage of a more
direct means of feedback than that offered by
standard class procedures of viewing end analysis.
In addition it was found that the films offered
some unique values of reinforcement and
clarification of points of focus about a student's
skill when used by the instructor in individual
conferences.
 9

Papke (1972> investigated the rehearsal

behavior of instrumental music directors by utilizing

an evaluative instrument he called the Papke Instrument

for Evaluating Rehearsals <PIER>. Types of musical

experiences, musical learnings, and director rehearsal

behavior were studied for the purpose of

self-evaluation. The program was also used £or the

expansion of perspectives for secondary instrumental

curricula.

For this descriptive study, Papke began with a

pilot study questionnaire selecting rehearsal items for

the PIER. The results were combined into a final

questionnaire sent to twenty instrumental directors.

Eighteen <90%> of the questionnaires were returned.

Each director was videotaped at two rehearsals by

technicians in their own schools. Papke categorized

the data into three main areas: 1> Rehearsal Climate,

2> Rehearsal Techniques in Instrumental Techniques and

Music Education <warm-up~ rehearsal>~ and 3> General

Director Rehearsal Attitude. In addition, director

verbalization was tallied into: 1> "primarily

instrumental skills, .. 2) "material related to

instrumental skills and music education," and 3>

.. primarily music education materials." Papke

concludes:
 10

There was significant unanimity among directors in

the sample pertaining to instrumental music
philosophies. There was significant difference in
the percentage scores of 'primarily instrumental
skills' and 'primarily music education materials.'
There was a significant amount of rehearsal time
taken up by director verbal time: specifically for
'directions.' There was a significant decrease in
tallies for 'primarily music education materials'
from rehearsal one to rehearsal two. There was a
significant number of directors receiving a rating
of ••1 .. (well attended to> for item 125, 'musical
understanding, knowledge, appreciation and
creativity emphaized.' There was a significant
lack of availability o£ written instrumental music
curricula .•.

In his recommendations Papke cites the need

for teachers to: <1> broaden the rehearsal content,

<2> reevaluate philosophies and obJectives of the

instrumental program to reflect present rehearsal

behavior, <3> reexamine efficiency of rehearsal time,

<4> make rehearsals more comprehensive by expanding the

musical experiences, and <5> devote more time to

self-evaluation of rehearsal behaviors.

Yarbrough <1973> used videotape for analysis

o£ high end low magnitude conducting gestures. A split

screen was utilized for the simultaneous observation of

both conductor and student. The study revealed ••There

was a significant difference in student attitude

towards the high magnitude conductor versus the low

magnitude conductor. Students preferred the high

magnitude conductor ...

Gonzo and Forsythe <1976> used videotape

 11

examples of exemplary choral conductors as an aid to

instruction in en undergraduate conducting course at

the University of Illinois. From the twenty-six hours

of tapes, nine categories <i.e., pitch, rhythm,

phrasing, dynamics, interpretation, text, intonation,

note accuracy, and conducting technique> were selected

and individual tapes of each category were produced.

Each category-tape contained examples of specific

teaching techniques, musical problems, and singers'

vocal behavior. The teaching techniques reflect

examples of problem solving, discovery method,

modeling, and lecture-discussion. The musical problems

identified for each category-tape included a wide range

of musical problems encountered in a typical rehearsal

situation.

For this proJect, the video tape recorder, two

cameras and a special effect generator allowing

split-screen image were used. Because of the

sophistication of the equipment, the capability of

zooming in on both the conductor and the individual

students provided close observation of student

responses to the conductor's verbal and physical

commands.

For the conducting classes, the tapes were

used three different ways: <1> in class as part of the

teacher's presentation, (2) viewed individually outside

 12

of class, and <3> as part of a quiz session supervised

by a graduate assistant. In addition, three

experimental tapes were made that contained brief

excerpts of choral rehearsals, each representing some

principle or aspect of behavior modification. A

posttest only control group design was used in this

application to compare observational skills.

As a part of this proJect, the tapes were used

to enable the viewer to observe a choir singing a

phrase musically after the phrase had been rehearsed by

the conductor. Thus, a maJor obJective was to provide

opportunities in observing the process of error

detection and how the corrections were handled by

different conductors. Gonzo and Frosythe state:

No quantitative data were collected for this phase

of the proJect, and therefore the following
discussion is JUdgmental. In the first approach,
it seemed apparent that the students who had the
benefits of the instructor's commentary followed
by a discussion perceived more of what was
happening on the tapes concerning the cause and
effect of a specific excerpt in the
teaching-learning process than did the students
who had no teacher's help.

It was difficult to assess the effectiveness

where students could sign out the tapes and view them

independently without benefit of the instructors'

commentary. These students " •••. reported the tapes

were an aid to their understanding of conducting and

 13

rehearsal technique." The quiz section contributed

effectively to the discussion approach.

Rhonda Jeanne Fleming <1977> developed a study

to explore possible advantages resulting from the use

of the videotape recorder prior to the live conducting

experience and during each student's practice in

preparation for the live rehearsal. Fleming

established a null hypothesis stating:

At the end o£ one ten-week quarter o£ study there

will be no significant difference in conducting
skill between those students who utilized guided
practice materials with the videotape recorder and
those students who do not utilized guided practice
materials <a=.OS>.

Twenty-two students enrolled in the beginning

choral conducting course at Florida State University

participated as the sample population in this

pretest-treatment-posttest designed study. Evaluation

of conducting skill was by a panel of three

adJUdicators who ranked the twenty-two conductors on a

scale o£ one to five on thirty-three items describing

desired conducting behavior. These items were

categorized into eight areas representing physical

characteristics of conducting skill: <1> body posture,

<2> preparatory gesture, <3> placement o£ meter

patterns, <4> cueing and releasee, <5> independence of

hands, <6> character of gesture as it portrays musical

 14

detail, <7> facial expression and eye contact, and <8>

dynamic indications. Each conductor was videotaped and

subsequently evaluated by the three adJudicators who

ranked and paired them. One member of each pair was

randomly assigned to either the Experimental or Control

Group.

Students in the Control Group were given

freedom to conduct music from the packet of music

provided to all choral conducting students. The

Experimental Group was assigned specially prepared

materials. Students in the Experimental Group were

given two private video-practice sessions per week

where they were recorded and made self-evaluations of

their conducting of the selected pieces. A

pre-existing feature of the Choral Conducting Program

at Florida State University included the videotaping of

Laboratory Chorus conductors, followed by individual

playback and discussions. The Wilcoxon Signed-Rank

Matched Pairs test was used to analyze the pretest and

posttest data. This test revealed no significant

difference between groupe at the time of the pretest.

The resuts of postteat, however, indicated a

significant difference <a=.OS> favoring the

Experimental Group.

Recent research indicates nonverbal

communication has a great influence on the quality o£

 15

communication in the classroom. Roshong <1978)

developed an observational instrument that would

inventory the nonverbal communications of conductors to

see if relationships exist between the observed

nonverbal behavior and the nature of the task being

performed. Roshong selected four procedures used in

rehearsals: 1> starting performance~ 2> stopping

performance~ 3> sustaining performance~ and 4)

instructing. These four elements of rehearsals were

edited from videotapes of three Ohio college band

directors. Three observers viewed the edited episodes

and recorded their observations on the observation form

which categorized each behavior into one of six

categories. The intensity of each behavior was rated

on a scale of one to five. Roshong states:

The process of this investigation and the

interpretation of the data have led to the
following conclusions:

1) The observation instrument developed in the

study is a viable means of recording both the type
and quality of subJects' nonverbal behavior that
occurred during the videotaped episodes.

2> The categorization of the episodes in the

activities of starting, stopping, sustaining, and
instructing presented a method of placing the
conductors' nonverbal behavior in the context of
the musical rehearsal.

3> The inter-observer reliability estimates, when

viewed in relation to the short observer training
time, indicate that the instrument was easy to use
by observers who were familiar with the task of
conducting.
 16

4) The method of observation made it possible to

define the patterns of nonverbal behavior
demonstrated by the subJects during a particular
rehearsal event.

5) There were some commonalities of nonverbal

behaviors observed during specific rehearsal
events that were displayed by the subJects of this
study. These were facial approval and forward
movement during starting and sustaining events;
facial disapproval, eye contact with the group,
and movement away from instruction.

Through the use of videotape, Keller <1979>

investigated the effects of teacher-student feedback on

the acquisition of selected basic conducting skills.

Keller's hypothesis was that the procedure of using

videotape replay with teacher-student feedback will

significantly improve the development of basic skills

in beginning conducting. The skills selected for the

study were: <1 > posture, <2 > baton position, <3)
preparatory beat, <4> ictus, <5> phrase indication, <6>
cueing, and <7> fermata. The study utilized a Control

Group of eleven students and an Experimental Group of

eight students. A Conducting Evaluation Form <CEF>

where the selected skills could be recorded for

evalution, was designed by the author. All students

were videotaped at the beginning and end of the course,

using a specified composition for each taping session.

A panel of Judges scored each student's performance on

the pretest and posttest. Although all students were

taught a "traditional" approach, the Experimental Group

 17

had their conducting videotaped on five separate

occasions at two week intervals during the quarter.

The students in the Experimental Group reviewed their

taped examples individually with the instructor who

offered feedback during the viewing sessions. The

evaluation was recorded on the CEF and given to the

student at the end of the feedback session. The data

collected from the three JUdges were subJected to the

statistical treatments of a t-test, analysis of

variance, and Pearson Product Moment Correlation.

Conclusions from the sudy are:

1) Videotape feedback was an effective technique

in the teaching of basic conducting skills.

2> Videotape feedback was most effective in

improving the skills of fermata, cueing, and
posture and baton position.

3) The pretest/posttest example proved to be a

reliable testing instrument.

4> The use of the Conducting Evaluation Form

<CEF> proved to be an effective instrument in
providing feedback to subJects.

Researchers Kelly, Wapnick and Yarbrough

<1979> compared the effect of two videotaped feedback

techniques on improvement in conducting skills of

beginning conductors. In one technique, students spent

time in sessions with an experienced conducting

instructor. For the second technique, students

independently viewed videotapes with behavioral

 18

observation forme end checklists.

Pretests and posttests consisted of four,

four-measure examples of 214, 314, 414, and G/8 meters

which were conducted and taped by each student for

analysis. Both the Control Group and Experimental

Group were pretested, but only the Experimental Group

was posttested.

Results indicated the instructor oriented

group yielded more to instructor's comments and help on

eye contact, score preparation, technique and

mannerisms, while the experimental group indicated

more concern for facial expression, body movement and

rehearsal time. Both groups showed equal rating in

verbal content. In addition, an instructor rating

survey indicated no significant differences between

groups in "instructor warmth," "academic intellectual

content," or "student work/input."

The study recommended that further research be

done to determine the extent to which modeling is a

necessary component of learning conducting behaviors.

The authors state ''It may be that it is not as

necessary at basic levels as at later stages when more

complex gestures are required."

The concept of using developed, specialized

skills by professionals to teach the same skills to

novices was studied by Yeager. <1980) Skilled gymnasts

 19

performed three physical skills while being

photographed on high speed film. The pictures provided

general individual rhythms which were transcribed into

musical notation for later verification and use as a

teaching tool. The study concluded that the use of

rhythmic patterns of skilled gymnasts does not enhance

the learning of gymnastic skills by beginning gymnasts.

Jordan (1980) evaluated the effectiveness of

videotape instruction when used as a supplement to

classroom instruction in beginning conducting classes.

Three sub-problems were explored: <1> How can the

validity and reliability of a test designed to evaluate

gestures for conducting fermat! and cue be established?

<2> What is the relative effect of videotape

instruction with printed supplementary materials

compared to printed supplementary materiels alone on

the effectiveness of gestures for conducting fermat!

and cues by students involved in beginning conducting

clesses? <3> What are the opinions o£ beginning

conducting students concerning the use of videotape

instruction as a supplement to classroom instruction in

conducting?

For this, Jordan used a poattest only control

group, experimental group design for evaluation. In

his findings, Jorden states:

 20

Videotape supplementary instructional materials as

used in this study had a significantly positive
effect upon the effectiveness of gestures for
conducting fermat! and cues.

In her article '"Evaluating and Improving

Conducting Skills, .. Leslie Jane Hunt (1981> raised the

question of how music educators assess the e££ect o£

their conducting skills. She asks:

How can the director be sure that nonverbal

communication through the use of hand, body and
facial gestures actually convey to the ensemble
the rhythmic, dynamic, and emotional contents of
the musical score?

Hunt suggests that one method of evaluating

effectiveness of nonverbal communication be through the

evaluation of the ensemble performance. In addition,

she suggests it would be helpful to know which forms of

nonverbal communication most effectively improve the

ensemble's performance.

Hunt suggests that viewing videotapes alone

without a specific set of goals to work toward may be

useless. Karren Lewis <1978> addreeeed this problem in

a paper presented to the Music Educators National

Conference Annual Meeting in 1978 entitled "The

Development and Validation of a System for the

Observation and Analysis of Choral Conductor Gestures."

Lewis developed en observation instrument called the

Choral Conductor Observation System <CCOS>. Her study

 21

included seventeen descriptive categories of specific

conducting gestures and was used to evaluate conducting

students at the University o£ Nebraska and the

University of Texas. The study's conclusion reads:

The CCOS was rated very highly as an additional

feedback mechanism by beginning conducting
students, and that it can provide a valid method
for evaluating the progress of conducting
students.

The CCOS also seems effective at identifying and

coding conducting gestures both quantit~tively and
qualitatively.

In light of the increasing number of studies

using videotape to gather data about conductors, it

seems difficult to deny the effectiveness of this

technique for self-evaluation and classroom

instruction. Currently, the use of videotaped lessons

using examples for inclusion in music curricula is not

widespread. The potential for this medium, serving as

a resource for the many skills acquired through visual

learning, has yet to be tapped.

 Chapter III

WARM-UP/TUNE-UP PROCEDURES

Each conductor in the study used a warm-up

procedure~ but there were significant variations in the

type and duration of warm-up used. <See chart,

Appendix C>. Rehearsal length in the study varied from

the average school class period of 45 minutes to an

evening rehearsal o£ 90 minutes. During the five cases

of a 45 minute rehearsal~ the conductors spent from 5

~inutes to 10 minutes with an average of 8.6 minutes on

a warm-up procedure. Of the remaining rehearsals of

70, 75 and 90 minutes~ the warm-up period was 9, 15 and

15 minutes respectively. In moat cases, the length of

the warm-up period was related to the length o£ the

rehearsal period.

In all but one case, scales were employed as a

warm-up device. The use of scales varied from the

generally accepted "band scale" o£ B-flat concert to

the use of all fifteen maJor scales played through the

circle of fifths. The technical requirements o£ scale

performance varied from one beat per scale degree

(conductor C>, eighth note and sixteenth note rhythmic

patterns on each scale degree <conductor B>, to one

sixteenth note for each scale degree <conductors F and

 23

H>, to scales in thirds on eighth notes (conductor D>.

The use of partial scales was used by one conductor

(conductor E> as a technical mechanism to develop

finger dexterity. Two conductors used scales on whole

notes to develop the feeling of an internal pulse in

each player by setting a tempo and then not conducting

or giving any hint of a visible beat. The extent to

which conductors used scales as technical devices was

largely dependent on the skill level of the band. The

conductors of the younger bands did not employ rapid

scales or technical warm-ups as much as the conductors

of the more experienced bends.

Conductors C and D employed separate rhythmic

warm-ups without scale patterns. Conductor C

verbalized instructions for rhythmic patterns to be

played on a single note, concert F. For example, .. Play

a triplet, two eighths, one quarter and two eighths on

concert F."

For a unique system of rhythmic development,

conductor D has devised a rhythm pattern sheet kept in

each player's folder. This sheet has 120 rhythm

patterns, each in 2/4 meter. The students are taught a

verbal assocation based on syllables developed and used

by Edwin Gordon (1971> <TAPED EXAMPLE #1, meter

#0000). During each rehearsal warm-up period the

 24

conductor selects patterns at random or according to

plans established for coordination with rhythmic work

in specific band pieces. The use of this form o£

rhythmic and pattern warm-up is a valuable tool in

accelerating the learning of rhythmic patterns, so

often a problem for younger students. In the case of

Conductor D, his use of these patterns is the first

phase in establishing a curriculum that will eventually

be used by all the bands in hie District.

Six of the conductors utilized the chorale as

part of their warm-up procedures. Treasury of

Scales by Leonard B. Smith <1952> was used by

conductors F and H. Conductors A, D and E used an

unidentified four-part chorale similar to the chorale

form of Johann Sebastian Bach. All conductors using

chorales sought similar goals. All emphatically

stressed eye contact from the players and all focused

on the development of listening skills which enhance

tone, intonation, balance, and precision. All used the

chorale as a tuning device, stressing listening skills

between individuals, within sections, and within the

total ensemble.

Other warm-up devices used by some conductors

included technical skill builders such as rapid single

tongueing for all wind players and compound tongueing

for brass players. Conductors D and H used a metronome

 25

for precise rhythmic continuity for tongueing

exercises. Brass players were given lip flexibility

exercises by conductor D. Conductor F employed the use

of vocalization from the Treasury of Scales <TAPED

EXAMPLE #2, meter #0420>.

Of the eight conductors, four tuned the band

by using a visual tuner such as the "strob-o-scope"

type. Two conductors tuned their bands by a pitch

sounded by an instrument in the band. No conductor

used an audio type tuner to establish an accurate

pitch. Conductors B and D, after making a visual

inspection of the strobe tuner, would tell the student

to "push in" or .. pull out .. or tell them if they were

sharp or flat <TAPED EXAMPLES #3, metter S0457 and #4,

meter #0786>.

Conductor H tuned the band using a tuba, an

increasingly popular method of tuning <TAPED EXAMPLE

#5, meter #1098>. The rationale behind this form of

tuning lies in the belie£ that the overtone series

reinforces itself as a group tunes £rom the bottom of

the sound spectrum. This is fundamentally different

than tuning all instruments to a visual tuner which

allows no variation in the extreme low and high

instruments. Some conductors feel greater brilliance

end sonority of sound exists when the lower instruments

are tuned below and the higher instruments are tuned

 26

above the actual pitch to give an illusion of apparent

pitch. More specifically, tubas are generally tuned

eight to ten cents below and £lutes are generally tuned

eight to ten cents above the actual pitch <on a strobe)

to give an apparent pitch matching that of the middle

range instruments, such as oboes, trumpets, clarinets,

etc •• The same rationale exists in the opposition of

tuning pianos with a strobe tuner; a fine piano tuner

will stretch the octaves through the range o£ the piano

giving the illusion o£ accurate intonation, but when

checked against the accuracy o£ the electronic strobe

tuner the outer octaves will appear to be out o£ tune.

Conductor F required all students to sing the

tuning note before they played their instrument <TAPED

EXAMPLE #6, meter #1217>. Conductor B tuned each

individual and made a JUdgement based on his own sense

of pitch. All eight o£ the conductors emphasized the

importance of playing in tune while their group was

involved in the general warm-up period. Two o£ the

eight made no further attempt at tuning beyond the

general warm-up period. Six conductors tuned their

band individually. One conductor took time during the

remaining band rehearsal to repeat a tuning procedure.

Others referred, at times to intonation and tuning in a

general manner.

In all cases, the warm-up and tuning methods

 27

were very much a regular part of each conductor's

rehearsal procedures. Unfortunately, the concepts and

values in teaching tuning skills were often not

reinforced sufficiently during the rehearsals which

followed. It seems likely that unless the conductor

can make a connection between warm-up/tuning exercises

with the performance of music, students will learn the

tuning procedures by rote and lack the understanding to

carry the concepts of intonation over into the

performance. Spontaneous and creative use of

warm-up/tune-up material is vital in keeping the

student thinking and alert to the complexities found in

the actual performance of music. For example, a

conductor might wish to dwell on the changing

tonalities found in a composition and use the same

modulatory process in an exercise prior to rehearsal.

Similarlly, concepts of extended chordal harmony

utilizing 2nds, Gths, 7ths, 9ths, make interesting

tuning exercises that can help students learn to tune

dissonant harmonies. Each of these examples show a new

approach to the development of listening skills.

Conductors of all instrumental ensembles need

to be aware of the importance of approaching warming-up

and tuning-up with a positive attitude. Treated

lightly, it will lose its meaning and become JUst

another set of motions that some conductors go through

 28

that often have little or no meaning. Roy Ernst, in

his text Developing Competence in Teaching

Instrumental Music <1978), states, "The warm-up and

tuning should help to establish the mental

concentration, attitude and physical raadiness

conducive to good performance... Effective and creative

planning can make warm-ups and tuning an educational

experience every time the student participates.

TABLE 1

Consecutive Order of Taped Examples

of Warm-ups and Tuning
Contained in Chapter Three

TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO METER ID. COMPOSER HIGH

1 0000 D Use of syllables for Jr

teaching rhythm patterns

2 0420 F Singing last chord of a ''Treasury Sr

warM up exercise of Scales .. ,
Leonard Smith

3 0547 B Use of strobe in tuning Jr

4 0786 D Use of strobe in tuning Jr

5 1098 H Tuning from the tuba Sr

6 1217 F Aural development in Sr

in tuning - singing the
tuning note
 Chapter IV

TEACHING ENSEMBLE BALANCE

The evaluation of balance is primarily a

discretionary Judgement made by the conductor and

perfomere relative to the orchestration o£ the music,

and compositional techniques found in the music.

Conductors will vary in their own JUdgements as to the

relative importance of each aspect of the composition,

creating differences in interpretation. Generally, the

teachers in this study did not pursue an

individualistic interpretation much beyond emphasizing

the printed instructions.

Improper balance o£ voices in a musical

ensemble can be the result of several problema, for

example, the balance o£ notes within a melodic line

with supporting background is frequently difficult to

achieve. Conductor B handles this problem in

Symphonic Overture by Charles Carter <1963> by

pointing out the unmusical effect of having notes of

higher pitch within a melodic line sounding louder than

those of lower pitches. His method of calling the

players' attention to the problem is singing the line

the way they are playing it. The conductor then sings

29
 30

it to them the correct way and tells them to "taper

of£" on the second note,. in this case the higher pitch

<TAPED EXAMPLE #7,. meter #1298>.

Inherent balance problems exist when

countermelodies are employed in the compositional

structure of a piece. Conductor C approaches this

problem by referring to a section of the piece without

a countermelody and drawing a contrast to the new

section with a countermelody. In Chorale and

Processional by Rex Mitchell <1980> there is a

countermelody at letter "C... The conductor verbally

points out the new countermelody in the oboe and flute

and asks the rest of the group to be sure they can hear

it. This type o£ instruction is an effective method of

achieving an awareness of balance <TAPED EXAMPLE #8,

,_eter #1462>.

Balance can sometimes be improved by altering

the printed dynamics. An example of this can be found

by watching Conductor E prepare the Southern Tier

Suite by Walter Hartley <1974>. In this example,

we find the conductor advising the third clarinets to

play their low E trill louder than the written "piano."

Here again, we see the problems caused by range and the

effect it has on proJection and balance <TAPED EXAMPLE

#9,. meter #1581>.

 31

Conductor H discusses the importance of

dynamics in reference to a totally balanced band sound

when working with Nicolai Rimsky-Korsakov's

Scheherazade, arranged by Mark Hindsley <1956>

<TAPED EXAMPLE #10, meter #1669>. In this example, the

conductor points out the importance of listening to the

total sound of the ensemble and balancing within that

apparent structure. regardless of what the printed

dynamic dictates. He stresses here the absolute

importance of listening skills required by all members

of the ensemble.

Common among the various types of balance

problema is the overbalance of one note within a chord.

Conductor A deals with this problem in The Empire

Stirkes Back. by John Williams, arranged for band

by Jack Bullock <1981>. The problem is identified by

the conductor singing the offending note and verbally

calling it to the attention of the player<s>. The

section is repeated and the band performs it acceptably

<TAPED EXAMPLE #11. meter #1751>.

Conductor B deals with another common problem

in bands: overplaying from the percussion section.

Symphonic Overture by Charles Carter <1963> is

again the piece. Here the conductor simply identifies

the problem and deals with it verbally <TAPED EXAMPLE

#12-meter #1801>.
 32

Improper balance is often due to problems in

scoring by the composer or arranger •• Conductor D

altered the scoring to A Tribute to Jim Croce by

Gilman <1974> by asking the flutes to play a section

one octave lower. As he points out, the French Horns

have di££iculty in proJecting over the higher notes in

the flute line <TAPED EXAMPLE #13, meter #1851>.

Although this particular band of six flutes and five

Horns does not have the problem of an imbalanced

instrumentation, many school bands have problems in

balance because o£ the lack of adequate numbers of Horn

players and other not-so-popular instruments. In many

cases, such problems can be remedied by simple

alterations in scoring, octave doublings and couplings.

The teaching of balance can be handled in

warm-up procedures as well as later in the rehearsal.

Since good balance in any ensemble depends on listening

skills, the warm-up can provide the opportunity for

learning such skills. Conductor E shows how such a

learning situation can be created with long tones

played in scale patterns. In this situation, as in all

the previous examples, the conductor describes the

imbalance to a performer, who in turn, makes a

correction (TAPED EXAMPLE #14, ~eter #1988>.

In summary, good balance is achieved by

developing listening skills, and in some cases, by

 33

making changes in written dynamics or scoring or both.

The most effective ways to improve listening skills are

through rehearsal techniques which emphasize them in

full band situations. While many other facets o£

performing can be learned in a lesson or at home during

a practice session, balance can only be learned while

performing with the other members o£ the organization.

As students improve their level of listening skills

they will gradually acquire the ability to "cross

reference .. their own part to the total sound spectrum

surrounding them in rehearsal and performance.

 34

TABLE 2

Consecutive Order o£ Taped Examples

Contained in Chapter IV. Teaching Ensemble Balance

TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO. METER ID. COMPOSER HIGH

7 1298 B Balancing notes in a higher Symphonic Sr

tesitura. Overture
C. Carter

8 1462 c Balancing countermelodies Chorale and Jr

Processional
Rex Mitchell

9 1581 E Altering printed dynamics Southern Sr

to help balance. Tier Suite
W. Hartley

10 1669 c Discussion on dynamics Scheherazade Sr

Rimsky-
Korsakov/arr.
M. Hindaley

11 1751 A Balancing a note within a Empire Sr

chord. Strikes
Back
J. Williams
err/
J. Bullock

12 1801 B Balancing instrumental Symphonic Jr

sections in the ensemble. Overture
C. Carter

13 1851 D Fixing balance by proper A Tribute Jr

alteration of the scoring. to Jim Croce
Gilman

14 1988 E Developing listening skills Sr

to fix balance problems.
 Chapter V

TEACHING INTONATION

Intonation problems come from several

different sources within an ensemble. The teachers in

this study demonstrate methods for correcting problems

that commonly occur in bands.

Instrument Problema. Students are

frequently subJected to playing on old, worn out

instruments, many o£ which have been handed down

through the family or school district. Others are

forced into this dilemma because of financial

considerations. Regardless of the reason, playing an

instrument is difficult in itself and playing on an

instrument with built in intonation problems is nearly

impossible. Due to the accoustical properties of

musical wind instruments, even the best

professionally-made wind instruments have built-in

intonation problems. To compensate £or this instrument

de£iciency, the per£ormer must learn the degree to

which each note on their instrument is flat or sharp.

This can be achieved through individual practice wih an

electronic tuner and careful listening and analysis

over a period of time. After the problems have been

 36

pitch of out of tune notes. Thus, poorly made or worn

out instruments require a greater degree of adJustment

than better quality instruments.

It is important that school band conductors

have a knowledge of the basic, inherent intonation

problems on each instrument. This knowledge gives the

skillful conductor the opportunity to make

recommendations to his or her players with assurance.

For example, Conductor B makes a suggestion to a

section of his band to try an alternate fingering on

the flute which he feels will help with a particular

intonation problem. The piece is, Symphonic

Overture by Charles Carter <1963> <TAPED EXAMPLE

#15, meter #2054>.

In a similar situation, Conductor C, again

working with Rex Mitchell's Chorale and

Processional <1980>, suggests to the trumpets that

the use of their 3rd valve slide would improve the

intonation on their low "D .. <TAPED EXAMPLE #16, meter

#2092).

Conductor B gave an excellent explanation

dealing with the problems of the inherently poor

intonation of specific notes of the flute and trumpet

<TAPED EXAMPLE #17, meter #2150>.

 37

Unequal development in the physical and

mental aspects of musical performance. In younger

performers. the physical capacity to play often does

not keep abreast with their mental capacity to

understand how to play. This inequity of musical

growth is quite common and proves very frustrating for

the intermediate student. Weak facial muscles and

slow-to-develop motor muscle coordination are possible

examples why performance levels suffer and areas such

as intonation appear to be underdeveloped. For

example. Conductor B. working with the Symphonic

Overture by Charles Carter <1963>. makes

suggestions for improving a high .. F .. in the flutes by

adding more support and not pinching with the

embouchure <TAPED EXAMPLE #18, meter #2203>.

We find another example of flute intonation

handled in similar style by Conductor C in Chorale

and Processional by Rex Mithcell <1980). In this

situation. the conductor recommends that the £lutes not

force the sound by pushing so hard <TAPED EXAMPLE #19,

meter #2247).

Unlike balance, intonation can be develped

outside of the rehearsal. Through the instruction of

good embouchure development, greater potential for

accurate intonation can be developed. The use of a

tuning device, allowing students to learn the physical

 38

characteristics of his or her instrument, paves the way

for discriminating listening and improved intonation.

Pitch Discrimination. Many performers in

secondary schools have not learned the subtleties o£

determining pitch differences. The ability to

discriminate pitch differences can be developed,

providing there is no physical or mental impairment.

Students are generally not given obJectives'and

strategies necessary for developing the ability to

discriminate pitches. Audio visual tuners can be used

effectively for individual practice, but students must

be taught specific obJectives and practice procedures.

It is probably helpful for conductors to draw

as many references to pitch as possible during

rehear.eal situations. Young players in particular need

many aids. Conductor G gives an excellent example of

making suggestions for listening across entire sections

of the band for improved intonation as well as a

recommendation for embouchure adJustment to the flutes

<TAPED EXAMPLE #20, meter #2281>.

Intonation problems are often caused by the

inability of the performers in an organization to

adequately hear other parts being played. Less

developed players on specific parts may be weak and

thus not able to proJect their line adequately enough

to be heard, or, the seating may be arranged in such a

 39

way as to hamper the proJection of sound. Although

this touches on the area o£ balance and or may be

considered essentially a by-product o£ poor balance,

one must deal with the resulting poor intonation.

Conductor H, in Final Covenant by Fisher Tull

<1979> approaches this problem by adJusting the seating

o£ the band £or improvement in intonation <TAPED

EXAMPLE #21, meter #2382>.

Summary. Although the study revealed a

variety o£ methods used in dealing with problems in

intonation, no consistency in the approach among the

conductors was apparent. Only one reference was made to

tuning procedures, and that was JUst a passing remark.

None o£ the conductors asked students to sing their

parte to internalize the pitch. Students were not

asked to make decisions about intonation. Most

conductors dealt with intonation problems through an

awareness o£ physical alternatives such as alternate

fingerings, physiological changes in embouchure or

diaphragm, and seating arrangements. There was only

one example of a conductor overtly dealing with the

development of discriminating listening skills through

carefully guided rehearsal techniques <TAPED EXAMPLE

#20, meter #2281>. Intonation problems appeared to

present the most baffling problems to the conductors in

general. SubJective listening to the tapes reveals the

 40

least amount of improvement may have been mede in this

area for most of the bands.

There appears to be a need for developing more

systematic methods for improving intonation. It is

possible for example, to create a logical rationale for

procedures such as singing to internalize pitch and

having students learn to assume individual

reeponsibilites for pitch discrimination.

 41

TABLE 3

Consecutive Order o£ Taped Examples

Contained in Chapter V. Teaching Intonation

TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO. METER ID. COMPOSER HIGH

15 2054 B Use o£ alternate £ingerings SymQhonic Jr

Overture
c. Carter

16 2092 c Use o£ mechanical device Chorale and Jr

built on instrument Processional
R. Mitchell

17 2150 D Attention to inherent ------- Jr

intonation problems on
flutes and trumpets.

18 2203 B Improving intonation S~mQhonic Jr

through physical Overture
involvement c. Carter

19 2247 c Improving intonation Chorale and Jr

through physical Processional
involvement R. Mitchell

20 2281 G Discussion o£ listening ------- Jr

skills to improve
intonation

21 2382 H Alteration of .. norms! .. Final Sr

seating to enhance Covenant
intonation F. Tull
 Chapter VI

TEACHING RHYTHM

The conductors in this study devoted a greater

portion of their rehearsal time to rhythmic problems

and derivatives, such as precision, than any other

single aspect of performance. Two conductors dealt

with rhythmic concepts in their formal warm-up period.

Conductor C utilized pre-determined rhythmic studies of

whole and hal£ beat values. This conductor also

dictated to the players the types of notes to be played

on a unison pitch (concert F> <TAPED EXAMPLE #22, meter

#2496>. Conductor D used a written rhythmic exercise

page £or students to say with syllables. The page

contained 120 examples o£ rhythmic patterns in 2/4

meter. In the examples below the rhythm syllables were

not written, but the students were to use the syllables

used by Edwin Gordon in his book The Psychology o£

Music Teaching <1971> <REVIEW TAPED EXAMPLE #1>.

1. L
4-
mtr,n
Jntld ~ Nl. nt
fl '
I tJt
r 11
~ N~ nf
2.
2..
4
r t , J J.
I tAl
J Jj 7
""2. /nt
n I
~ A/6

3.
z
4
Jne-] JJ J J ~~J~J Ju•JJJ
nt I
n
I 2 T" AI tJI 1" 2.
4.
2.
4
J J J___
~ I
}J J
~
6-- I
I NA N/ N~ I NA
 43

Conductor F referred to rhythm syllables in

the analysis o£ a specific rhythm problem in

Sinfonietta by Ingolf Dahl <1961>. Hie approach,

although quite informal in theory, presented the need

for players to understand the sound of rhythm patterns.

For the purpose of making a point, he referred to the

names o£ geographical locations, which when spoken

reflected the sound of specific rhythm patterns, as

shown below. <TAPED EXAMPLE #24, meter #2909>.

TO-NA-WAN-DA ==== JJJJ

TO-NA-WAN-DA

YU--GO--SLA--VI--A J] J JJ
YU-GO-SLA-VI-A

In reference to the counting patterns presented

in his warm-up procedures, Conductor D draws a direct

relationship by singing to the students the syllables to

a particular rhythm in the bass clarinets and bassoons

<TAPED EXAMPLE #25, meter #2977>. The music is~

Tribute to Jim Croce by Gilman <1974>. Conductor F,

in working on the third movement from the Sinfonietta

by Ingolf Dahl <1961>, encountered many rhythm problems

and consequently devoted much rehearsal time to this

 44

aspect o£ the composition. In the process o£ teaching

the rhythms in question, the conductor employed the

technique o£ positive reinforcement throughout his

approach to the problems. The idea that they can do it

permeated his remarks. As an example o£ this, we find

Conductor F using the word "security .. , developing in his

students the sense of independence and feeling o£

confidence. In addition, this conductor encouraged

students to feel an inner pulse which aids in the

execution of silent beats <rests> <TAPED EXAMPLE #26,

meter #3129>. A technique used again by Conductor F in

the Sinfonietta was to have all players with a

particular rhythmic figure play from a specific point and

then have them repeat it without the conductor. This is

another example of encouraging the use o£ an inner pulse

<TAPED EXAMPLE #27-meter #3157>.

Perhaps the greatest problem encountered by the

conductors in the study was the adverse affect poor

rhythm had on ensemble precision. Precision problems

such as attacks, releases and general ensemble playing

were very common. It is unclear as to how many o£ the

problems in precision could be attributed to weaknesses

in conducting as compared to the students' lack o£

understanding. There is no doubt that both factors are

vital to rhythmic precision. Conductor G deals with a

precision problem in the first movement o£ the Three

 45

Ayres from Gloucester by Hugh M. Stuart <1969). The

trumpets were not feeling the group o£ £our eighth notes

followed by a quarter ¢J J J J ~! causing a precision

problem. He points out the problem and defines the

correct rhythmic £eel by singing and whistling the

rhythm. After several attempts, the section was able to

play it correctly <TAPED EXAMPLE #28, meter #3251).

Precision is often overlooked in the total band

sound, especially in middleground and background parts.

Conductors often ignore, either consciously or

unconsciously, the function of accompaniment, thus

causing a muddied sound that unfortunately is often

accepted as a typical band sound. Conductor G, working

on the Three Ayres from Gloucester solves this type

o£ problem by defining the inaccuracies in the saxophone

and trombone parts. The rhythms were:

<¢ ~n Jt 1~ nJ~).
Singing the part correctly, followed by a verbal

explanation, and then followed by the students playing it

back several times corrected the problem. The method of

improving the precision involved placing a sostenuto mark

below the quarter note:

<¢tn J~l~n Jt) <TAPED EXAMPLE #29, meter

#3337>.

Conductor H handles a situation similar to that

of Conductor G, but on a more advanced level. The brass

 46

figures in Scheherazade by Rimsky-Korsakov/arranged

by Mark Hindsley <1956> present problems in compound

tongueing. The conductor sings the rhythm and has the

brass play it. Afterwards, he uses the adJective "too

passive" in an effort to establish a mental concept of

the .. dynamic" quality o£ the passage. This demonstrates

the use of verbal descriptors to achieve a rhythmic style

<TAPED EXAMPLE #30, meter #3532>.

Describing the mathematical subdivision is a

Method of teaching dotted rhythms. Conductor C uses this

strategy in dealing with the dotted-eight/sixteenth

rhythm found in Chorale and Processional by Rex

Mitchell <1980). In this example, the conductor sings

the rhythm and then divides it by using a

numerical subdivision: ZJ. J J

t,,.,.,., <TAPED EXAMPLE

#31, meter #3532>

After hearing Jubilant Prelude by Claude T.

Smith <1978) and realizing the precision problems in the

various entrances, Conductor D rehearses each section

alone and o££ers suggestions. In this particular work

similar rhythmic figures are stated in each section. By

separating the sections he is giving all involved an

opportunity to hear that figure several times as well as

giving them the opportunity to extract their own part

from the total sound. Referring to the rhythm system

used by this band in their warm-up period, the conductor

 47

states to the trumpets the verbal associations they

should be thinking <TAPED EXAMPLE #32, meter #3627>

In the Southern Tier Suite by Walter Hartley

<1974>, Conductor E identifys a rhythm problem with this

6/8 rhythm:

6/8 1. JjJ J iiJ. J.

He points out it is being played:

6/8 J. JjJ j 1 ~l. J.

The problem lies in the second measure of the example

where the students are over anticipating the second beat

entrance. In the second example, we see the comparison

and can understand why the confusion exists <TAPED

EXAMPLE #33-meter #3662>. This is a classic example of

how younger students are dependent upon the sounds

previously learned. When there is a slight change, it

often becomes a maJor obstacle for them.

In summary, a large variety of methods for

teaching rhythm wae used by the teachers in this study.

This was partially due to the great number of variables

present in the music itsel£. The study revealed a

combined total of at least twenty-six examples of

 48

conductors identifying and working on rhythm problems.

Interestingly, the study revealed a limited number of

approaches to these problems. In almost every case, the

conductors sang the correct rhythms and expected the band

to duplicate the sound. Only in those few examples cited

above was there an ef£ort to teach a system which would

have given the students the necessary tools to carry the

knowledge into another piece with the same rhythmic

problems. Consequently, most conductors seem content to

handle rhythm proble~s on a one-at-a-time basis, perhaps

hoping some form of transfer to other music would take

place.

Regardless of the teaching techniques shown, the

study revealed a need to develop some type of systematic

approach to teaching rhythm. While many instrumental

concepts (.e.g., tone, embouchure, and technique> are

best taught in individual lesson situations, rhythm can

be easily taught in an ensemble situation as well.

Systematic methods for teaching rhythm are being used in

some school systems, utilizing concepts developed by well

known music educators. The methods, however, are not

usually extended into secondary ensembles in an organized

manner.
 49

TABLE 4

Consecutive Order o£ Taped Examples

Contained in Chapter VI. Teaching Rhythm

EX METER COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO. NO. ID. COMPOSER HIGH

22 2496 c Rhythm development in Jr

warJR-ups

23 2713 D Use o£ printed rhythm Jr

patterns for syllabization

24 2909 F Need to memorize sound of Sinfonietta Sr

rhythm patterns -- use of I. Dahl
geographical places as aids

25 2977 D Reference to syllable Jr

patterns used in warm-ups

26 3129 F Building confidence and Sinfonietta Sr

and security, inner pulse I. Dahl

27 3157 F Separating parts for Sinfonietta Sr

clarity, inner parte I. Dahl

28 3251 G Precision problems, lack Three Ayres Jr

of rhythmic security
Gloucester
H. Stuart

29 3337 G Precision problems in Three Ayres Jr

accompanimental figures From
Gloucester
H. Stuart
 50

TABLE 4 <continued>

30 3459 H Use of verbal descriptors Scheherazade Sr

to communicate rhythmic Rimsky
clarity and style Korsakov arr.
M. Hindsley

31 3532 c Mathematical explanation Chorale and Jr

o£ subdivision Processional
R. Mitchell

32 3627 D Reference to syllabic Jubliant Sr

warm-up patterns Prelude
c. T. Smith

33 3662 D Comparisons o£ two Southern Sr

similar but different Tier Suite
6/8 rhythms w. Hartley
 Chapter VII

OTHER REHEARSAL TECHNIQUES

Although many of the goals and obJectives of

the eight conductors in the study were similar, the

strategies used to attain them were varied. This is

due in part to the fact that no attempt to standardize

rehearsal procedures or compositions was made for the

study. Each conductor was encouraged to use rehearsal

techniques as well as conducting techniques that were

completely natural and unrehearsed. Likewise, each

conductor was asked to use music already in the

students' folders rather than prepare a particular

piece for this study.

Conductor A used a written rehearsal plan. He

finds it helpful, when doing his score study, to JOt

down on a prioritized list those items that need

specific attention. This type of lesson plan is

extremely helpful in remembering, in detail, all o£ the

areas that must be addressed in the next rehearsal.

While other conductors in the study may periodically

use a written plan, only this one example was apparent

in this study. The conductor spot-checked various

places in each composition before playing a larger

 52

section o£ the work. It was obvious that Conductor A

had spent time outside o£ the rehearsal developing

obJectives and concepts. In TAPED EXAMPLE #34, meter

#3726, Conductor A was rehearsing Overture in

B-flat by Caesar Giovannini <1966>.

The discussion o£ theoretical concepts during

rehearsals was limited to two conductors. In each

case, the mention of a compositional technique was to

emphasize a point being made about thematic content.

Conductor B draws an analogy between Charles Carter's

Symphonic Overture <1963> and Beethoven's use of

the same four-note rhythmic motive in his Symphony

No. 5 inc minor <1808>. The maJor point here is

that the players must listen to what is happening

melodically as the piece develops so they can more

readily relate to proper articulation, style and

balance <TAPED EXAMPLE #35, meter #3789>.

In a smiliar situation, Conductor E discusses

the compositional technique of dovetailing and how

Alfred Reed uses it in his Passacaglia <1969>. In

this case, dovetailing indicates that one instrument

Joins the end of a melodic line that another instrument

began with the result being a continual musical thread

passed from one instrument to another. Again, this

discussion points out to the performers, the importance

 53

of theoretical knowledge and how it enhances

preformance <TAPED EXAMPLE #36, meter #3839>.

There were seven identifiable examples of

conductors dealing with errore, i.e. wrong notes

<pitches>, wrong rhythms or precision problems in

ensemble performance. This was an unexpectedly low

number. The probable reason however, is that the bands

had had the music long enough to be past the stage of

learning the notes. Consequently, conductors were

generally not faced with the problem of correcting this

type o£ error.

There are many examples of conductors using

verbal instruction, including discussions about the

physical aspects o£ performing, the physics of

instrument manufacture, compositional techniques,

listening skills, memorization, concentration, and

breathing.

The percentage of time a conductor spends

talking compared to the percentage of time spent

playing was taken from a sampling of the raw data

tapes, in which the average time of the samples was

18.5 minutes with a minimum of 16 minutes and a maximum

of 20 minutes. Variation in timing among groups was

due to conductors starting and ending the various

segments o£ their rehearsal. Effort was made to

provide at least fifteen minutes o£ taped rehearsal

 54

material but not the exact number of minutes from each

conductor. Table 5 shows the timings from these

samples.

TABLE 5

Talking/Playing Percentages

Conductor Total time of samgle Talking Playing Percentage of Time Talking

A 17 lin. 7 min. 1@ Min. 41~
B 19 lin. 9 11in. 10 Min. 47'/.
Ct 16 111in. 9 Min. 7 Min. 56~
D 20 min. 6 Min. 14 Min. 30~
E 20 Min. 9 111in. 11 Min. 45~
F 20 Min. 8 1in. 12 Min. 40,C
G 16 111in. 7 11in. 9 min. 4~~
H 20 11in. 9 1in. 11 1i n. 45~

* Included in this sample is ~ Minutes of additional tuning.

From these timings, the sampling indicates

conductors spend on an average o£ about 44~ o£ their

rehearsal time talking. The following is a list of the

topics the conductors talked about during the sampling:

- i1ftproving tone
- alternate fingering for better intonation
- fixing wrong notes
- tuning <additional to the tuning period at the
beginning of the rehearsal)
- i1ftproving intonation
- improving dynaMics
- taking ti~e to change pieces of ~usic
- discussions with students about:
using adJectives to describe interpretation
seating policies of the band
answering questions about All-County Band
- working with individual players
- iMproving articulation
- iMproving rhyth•
- iMproving balance
- iMproving tonal balance
- tone
- structural aspects of ~elodic lines
- repriMands for not knowing part in rehearsal
- iMproving attacks
 55

The list shows very little time was spent

discussing non-musical items. Most talking was directed

to performance problems occuring during the rehearsal.

One excpetion was Conductor D, who talked the least

amount of time <30%), and seemed not to be dealing with

some of the apparent problems of his band. It appreaed

he was forced to put more effort into controlling

discipline in the rehearsal by keeping them playing as

much as possible. Conductor E, on the other hand, who

talked 45% of the time, seemd to be dealing with more

musical problems in greater detail. Both Conductors D

and E directed JUnior high bands. Conductor C, took four

minutes to tune his band in the middle of the rehearsal.

Although badly needed, this seemed to be a disruption in

the flow of the rehearsal, causing some restlessness

among the students.

 56

TABLE 6
Consecutive Order o£ Taped Examples
Contained in Chapter VII.
Other Rehearsal Techniques

TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO. METER ID. COMPOSER HIGH

34 3729 A Spot checking a work from Overture in Sr

prepared lessons plans in B-flat
c. Giovannini

35 3789 B Analogy between SymQhonic Jr

material o£ two pieces Overture
c. Carter

36 3739 E Theoretical discussion Passacaglia Sr

of compositional technique A. Reed
of ••dovetai 1 ing. ••
 Chapter VIII

OTHER CONDUCTING TECHNIQUES

Although the study showed numerous examples o£

conducting technique, it would not be practical, nor

applicable, to show all of the examples in this text.

In general, the range of conducting techniques found in

this study was limited, with a few exceptions, to only

the most basic and essential conducting techniques.

For the most part, the conductors demonstrated a static

approach to their baton technique with little variation

in beat plane, style, and meaningful use of the left

hand. Although the conductors achieved exemplary

performance standards with their bands, their

individual techniques generally lacked the anticipated

level of schooled and artistic conducting.

The following check list "Evaluation Criteria

for Conducting," found in Developing Competence in

Teaching Instrumental Music <Ernst 1978>, was used

to survey the physical/visual aspects of all eight

conductors. For this, a randomly selected tape segment

of each conductor was used to determine successful

completion of each criterion. Table 6 indicates the

number of conductors successfully completing each

criterion.

57
 58

TABLE 7

Evaluative Criteria £or Conducting

8
Weight evenly distributed on feet.
--~Feet fairly close togPther.
7 Body erect, not bent over.
_5 __Head up.
NAf Knees relaxed, but not bent and roving.

Rioht Hand
__7__Plane of the beat at about chest height.
4 Flexibility in wrist.
_e___Correct baton grip (if baton is used).
3(2NA> Relaxed finger position without baton.
6 Clear beat patterns with definite ictus.
2 Expressive variety in size of beat pattern,
including hand alone, hand and forearm, and whole ar~.
____2____Expressive variety in shape of beat pattern.
_2__Clear preparatory beats, holds, releases.

Left Hand
3 Not overused, used for no purpose (mirror conducting).
__5__Used for cues.
_4__Used for emphasis.
2 Used for dyna~ic indications.

Eye Contact
____5____Visual contact with players •ost of the time.
4 Visual contact for all cues.

Performer Response
6 Easily following tempo ind:cations.
____3____Easily following throuqh transitional sections.
~8!._.Looking up to accept cues.
____2_____ Responding to dynamic indications.
1 Resoonding to phrasing indications.
3 Responding to articulation styles and accents.
2 Accurately performing attacks and releases.

Camments~her observations_
Following observations were made:
1 Works very fast.
1 Many rapid repetitions of problem spots (rote teaching).
5 Count off before Fmtrances,
1 Many verbal instructions.
3 Right ar1 bent at 900 and close to body.
2 Vague beat pattern

NA = NOT VISABLE ON TAPE

 59

Results from this s8mpling reve8led the

following tendencies £rom the eight conductors in the

study. Five conductors had a tendency to count off

before each entrance, developing in their players a

reliance on an audible start rather than a visual

start. All conductors, with the exception o£ one,

stood erect and not bent over. Five of the eight held

their heads erect while the others tended to look into

the score. Although the tapes did not reveal the

position of the conductors' feet, all conductors stood

with their weight evenly distributed on both feet.

Seven o£ the eight conductors conducted with the plane

of the beat about chest high. Of these only two were

consistent in producing a variety of beat patterns and

sizes, as well as a variety in the shape o£ the beat

pattern. One conductor bent over so much that the

plane of his beat pattern was even with his head moat

of the time. This hunched over posture could be

distracting for the players to look at. Six conductors

used a somewhat static, generic beat pattern that

contained little variation for the various musical

articulations and styles that were being taught. In

each of these cases, much verbalization from the

conductors was utilized to describe the musical style

desired. Successful completion was questionable, as

the .. performer response" in Table 6 indicates.

 GO

All conductors used a baton at one time or

another end all held it in an acceptable manner. Six

conductors did not use a baton in portions o£ their

rehearsal period, i.e. warm-ups or specific chorale

type sections o£ musical compositions. Three o£ these

conductors used relaxed £inger positions in both hands,

while the others did not. Two used a baton for the

entire rehearsal period.

Although only two conductors used a variety of

conducting styles, six conducted with a clear beat

pattern and definite ictus. Two conductors used beat

patterns that were difficult to define. One

conductor's beat pattern was simply an up end down

motion £or all patterns, duple or triple. One

conductor spread his arms so much that the beat pattern

was quite distorted and with the extensive mirror

conducting taking place, appeared to confuse the viewer

as to which hand/arm should be watched.

Four of the eight conductors used a flexible

wrist when i t was appropriate. Those conductors who

used a stiff wrist all the time tended to draw

attention to their arm rather than the baton. Three

conductors conducted with the right arm bent 900 at

the elbow throughout the rehearsal. This created a

distraction, possibly leading to confusion as to which

-- the elbow or hand -- was dominant visually. Ae a

 61

contrast~ Conductor A showed an excellent example of a

staccato pattern utilizing a smaller, more stylized

beat than most conductors <TAPED EXAMPLE #37, meter

#3911>, as well as an effective legato beat in which

the larger sweeping gestures were more predominant.

<TAPED EXAMPLE #38, meter #3961>. The same conductor

presented an excellent example of varied beat size by

utilizing a smaller beat in quieter sections

contrasting the larger beats in the louder sections.

<TAPED EXAMPLE #39, meter #4023>.

While five of the conductors used the left

hand coneistently for cues, only three did not

consistently overuse the left hand in a mirroring of

the right hand. Four used the left hand for cueing and

only two consistently used the left hand for dynamic

indications. For a contrast, Conductor B demonstrated

an example of the use of the left hand in expressive

gestures giving a greater meaning to the musical style

being performed <TAPED EXAMPLE #40, meter #4093). In

addition, Conductor B used excellent conducting

technique in subdividing the basic beat to emphasize a

rallentando <TAPED EXAMPLE #41, meter #4168>.

Five of the conductors maintained visual

contact with their players most of the time. Several

conductors had a tendency to start conducting as well

as talk to the group without looking up from the score.

 62

Those conductors who counted off to begin, typically

did not maintain consistent eye contact during their

starts.

As Table 6 indicates, there is greeter

consistency in specific areas of conducting technique,

such as the distribution of weight on the feet,

erectness of the body, the plane of the beat, and the

baton grip. Conversely, in certain areas there is a

definite lack of consistency in conducting technique

such as the variety and size of beat patterns, the

expressive variety in the shape of beat patterns, clear

preparatory beats, holds and releases, and the lack of

use of the left hand for dynamic indications.

Generally the left hand mirrored the right hand. The

sampling showed an inconsistency between conductors in

the position of the head, flexibility in wrists, use of

the left hand for cues and emphasis and both forms of

eye contact.

An analysis of how many times the conductors

made a direct reference to their conducting was made

using the same segments of the raw data tapes that were

used for the Chapter Seven section on percentages of

talking vs. playing. This sampling revealed three

examples, one from each of three different conductors

where they mentioned conducting to the students. The

only significant example was Conductor A who conducted

 63

the closing segment of The Empire Strikes Back

<Williams/err. Bullock, 1981) two di£ferent ways,

asking the students for their preference. For the

first way, he altered his beat pattern by sustaining a

chord on one beat during a long crescendo, continuing

into a beat pattern for the final cadence and cut-off.

For the second way, he conducted the same measures by

using a continual beat pattern throughout the sustained

chord, closing cadence and cut-off. The students chose

the continual beat pattern <the second way>, although

visually and musically the sustained method,

emphasizing the crescendo, seems artistically more

satisfying. Other references by two other conductors

to their conducting were the comments: " •.•. you're not

following." And, " .••• the tempo picks up, follow the

stick."

This curious lack of reference to the

conducting aspect of rehearsing by the conductors in

the study may possibly be a reflection of the degree of

importance they place on the physical/visual importance

of their rehearsing methods.

 64

TABLE 8

Consecutive Order of Taped Examples

Contained in Chapter VIII.
Other Conducting Techniques

TAPE TAPE COND BRIEF DESCRIPTION OF EX. COMPOSITION/ JR/SR

NO. METER ID. COMPOSER HIGH

37 3911 A Staccato style beat Sr

38 3961 A Legato style beat Sr

39 4023 A Varied beat size Sr

40 4093 B Expressive use o£ L.H. Jr

41 4168 B Subdivision of beet Jr

pattern
 Chapter IX

SUMMARY

This study analyzed the rehearsal and

conducting techniques of eight teachers of school bands

by a systematic analysis of rehearsal videotapes.

Unlike most other studies using videotape, the purpose

was to observe teachers in their most normal

situations, rather then in an experimental setting.

The purpose of the study ia to provide obJective

information about what experienced and successful music

teachers actually do. This information and also the

examples on videotape may be useful for conducting and

~usic education classes. This study is limited to the

gathering and analysis of rehearsal end conducting

examples, end does not include evaluation of the use o£

the tapes in conducting or music education courses.

Eight conductors, located within a 100 mile radius of

Rochester, New York were selected because of their

success in developing exemplary banda in their

respective schools. All were public school teachers,

four from Junior High Schools and four from High

Schools. These teachers were videotaped at their own

schools, rehearsing their own bands under near normal

conditions.
 66

The raw data tapes, consisting of

approximately two hours of each conductor, were

screened for all types of rehearsal and conducting

techniques. A procedure was developed for identifying

and classifying selected teacher behaviors.

Outstanding examples were selected to be used within

the textual content of the written document, with each

individually identified and transferred to a master

tape. The master tape, consisting of consecutive

examples coordinated with the text, accompanies the

written document and can be viewed as the reader

proceeds through the text.

The electronic equipment used to video tape

the study was a reel-to-reel Panasonic Video Tape

Recorder model NV-3020 and a Panasonic Video Camera

model 910VN. The audio pick up was a lapel-type

microphone made by Shure. With the exception of the

tapes of Conductor H, where the light level was

insufficient, the video quality was adequate for this

study. Unfortunately, the video tape recorder did not

have adequate capabilty for monitoring the audio

portion of the recording during the taping sessions.

Because of this, a poor ground connection on the

microphone was evident only upon final viewing on a

television monitor after the taping session. The

 67

situation was rectified and several tapes were made

with good audio quality, only to find a recurrence of

the problem during several later tapes. Consequently,

not ell of the tapes have good sound quality.

The use o£ the lapel microphone and its cord

proved to be somewhat awkward for some of the

conductors who wished to move around among the players

during rehearsals. Although this was a handicap, it

remains the best available method with the possible

exception of a wireless microphone. Least desirable

was a stationary microphone on a stand directly in

front of the conductor.

In every video taping session, the camera and

recorder were set up behind the last row of the band.

As might be expected, the presence of the equipment

created an abnormal situation for the students and the

younger students had more difficutly focusing their

attention on their conductor. The older students

adJusted more readily and were not distracted by the

equipment. Interestingly, every conductor felt his

band was more responsive and better behaved than usual

during the taping.

The recordings were analyzed to identify

specific rehearsal and conducting procedures. Each

procedure was classified according to the obJective,

such as teaching rhythm or teaching intonation.

 68

Procedures that did not fall into any of the four main

categories are described in an "other .. category. In

the written text, descriptors were used to interpret

the visual impact of each example in such a way that

the reader would be able to understand even without the

taped example.

The final cassette master tape was made from

the reel-to-reel raw data tapes by electronic copying.

The equipment used for copying from the reel-to-reel

raw data tapes was: <1> a Panasonic Video Camera

#PK957 for character displays, and <2> a Panasonic

Cassette Recorder #PV6000 and Panasonic Video Cassette

Tuner #PV-A600 for transfer from the reel to cassette.

Video equipment has improved dramatically

since the raw data tapes for this study were made.

Equipment features which are now readily available

which would improve the study include cassette formats

and sterophonic sound. The use of a video cassette

recorder with sterophonic sound would make it possible

to record the conductors on one channel and the

ensemble on the other, providing control over the

balance of the two. The use of a wireless microphone

would be ideal, but in lieu of that a good quality

lapel microphone is suitable. An electronic stop watch

superimposed on the master tapes would facilitate

editing. Electronic editing controls that previously

 69

cost thousands of dollars can now be purchased for much

less. The video quality of the edited tapes could be

improved with an electronic image enhancer.

Standardizing musical examples would make it

possible to provide a greater degree of comparability

of conducting styles and rehearsal techniques. It

would also control the number and type o£ problema

encountered. Although there are advantages in doing

this, it would also create the disadvantage of making

the rehearsal less representative of normal conditions.

Teachers may also be lese willing to participate.

Since moat other studies have been in conducting

classes or other controlled situations, a strength of

this study is that the data were derived from the

analysis of teachers in their normal routines and

situations.

Although the purpose of this study was to

gather and analyze data, a separate study should be

conducted to evaluate the premise that they could be

effectively used in college classes. A aeries of

separate studies could utilize orchestral and choral

conductors. A resource of video taped examples of

conducting and rehearsal techniques could be created

through a "programmed" rehearsal of outstanding

conductors of either secondary school or college level

conductors working with their own groups. The format

 70

would speci£iy in advance the procedures to be

demonstrated. This could include specific rehearsal

deficiencies, staged by conductors, for analysis in

conducting class, providing opportunity for class

members to m8ke JUdgemental decisions about conductor

behavior.
 71

APPENDICES
 72

APPENDIX A

REHEARSAL TECHNIQUES FREQUENCY CHART

GATHERED FROM RAW DATA TAPES
COND. COND. COND. COND. COND. COND. COND. COND.
A B c D E F G H
SR HI JR HI JR HI JR HI SR HI SR HI JR HI SR HI

ARTICLUATION 0 1 0 1 0 0 1 2

BALANCE 2 3 1 1 3 0 0 2

DYNAMICS 0 0 0 1 1 0 0 0

EXPRESSION 0 1 0 0 1 0 0 1

FORM ANAYLSIS 0 1 0 0 1 0 0 1

INTONATION 0 4 2 4 3 0 2 2

MODELING-PLAY 0 0 1 0 0 0 0 0

MODELING-SING 0 0 1 0 1 0 0 0

PHRASING 0 0 0 1 1 0 2 1

POSITIVE
REINFORCEMENT 0 1 1 0 0 3 0 2

PRECISION 0 0 0 4 0 0 3 3

RHYTHM 0 0 1 0 3 5 0 1

TENUTO-RUBATO 0 3 0 0 0 0 0 1

TONE 1 1 0 0 0 0 1 2

TUNING <IN REH.> 2 0 0 0 0 0 0 0

 73

APPENDIX B

CONDUCTING TECHNIQUES FREQUENCY CHART

GATHERED FROM RAW DATA TAPES
COND. COND. COND. COND. COND. COND. COND. COND.
A B c D E F G H
SR HI JR HI JR HI JR HI SR HI SR HI JR HI SR HI
EYE CONTACT 0 0 0 0 0 0 0 0

STACCATO BEAT 1 0 1 0 0 0 0 0

SUBDIVIDED BEAT 1 2 0 0 0 0 0 0

TRANSITIONS 1 0 0 0 0 0 0 0

EYE CUE 1 0 0 0 0 0 0 0

LEGATO BEAT 1 1 0 0 1 0 0 1
CUEING 1 2 0 0 0 1 0 0

CHANGE IN
BEAT SIZE 1 1 0 0 0 0 0 2

CONTRAST IN
BEAT STYLES 0 1 0 0 0 0 0 3

INDEPENDENCE
OF HANDS 0 3 0 0 0 0 0 0

RELEASES
FERMAT I 0 1 0 0 1 0 3 1
 APPENDIX C
LOG OF ~RM UP/TUNING PROCEDURES ~D TIMES
COND. A COND. B COND. C COND. D COND. E COND. F COND. 6 CDND. H
SR HI JR HI JR HI JR HI SR HI SR HI JR i1I SR HI
PERIOD i-ENGTH 4f:.
.w 70 90 45 45 45 45 75
;r:
~1MiJ;i L8-.'G'H 10 9 J..J 10 5 8 10 15

SCALES Bb ~ s & Jt s +-Bb obly t-extens1ve 1-partial I -ascending +-eyes closed +-all lllaJOr on
CHGRALES +-J.S.Bacn r-ot of pc. Treasury of Treasury of
* * Scales #19 Scales 173
Rhythm variation
deals ~/ silence
RHYTI-!M STUDIES t-on 'F' original
*
verbal inst. studies in
raanuscript
VERBAL balance eye contact eye contact rhythm devel. eye contact eye contact listening
INSTi1UCTIONS eye contact tuning listening listemng tuning tuning tuning concentration
tuning tuning eye contact balance key devel. listemng
tuning
CHORD S7UD IES rbalance circle of 5ths
ART:CULATION using cnord
f1"0111 piece for
douole toungue
excercises
TECHNICAL SKILL ~o-tongueing singing tongueing
BUILDERS w/ M.ll. tongueing using Treas.
flexitlility Treas. of of Scale #1
in ~rass Scale #19
INDIVIDUAL TUNING no no no yes yes-not yes yes yes-listen to
extensive tuiJa; all 1st
chair players
then total band
-..J
~
• = INCORPORATED IN FORMAL WARM UP PROCEDURE, NOT TREATED AS A SEPARATE ACTIVITY
 75

APPENDIX D

CORRESPONDENCE WITH CONDUCTORS

19 Woodcrest Circle
Fairport, New York 14450
November 7, 1980
Dear ______________ _

As you may know, I am presently enrolled at the

Eastman School of Music as a graduate student pursuing a
D.M.A. in Music Education. As part of my requirements
for the degree, I am undertaking a videotape study that
will provide college music education students the
opportunity to view outstanding examples of conducting
and rehearsal techniques of selected public school band
conductors. This study will identify and analyze
rehearsal and conducting techniques employed by exemplary
public school conductors working with their own school
bands during a normal rehearsal.

Being familiar with your work and your success in

both the NYSSMA spring evaluations and on the concert
stage, I would like to include you and your band in this
study. Please bear in mind that the study is not an
evaluation of you or your band, but is simply a record,
both in dsecription and on videotape, of the conducting
and rehearsal techniques that you employ with your band
to accomplish the goals and obJectives of your teaching
strategies. You will be one of four to eight conductors
participating in this study. It is important for you to
know that in the written portion of the study I will
guarantee anonymity for all of the participating
conductors. I£ in the future the videotapes are to be
used beyond the purposes o£ the dissertation, I could no
longer guarantee anonymity. I£ the need to use the tapes
in a capacity beyond the dissertation develops, I will
ask for your permission before any use is permitted.

All o£ the conductors in thie study will be taped a

total of four hours o£ rehearsal time on non-consecutive
days. By requesting non-consecutive days I will be
avoiding rehearsals that would include the same music and
probably deal with similar problems. To effectively
carry out my task I want to be as unobtrusive as possible
during the rehearsals: the only request I will ask of you
is that you wear a lapel microphone to enable me to
record your voice with the videotape.
 76

Due to the fact that I am under a time deadline~ I

would like to have your response as soon as possible. I
would like to start taping before Christmas vacation.
Scheduling may be somewhat tricky with this many
conductors~ therefore~ I will be calling you during the
week of November 16th at either your school or your home
to find out if you will be able to participate in this
study. I will also be finding out what your band
schedule is end when you would be able to have me come.
If you have any questions please call me at home
<collect) 716-377-2435. The best time would be any
weekday evening between 6:30 end 7:00 PM.

I sincerely appreciate your consideration of the

above request and I fully understand how precious each
minute o£ rehearsal time is to you. Consequently~ I will
make every effort to be completely self-sufficient in
regards to equipment set-up etc.~ etc.

Thank you very much for your help.

Sincerely~

Munro H. Sherrill
 77

APPENDIX E

FOLLOW-UP CORRESPONDENCE WITH CONDUCTORS

19 Woodcrest Circle
Fairport, New York 14450
May 27, 1981

Dear

In regard to my videotape graduate proJect at the

Eastman School of Music, I would like to inform you that
it will not necessary for me to do a second session with
you. My advisor, Dr. Roy Ernst and I feel the data thus
far collected is sufficient and can be used in
conJunction with additional data I will be collecting
during the next year at Fairport.

I want to take this opportunity to thank you very

•uch for your cooperation and support during this
proJect. If and when the final proJect becomes complete
I will offer you the opportunity to review the final
document and tapes.

Sincerely,

Munro H. Sherrill
 78

APPENDIX F

PARTICIPATING CONDUCTORS AND THEIR SCHOOL

DISTRICTS

Alan Bomwell,
Phelps-Clifton Springs Central School,
Phelps. N.Y.

Donald DeWitt,
Palmyra-Macedon Central School,
Palmyra, N.Y.

Edward Lisk,
Oswego City School District
Oswego. N.Y.

Michael Reid,
Clarence Central School,
Clarence, N.Y.

Ronald A. Sutherland,
Clarence Central School,
Clarence. N.Y.

Charles VanBuren,
Phelps-Clifton Springs Central School,
Phelps, N.Y.

Mark Wheaton,
Churchville-Chili Central School.
Churchville. N.Y.

George Whittier.
Clarence Central School,
Clarence, N.Y.
 79

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