Implications for Non-Verbal Communication and Conducting Gesture

Author(s): Joseph Kevin Ford

Source: The Choral Journal , AUGUST 2001, Vol. 42, No. 1 (AUGUST 2001), pp. 17-23
Published by: American Choral Directors Association

Stable URL: https://www.jstor.org/stable/23553881

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 Implications for
Non-Verbal
Communication and
Conducting Gesture
by Joseph Kevin Ford
The subject of gesture has been clearly documented as a
serious matter for discussion since the first century.1 All societ
ies use gestures as tools for communication, but gestures do not
have universal meanings. A gesture that means one thing in
one society may have a completely different meaning in an
other. Also, one society may use gestural communication only
in the most restrained manner, while other societies have an
elaborate gestural repertoire.
Nonverbal communication encompasses everything from
hand gestures to facial expressions and body posture. However,
this article is limited to a discussion of gestures (both conscious
and unconscious) of the hands and arms in general society and
explores the benefits of using conducting gestures that draw
upon gestures used in nonverbal communication. This is not
meant to imply that the other areas of nonverbal expression are
not important to the conductor. The subtle and complex sub
ject of facial affect displayed alone has a great impact on the
communication and the believability of conducting. It is not
the intention of this study to advocate the abandonment of the
traditional conducting patterns. It is merely meant to draw
attention to a gestural vocabulary that may more clearly and
efficiently convey the conductor's musical intent.
Gesture-Specific Nonverbal
Communication In Society
Most likely, gestures have served as a form of communica
tion from the beginning of human existence. They are used to
Kevin Ford teaches conducting and choral methods at The
Crane School of Music at The State University of New York
College at Potsdam.
AUGUST 2001
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Portion of Chirogrammatic Plate from Bulwer's Chirologia
communicate concrete ideas, such as "stop" and "come here,"
and to demonstrate abstract concepts. For example, when som
one is discussing how much time it takes to learn a specific
task, they may demonstrate the concept of a time continuum
by holding their hands out as if holding a box. This imaginary
box would represent the abstract concept of a time continuum
Descriptions of gesture appear in documents as old as the
Bible.2 However, one of the earliest sources of instruction in
gesture occurs in the Institutio oratoria, a document on rhetoric
for orators by the Spaniard Marcus Fabius Quintilianus, who
was the first recorded public professor of rhetoric in Rome. In
this work, Quintilian (A.D. c. 35—c. 100) discussed postur
and gesticulation involving arms, hands, fingers, and body. H
offered advice on gestures to help orators make their case and
pointed out those gestures that impede the success of th
delivery of an oration.3
During the Medieval era, Jean-Claude Schmitt divided the
use of gesture into three notions. Expressivity represents the
notion that "gestures were considered expressions of the inne
movements of the soul, of feelings, of the moral values o
individuals."4 Second, the notion of efficacy includes technica
gestures of performing tasks such as writing, sweeping, sawing,
and also the "symbolic efficacy of political or sacramenta
rituals." Finally, the notion of nonverbal communication evolved
out of the ancient discipline of rhetoric as described by
Quintilian. The area of use merely shifted from the stage to th
pulpit.5
In 1644 the Englishman John Bulwer wrote his treatise
titled, Chirologia: or the Natural Language of the Hand and
Chironomia: or the Art of Manual Rhetoric. This was the first
English treatise to depict gestures by means of "chirograms" or
sketches portraying the hands and fingers.6 In these
PAGE 17
chirogrammatic plates, Bulwer associated above the corresponding word in the text Regional Differences
gestures of the hands, arms, fingers, and of the oration.7 In Gesture
other various body parts with their corre- In the nineteenth century, the book The Englishman Desmond Morris un
dertook a long process of research in
sponding emotions or points in an argu- The Expression of the Emotions of Man and
ment (Figure 1). Animals, by Charles Darwin, suggested which he observed body language (in
In 1806, Chironomia or A Treatise on that some of man's gestural language
cluding gesture) from many different so
Rhetorical Delivery was written and pub- might have a biological basis.8 This reinHe observed that many gestures
cieties.
lished in England by the Reverend Gil- forces Bulwer's assumption that therehad is a
different meanings in different soci
eties. R.
bert Austin. Austin was very specific about universal gestural language. However, He observed that the English or
the use of gesture in rhetorical delivery, L. Birdwhistle has suggested to the con
American sign for "OK," with the thumb
incorporating a detailed means of record- trary that even unconscious gestures are finger touching and forming a
and first
ing and notating gestures that included learned behaviors.9 circle and the remaining three fingers held
abbreviations for specific hand, arm and erect, had a very different meaning in
body postures that were then written France, where it meant "zero" or "worth
less." Further, the same gesture is consid
ered obscene in some Middle Eastern
cultures.10 It is not difficult to imagine
kairt'f ■ the trouble and embarrassment a world
traveler might encounter if he or she in
advertently used an incorrect nonverbal
gesture.

The Codification of Gesture

Interest in nonverbal communication
increased throughout the twentieth-cen
tury, leading to the establishment of the
field of Kinesics, the study of nonverbal
communication behaviors. American re
searcher Walburga von Raffler-Engel de
scribes this study:

The term Kinesics should be

restricted to message-related
movements of the eye and parts of
the body as they relate to an
__
interactional exchange of a message,
N■ fudet. either in regulating that exchange
°" ^ Upr° ' (onfcicntcr jflrmo. Paent tantid,
or in supplying information about
its message."

She further states that:

. . . kinesics is generally grouped

into the following categories:
proxemics, the stance and
orientation of the position of the
bodies of the interactants; posture,
inclination of the torso; head
movement, like nodding and
cncdico■
tcncdiCO shaking; facial mimicry, eye gaze, the
movement and fixation of the eyes;
hand and arm gestures; motion of
the shoulders, like the shrug;
figurations made with the fingers;
haptics, the touch behavior; and the

Figure 1. Chirogrammatic Plate from Bulwer's Chirologia

PAGE 18 CHORAL JOURNAL

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 In reference to hand positions alone, JflteVeSt ifl TlOTiVCvbdl gestures are pictorial.
W. T. James reached three conclusions: Beats or batons are the next type of
"1) palms up represents acceptance, of- communication increased geStUrf,¡n McNeil¡'s list"
fering, coaxing and supplication; 2) palms resemble someone beating time in music.
outward indicates active repulsion, avoid- thvOUphoUt the tW6Ylt̀th~ They accent or emphasize the
ance, opposition, command, and disap- o accompany. Cohesives are the gestures used
proval; and 3) palms down represents CCYltllVV IcCLíÍÍYIP tO the t0 C'e Noughts together or fill in ga
soothing and calming."13 These conclu- J* o while the person is searching for the co
sions can easily have direct relation to the establishment of the Held rect worc'' The final types of gestu
hand positions of conductors. J J McNeill discusses are the deictics or point
By far the two most often quoted re- ofKinesics, the study of inggcsturcs'15
searchers in this area are Paul hkman and J J J

nonverbal communication
gestural nonverbal communication. Those behuVW
three are emblems, body manipulators, and " bal and synthetic and never hierarchical."16
illustrators. Emblems refer to any action Global means that the whole gesture de
that has a specific meaning to a specific termines the meaning of the parts of the
culture. Examples of emblems would be and using a gesture that depicts a box. gesture. Synthetic means that a
shaking the head yes or no, or shrugging This imaginary box is a metaphor of the can represent multiple meanin
the shoulders when unsure. Body manipu- genre of cartoons. His list of types of ever, gestures cannot be combined to
lators involve one part of the body inter- gestures includes iconics, which are closely a compound thought. Gestures are
acting with another body part. These related to the semantic content of speech, cific to the context and serve to highli
would include wringing the hands or They generally exhibit the same move- the relevant and important parts o
scratching the head. Illustrators are move- ment as that referred to in the verbaliza- communication. McNeill distinguis
ments, typically with the hands and arms, tion. Both iconic gestures and metaphoric between emblems and panto
which are connected to the content or
flow of speech. "Emblems differ from il Concerts • Workshops • Fundraising Institute • Artistic Directors Institute
lustrators ... in that they are often used n

in place of conversation or when conver GALA CHORUSES

CHORUSES 200 I
sation is not possible or not chosen."14

LEADERS
LEADERS
Paul Ekman has identified a number
of specific illustrators and has listed them
as the following: Batons (Beats in
^CONFERENCE
FERENCE
McNeill), movements that accent a par
ticular word; Underliners, movements that
emphasize a phrase, clause, sentence or
group of sentences; Ideographs, move
ments that sketch the path of direction of Eji E Eiâ^KL EE
thought; Kinetographs, movements that || AUGUST
AUGUST 3 I-SEPTEMBER
3 I -SEPTEMBER 3, PORTLAND,
3, PORTLAND, OR OR
depict a bodily action or a nonhuman
The Leadership
action; Pictographs, movements that draw The 2001 2001 Leadership Conference
Conference will feature
will feature a wide
a wide range ofrange of on
sessions sessions
choruson chorus
management
the shape of the referent in the air; Rhyth- S management and and artistic
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leadership. Institutes,
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Leadership
mics, movements that depict the rhythm ■■ Leadership Conference
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or pacing of an event- Spatials move- IË members, volunteers, officers and facilitators for choruses of all sizes, and budgets.
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ments that depict a spatial relationship; jl Guest Institute InstituteLing
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and Deictics, movements that point to the jl Meier Baker and Baker -and
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- Fund Raising Kim Klein - Fund Raising
referent. ft Institute, Gary Rifkin - Leadership Institute,
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David McNeill, professor of psychol
ogy and linguistics at the University of E3 Sponsored by: by:
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metaphoric gestures, which present an ab
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which can occur in silence, and all other reflections of the thought they are called this discourse is that if the gesture was
gestures that must accompany speech.17 upon to express. Furthermore, he believes merely a translation of thought, it should
Gesture and speech are coexpressive, that that gestures actually impact thought and, have been the part of communication
is, they express the same thing at the same combined with language, they constitute most likely to contain the error. If these
time (synchronous). They develop to- a more complete thought. In this con assumptions and concepts are accurate,
gether in children and break down to- cept, McNeill makes the assumption that: gestures are an integral part of the thought
gether in victims of aphasia of the brain.18 process and not superfluous embellish
The three parts of each gesture are the . . . thought is multidimensional, a ments that accompany speech.
preparation, the stroke, and the retrae- dialectic of speech and gesture
tion. These can be directly compared to means that some dimensions of Possible Uses of Nonverbal
the preparatory beat, the ictus, and the thought are presented in the gesture
rebound of the conducting gesture. and others in linguistic form. There
Gesture in Conducting
McNeill's view of gesture is evident from is a synthesis, and at the moment
The Implications for
the following statement: of synthesis language and gesture are Noverbal Gesture-Based
combined into one unified
Conducting Gesture
. . . gestures are not the product of presentation of meaning. This is an
If gestures were simply embellishments
a linear-segmented verbal plan, not act of communication, but also an
for speech, their importance to conduct
translations of speech into visual- act of thought. Not only the listener
ing gesture would still be valid. However,
kinesic form, not like photographs, but the speaker is affected.20
if gesture is so closely tied into the thought
and not the tip of a linguistically
process, its implications for the conduc
structured iceberg. They are closely He bases this view on work by Vygotsky,
tor become increasingly apparent. In his
linked to speech, yet present who visualized thought as Choral
book, two Music
interlock
Education, Paul Roe
meaning in a form fundamentally ing circles. One represents linguistic
admonished the reader to "never stop an
different from that of speech. My thought and the other represents nonver
organization to say what can be shown
own hypothesis is that speech and bal thought. The area of overlap repre
with a gesture."22 This statement empha
gesture are elements of a single sents "the synthesis ofsizes
image and word"21
the reason that a conductor should
integrated process of utterance (Figure 2).
be interested in using gestures in har
formation in which there is a The importance attached to gesture mony with nonverbal communication in
synthesis of opposite modes of over words is demonstrated by McNeill's
his or her conducting style. The more
thought—global-synthetic and description of a discussion between two
time the conductor spends talking in an
instantaneous imagery with linear- mathematicians. The mathematicians had
attempt to convey his or her musical ideas
segmented temporally extended their own gestures totorepresent math
the ensemble, the less time the en
verbalizations. Utterances and ematical concepts and while one was
semble has to put those ideas into prac
thoughts realized in them are both speaking, he referred to turn
tice and a concept
them intoand
art.
imagery and language.19 made a speech error. He stated the wrong
Increasingly, research is being done in
concept but made the gesture for the cor
an attempt to reveal the effect of con
McNeill therefore believes that gesture rect concept. The listener caught the er
ducting gesture on sound. Faye Julian's
and words are both equal products and ror and corrected it. The
article significance
reveals several areas of
that need fur
ther study in the area of nonverbal cues in
conducting. She states, "the appearance
and bearing of a conductor, as well as
what he or she does with the body, send
silent messages to the ensemble being di
rected and to the audience observing the
Linguistic / \ Non-Verbal
Non-Verbal event."23 Melissa Katia Madsen's experi

Synthesis
\ mental study, while failing to show that
gesture affected vocal sound at a statisti
cally significant level, did reveal that some
differentiation existed, and she recom
mended that "further research and greater
refinement of preparation and procedures
seems advisable."24

Interference in Conducting
The conductor who uses gestures that
are at odds (nonverbally) with his or
Figure 2. Vygotsky's thought model

PAGE 20 CHORAL JOURNAL

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her musical desire must spend a great
Because iconics are closely speaki,ng- Jhus- thue gefure lets
deal of time talking to the choir and J actually observe thoughts as they
convincing them to ignore the nonver
bal cues they are seeing while perform
related to the actual occur-Icomc, geftures have this
power precisely because they are
ing the conductor's musical intent.
Efficiency will increase as the group learns
thought and the semantic "trained by systems of rules
and standards. 1 hey are not torced,
to ignore more and more of the confusing
gestures, but the conductor will likely
contentJof speech, they as/,s speech'to infuf fceTes
i J solely to meet standards or torm.
need to use more verbal communication
to obtain the musical intent. Musical en promise greater uses for T!UIS'the^can li
i O J what stands out. ... 1 hey are the
sembles can be and quite often are trained
incorporation in closest '°ok at
to ignore a conductor's nonverbal cues in * person that we, the observers, can
favor of verbal statements, but based on
McNeill's statements we have to wonder conducting gesture. get "
if this is completely possible. When the Because iconics are closely rel
training is accomplished, how much rep the actual thought and the sem
etition is needed simply to ensure that in the video translated their knowledge of tent of speech
the group is ignoring the confusing the size of the objects that would have for incorpora
nonverbal gestures? This kind of mixed been picked up with each gesture into an Iconic gesture
message sending is referred to in commu oral representation of the size of those in conversati
nication as interference. Interference is the objects.26 that someone climbed up a ladder, and
communicative difficulty that occurs our hand rises with the words "climbed
when two people do not (completely or Iconics in Conducting up," we have used an iconic gesture
partially) understand the other's system demonstrate the direction the subject
of communication. An obvious example Perhaps the most important fact climbed. The conductor who wants
of this is illustrated by a conductor asking about iconic gestures is their ability ward direction or intensity in the mu
an ensemble for a legato line, but con to articulate what, from the line could utilize the same type of
ducting with forceful choppy gestures. speaker's point of view, are only the ture. By placing beats at consecut
The legato line can usually be achieved relevant features in the context of higher points in space, the condu
only after enough reprimands and repeti
tions such that the group is sufficiently
trained to ignore the interference of the
choppy conducting gesture.

Emblems and Pantomimes

in Conducting
Paul Ekrnan states that every culture
he studied had some emblem "for greet
ing and departure, for insults, for replies
(such as yes, no, uncertainty), for direct
ing locomotion, for referring to the physi
cal state of the person (tiredness, pain,
etc.), and for the affective state of the
person (angry, surprised, etc.)."25 Em
blems can be applied to conducting by
such methods as placing the finger to the
lips as an emblem for requesting a softer
dynamic.
Examples of the use of pantomime ges
tures are demonstrated in the conducting
video, What They See is What You Get, by
Rodney Eichenberger and André Tho
mas. The types of gestures necessary to
pick up a paper clip (Figure 3) and a
beach ball (Figure 4) are used in the con
ducting gesture to demonstrate the dif
ferences in sound produced. The ensemble Figure 3. Paper clip gesture

AUGUST 2001 PAGE 21

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gesture would now be an iconic one relat- nary object that represents the genre of tures and are used quite effectively to alert
ing to the direction of the musical line. In art song. In describing the art song genre, a section of an ensemble to an upcoming
all likelihood, words would not have to the speaker moves the hand and "object" entrance.

be used. Another example of an iconic toward the listener as if to give the genre Conclusion
gesture might be used if someone were or the knowledge to the listener. This Nonverbal communication has been
describing the smooth surface of the sheets gesture could be used in conducting when
shown to be part of the human thought
on a neatly made bed. While describing the conductor desires one note to lead
process. The gestures people use are as
the surface, the person might produce a into another. The hand could "grasp" the
much a part of their thoughts as their
smoothing motion with a flat hand mov- note and transport it to the place in the verbalizations are. Therefore, if the con
ing back and forth from left to right on a conducting pattern where the next note
ductor uses gestures that reflect a nonver
parallel plane to the ground. The conduc- will be.
bal message contrary to the concept that
tor, to smooth out overly vibrato-laden
the conductor is trying to obtain from
passages in music, could use this same Beats orBatOns the ensemble (interference), he or she will
motion. in Conducting have to stop and verbalize the desired
McNeill defines beats (batons in Ek
concept. Most likely, verbalization will
Metaphoric Gesture man) as "movements that do not present
need to occur over the course of several
in Conducting a discernible meaning, and they canrepetitions,
be until the ensemble learns to
The metaphoric gesture, like the iconic recognized positively in terms of their pro
ignore the mixed message. However, the
gesture, presents imagery. However, un- totypical movement characteristics."29
conductor can choose to employ conduct
like iconic gestures, the imagery is of an Beats primarily emphasize what they are
ing gestures that reflect standard nonver
abstract concept. Metaphoric gesture connected to. The conductor would use bal acommunication ideas similar to the
seems to be more culturally specific. Also, larger "beat" to emphasize the climaxmusical
of result he or she desires from the
each speaker can invent his or her own phrase or a word that needed stress,
group. This synchronization of messages
metaphoric gesture. Although these quali
from the conductor will greatly increase
ties make metaphoric gestures less attrac- Cohçsives and Deictics the efficiency of the rehearsal and will
tive for the conductor, the conduit in Conducting
help alleviate some of the stress that some
metaphoric gesture can be effectively trans- Conductors use cohesive gestures be
ensembles feel as they try to decipher
ferred to conducting gesture. McNeill de- tween movements of multimovement
mixed messages.
scribes the conduit metaphoric gesture as works to maintain continuity between
Again, it is important to realize that
"metaphors whereby language, meaning, movements. The conductor also
this approach to conducting gesture is
knowledge, art genre, etc., are presented cohesives to prevent the audience from
not meant to replace traditional conduct
as bounded containers." They are then clapping between movements. Keeping
ing patterns. However, knowledge and
"passed on to a recipient over a conduit."28 the hands and arms up until the down
thoughtful application of nonverbal, com
An example of this would be when a beat of the next movement accomplishes
municative gestures to conducting can
speaker holds in his or her hand an imagi- this. Deictic gestures are pointing ges
enhance and clarify the communication
of the conductor's musical intent and in
crease the efficiency of the rehearsal.

Nnfp.ç
Notes

1 Fritz Graf, "The gestures of Roman actors

and orators," in A Cultural History of
Gesture, eds. Jan Bremmer and Herman
Roodenburg (Ithaca: Cornell University
Press, 1991), 38.
2 Job 27:23
3 Graf, 38.
4 Jean-Claude Schmitt, "The rationale of
gestures in the West," in A Cultural
History of Gesture, eds. Jan Bremmer and
Herman Roodenburg (Ithaca: Cornell
University Press, 1991), 64—65.
5 Ibid., 64-65.
6 John Bulwer, Chirologia: or the Natural
Language of the Hand and Chironomia:
or the Art of Manual Rhetoric, ed. James
Cleary (Carbondale: Southern Illinois
Figure 4. Beach ball gesture

PAGE 22 CHORAL JOURNAL

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 University Press, 1974), xi. Journal of Band Research 24, no. 2 (Spring Rodney Eichenberger, 1 hour and 30
7 Gilbert Austin, Chironomia or A Treatise on 1989), 49. minutes, (Chapel Hill: Hinshaw Music
Rhetorical Delivery, eds. Mary Margaret 24 M. K. Madsen, "The Effect of Conducting Inc., 1994), vidéocassette.
Robb and Lester Thonssen (Carbondale: Gestures on Choral Sound" (Masters 27 McNeill, 132-133.
Southern Illinois University Press, 1966). Thesis, Florida State University, 1991), 26. 28 Ibid., 147.
ix. 25 Ekman, 92—94. 29 Ibid., 80.
8 Keith Thomas, "Introduction," in A 26 Rodney Eichenberger and André Thomas,
Cultural History of Gesture, eds. Jan What They See Is What You Get: Linking -C]
Bremmer and Herman Roodenburg, the Visual, the Aural, and the Kinetic to
(Ithaca: Cornell University Press, 1991), Promote Artistic Choral Singing, ed. Mike
2.
Graves, dir. Mike Dunn, and prod.
' Peter Burke, "The Language of Gesture in
Early Modern Italy," in A Cultural
History of Gesture, eds. Jan Bremmer and
Herman Roodenburg, (Ithaca: Cornell
University Press, 1991), 72.
CARNEGIE HALL
10 Desmond Morris, "The Language of the CHORAL WORKSHOP 2002
Body," in The Human Animal: A Personal
Observation of the Human Species, edited January 8 - 12, 2002, at Carnegie Hall
by Andrew Mort and produced by Mike
Beynon, 50 min., Bristol: British
Broadcasting Corporation, 1994,
vidéocassette.

11 Walburga von Raffler-Engel, "Develop

mental Kinesics: The Acquisition of
Conversational Nonverbal Behavior," in
Aspects of Nonverbal Communication, ed.
Walburga von Raffler-Engel (Lisse: Swetx
and Zeitlinger B. V., 1980), 133.
12 Walburga von Raffler-Engel, "Introduc
tion," in Aspects of Nonverbal Com
munication, ed. Walburga von Raffler
Engel (Lisse: Swetx and Zeitlinger B. V., BRAHMS A Qerman Requiem
1980), 3.
13 Action Ostling, "Research on Nonverbal
ANDRÉ
ANDRE PREVIN,
PREVIN, Conductor
Conductor
John
JohnOliver,
Oliver,Choral
Choral
Preparation
Preparation
Communication with Implications for
Conductors," Journal of Band Research Founded
Founded in in
1990
1990
by the
by late
theRobert
late Robert
Shaw, theShaw,
Choralthe
Workshops
Choralhave
Workshops
become a cherished
have become a cher
12, no. 2 (Spring 1975), 35. highlight
highlight of of
Carnegie
Carnegie
Hall's Hall's
concertconcert
presentations.
presentations.
Designed forDesigned
choral directors
for choral
and singers,
directors and
orchestra
orchestra conductors,
conductors,
and music
and music
administrators,
administrators,
each year's workshop
each year'shas offered
workshopa special
has offered a
14 Paul Ekman, "Three Classes of Nonverbal
opportunity
opportunity forfor
choral
choral
musicians
musicians
to prepare
to and
prepare
perform
and
one
perform
of the great
onemasterworks.
of the greatThismasterworks.
year T
Behavior," in Aspects of Nonverbal AndréPrevin
Andre Previn leads
leads the annual
the 12th 12th annual workshop,
workshop, which
which features features
Brahms' Brahms'
masterpiece masterpiece A
A German
Requiem.
Requiem. John
John
Oliver.
Oliver,
Conductor
Conductor
of the Tanglewood
of the Tanglewood
Festival Chorus,
Festival
will prepare
Chorus,the will
chorus.
prepare the chor
Communication, ed. Walburga von
Raffler-Engel (Lisse: Swetx and Zeitlinger For
Forfive
fivedays,
days,the the
selected choral choral
selected participants will work on
participants thework
will requiemoninthe
intensive rehearsal
requiem in intensive r
B. V., 1977), 89-100. sessions,
sessions, leading
leading
to a to
final
a final
performance
performance
with Maestro
withPrevin
Maestro
conducting
Previntheconducting
Orchestra of the
St. Orchestr
13 David McNeill, Hand and Mind: What Luke's,
Luke's, soloists
soloists
Barbara
Barbara
BonneyBonney
and Davidand
Wilson-Johnson,
David Wilson-Johnson,
and the Carnegie
andHall
theWorkshop
Carnegie Hall Wo
Chorus.
Chorus. TheTheconcert
concert
will take
willplace
takeatplace
Carnegie
at Carnegie
Hall on January
Hall 12.
on 2002.
January 12, 2002.
Gestures Reveal About Thought (Chicago:
The University of Chicago Press, 1992), Choral
Choralparticipants
participants
will be
will
selected
be selected
by tape audition.
by tapeApplications
audition. Applications
for non-singingfor
auditors
non-singing
will also auditors
12-18. be accepted.
be accepted.

16 Ibid., 19. For

Forfurther
furtherinformation
information
and anand
application,
an application,
please contact:
please contact:
17 Ibid., 19-23,41. Education
Education Department/Professional
Department/Professional
Workshops
Workshops
The
TheCarnegie
Carnegie
HallHall
Corporation
Corporation
18 Ibid., 23-24.
19
881 Seventh Avenue.
Avenue, New
New York,
York. NY 10019
Ibid., 35. Tel:
Tel:212-903-9740
212-903-9740
Fax: 212-307-5766 Fax: 212-307-5766 ~
20
Ibid., 245-246. or
oremail
email
Carissa Aoki:
Carissa
caoki@carnegiehall.org
Aoki: caoki@carnegiehall.org
21 APPLICATION
APPLICATIONDEADLINE:
DEADLINE:September
September21,
21.
2001
2001
carnegie
««"ton hah
«*"
Ibid., 270.
22
Paul F. Roe, Choral Music Education
(London: Prentice-Hall, 1983), 260.
23 CARNEGIE HALL
Faye Julian, "Nonverbal Communication:
Its Application to Conducting," The

AUGUST 2001 PAGE 23

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