Abstract
Chapter 4 explores elements of a reliable conducting technique, with a valuable contribution by Antonella Coppi on Gesticulation (Chirognomy) and its influence on choral sound. Fuelberth (2003, p.14) quotes Edward Sapir’s words when attempting a definition for conducting as “an elaborate code that is written nowhere, known by none, and understood by all”. There are very important relationships between the physical gestures a conductor makes and the sound the choir produces. Standing in front of a group of people, waving hands and arms, can have damaging effects on the music.
Jordan (1996, p.113) warned against the mere application of a time-beating technique … it can metaphorically and musically speaking, beat the music to pieces. With all the need for a sound conducting
technique, we must do our best to free the choir and the music from a straight-jacketed conducting format and to allow the free unfolding of the essence and life of the music. The need for developing a reliable conducting technique is very important if your belief of conducting coincides with that of Jordan’s “…that conducting patterns are a reflection of sound, then it follows that conducting gesture should be both a
reflection of the sound and provide a certain gestural evoking of sound from the singers” (Jordan, 1996, p.115). The skill of conducting and evoking sound from a choir can be learned by anyone – “good conducting technique can be developed to a high degree by anyone who is willing to concentrate and practice” (Ehmann,
1968, p.117).