Essentials in Conducting/Index

by Karl Wilson Gehrkens

INDEX

A

A cappella singing, 162.

Accompanist—Relation to conductor, 147.

Choosing of, 147.

Treatment of, 148.

Accompanying, organ, 150.

Adolescent boy, 124, 125.

Alto, male, 119.

Altschuler, quoted, 61.

Anglican chant—Baton movements for, 33.

Attack—How to secure it, 30.

In reading new music, 32.

B

Back stroke, 28.

Baton—Description of, 20.

How used, 21.

Position of, 22.

Baton movements—Diagrams of, 22.

Principles of, 22.

Length of stroke, 32.

Bauer, quoted, 159.

Berlioz, quoted, 62.

Boundaries of music, 41.

Bowing—Directions for, 103.

Signs, 103, 104.

Boy—Problem of, 126–129.

Boy choir—Problem of, 118.

Government of, 126–129.

Remuneration of members, 129.

Boy voice—In church choir, 118–125.

Life of, 123.

During adolescence, 124.

Break—Adult voice, 137.

Child voice, 122.

Breathing, 132.

Breath Control, 133.

C

Canadian Journal of Music, quoted, 19.

Caruso, quoted, 44.

Chant, Anglican—Baton movements for, 33.

Cheatham, quoted, 87.

Cheerful attitude—Value of, 10.

Child Voice—Peculiarities of, 118.

Difference between boy and girl, 120.

Compass of, 121.

Children, directing, 79.

Choir, boy—Problems of, 118.

Boy voice, 118, 119, 120–125.

Qualifications of leader, 119.

Remuneration of boys, 129.

Government of boys, 126–129.

Choir, church—Problems of directing, 108.

Remedies, 109.

Difficulties involved in, 111.

Qualifications of leader, 112.

Danger of individualism, 112.

Solo-singing in, 114.

Chorus, high school—Music for, 80.

Direction of, 82.

Seating of, 83.

Church music—Remedies needed, 108.

Solo singing, 114.

Importance of congregation singing, 116.

Clarinet, 99.

Clearness of speech—As element in leadership, 16.

Community music—Significance of, 85.

Social effects of, 86.

Qualifications of song leader, 87.

Song material, 89.

Advertising, 90.

Provision of words, 91.

Compass of child voice, 121.

Compass of orchestral instruments, 107.

Compound measures, 23, 24, 26, 27.

Conducting—Definition, 1.

History of, 2.

Psychological basis of, 3.

Orchestral, 93.

Church choir, 108.

Boy choir, 118.

Conductor—Qualities of, 8, 110.

Present status of, 2, 3.

As organizer, 13.

As interpreter, 36.

Orchestral, 93.

Relation to accompanist, 147–151.

Congregational singing, 116.

Consonants in singing, 135.

Counting aloud, 161.

Coward, quoted, 65.

Creative imagination, 11.

Crescendo, 58.

D

Diagrams of baton movements, 22, 23, 24.

Dickinson, quoted, 62, 109.

Discipline in rehearsals, 155.

Dynamics, 57–63.

Terms defined, 59, 60.

E

Efficiency in the rehearsal, 152.

Efficiency vs. Idealism, 153.

Emotion—In interpretation 38.

Enthusiasm as an element in leadership, 16, 17.

Expression—Meaning of, 36, 43.

In instrumental music, 46.

Elements of, 46.

How produced, 72, 75.

F

Fermata, 31.

Five-beat measure, 27.

G

Gehring, quoted, 42.

Girl voice, 120, 121.

H

Harmony, 71.

Haydn score, 166.

Head voice, 122, 123.

High school chorus—Direction of, 82.

Seating of, 83.

Music for, 80.

History of conducting, 2.

Hold, 31.

Humor—Sense of, 8.

Illustrations of, 9.

Value in rehearsals, 162.

Hymns—Selection of, 117.

I

Idealism vs. Efficiency, 153.

Imagination—Value of, 11.

Individualism—Danger of in church choir, 112.

Instinctive imitation, 3.

Instrumental music—Expression in, 46.

Timbre in, 66.

Phrasing in, 69.

Instruments—Proportion of, 97.

Transposing, 98–100.

Pitch standards, 101.

Tuning of, 102.

Bowing, 108.

Range of, 107.

Interpretation and expression—Definition, 36.

Interpretation, 36–75.

Emotion in, 38.

Definition, 40.

In vocal music, 43.

Importance of timbre in, 66.

L

Leadership—Sense of, 13.

Elements of, 15, 16, 17.

Summary, 18.

Legato, 135.

Length of program, 142.

Life of boy voice, 123.

M

Male alto, 119.

Melody accentuation, 61.

Memory, muscular in tempo, 55.

Messa di voce, 138.

Metronome, 48.

Movable break, 122.

Music—Non-measured, 33.

Boundaries of, 41.

Vocal, 43.

Instrumental—Expression in, 46.

School—Field of, 75.

Church, 108–117.

Music—Distribution and care of, 160.

Music—Selection of, 80.

For children, 80.

High school chorus, 81.

Church, 108–117.

Music stand, 20.

Musical scholarship, 6.

N

Non-measured music, 32.

Nuances, tempo, 53.

O

Orchestra Directing of, 93–95.

Seating of, 96.

Orchestral instruments–Proportion of, 97.

Transposing, 98.

Pitch standards, 101.

Tuning, 102.

Ranges of, 107.

Organ accompaniments, 150.

Organizing ability, 13.

P

Personality of conductor, 8.

Personality of supervisor, 78.

Phrasing—Explanation of, 66.

In vocal music, 67.

Mistakes in, 68.

In instrumental music, 69.

Pianissimo, 60, 61.

Pitch—Registers, 71.

Standards, 101.

Planning the rehearsal, 154.

Poise—as element in leadership, 16.

Portamento, 138.

Principle of time beating, 28.

Program-making, 140.

Length of, 142.

Arrangement of numbers, 144.

Importance of details, 146.

Program music, 42.

Psychological basis of conducting, 3.

Public performance—Attitude of conductor at, 82.

Public school music, 76.

Relation to church choirs, 115.

Q

Qualities of conductor, 8.

R

Ranges of orchestral instruments, 107.

Recitative, 33.

Registers—Child voice, 122, 123.

In adult voice, 136.

Rehearsal—How to save time in, 152–163.

Planning of, 154.

Discipline in, 155.

Rehearsal letters or numbers, 158.

Relation between conductor and accompanist, 147–151.

Relaxation in singing, 136.

Release—How to secure, 30.

Resonance, 134.

Rhythm, 70.

Rubato, 53.

S

Scholarship, musical—Importance of, 6.

School music—Field of, 76.

Supervisor's personality, 78.

Direction of children, 79.

Selection of music, 80.

Public performance, 81.

Schumann as a conductor, 13.

Score—Reading, 93, 105.

Seating—Orchestra, 96.

High School chorus, 83.

Self-confidence—Element in leadership, 15.

Seven-beat measure, 27.

Singing—Solo, 114.

Congregational, 116.

Use of vowel and consonants, 134, 135.

Legato, 135.

Relaxation in, 136.

Summary of good, 139.

A cappela, 162.

Solo singing, 114.

Spitta, quoted, 13.

Standards of pitch, 101.

Sternberg, C. von, quoted, 37.

Stroke, length of, 32.

Supervisor of music, 76.

T

Table—Of orchestral instruments, 107.

Transposing instruments, 100.

Technique of the rehearsal, 152.

Tempo, 46–56.

Importance of, 47.

Finding correct, 48.

Rubato, 54, 55.

Establishing of, 55.

Tempo terms defined, 49–53.

Timbre, 64.

In instrumental music, 66.

In vocal music, 64, 65, 66.

Time beating—Principles and methods of, 22–29.

Back stroke, 28, 29.

Tone—How produced, 134.

Tone quality, 64–66.

Transposing instruments, 98, 99, 100.

Tremolo in singing, 138.

Tuning orchestral instruments, 102.

U

Unity in program making, 142.

V

Varasdin, quoted, 19.

Variety in program, 140.

Ventilation of practice rooms, 162.

Vibrato, 138.

Vocal cords, Action of, 137.

Vocal music—Interpretation, 43.

Timbre, 64.

Phrasing, 67.

Vocal register, 136.

Voice, the boy's—In church choir, 118–125.

Life of, 123.

During adolescence, 124, 125.

Voice, the child's—Peculiarities of, 118.

Compass of, 121.

Difference between voice of boy and girl, 120.

Head voice, 122, 123.

Voice training—In conducting, 119, 131.

Breathing, 132.

Breath control, 133.

Resonance, 134.

Legato, 135.

Tone production, 137.

Vowel in singing, 134.

W

Wagner, quoted, 47.

Weingartner, quoted, 12.

Whipple, quoted, 10.

Whole method, 158.

Williams, C. F. A., quoted, 75.