Perspectives on Choral Conducting Page 1 of 10 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2014. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy ). Subscriber: OUP-Reference Gratis Access; date: 19 February 2015 Subject: Psychology, Personality and Social Psychology Online Publication Date: Jan 2015 DOI: 10.1093/oxfordhb/9780199660773.013.27 Perspectives on Choral Conducting: Theory and Practice Colin Durrant and Maria Varvarigou The Oxford Handbook of Singing (Forthcoming) Edited by Graham Welch, David M. Howard, and John Nix Oxford Handbooks Online Abstract and Keywords This chapter addresses some of the pertinent issues concerning the role of the choral conductor in rehearsal and performance. As the role is one of leading and motivating singers in addition to preparing and rehearsing them, certain aspects of the attributes and communication, gesture and techniques are discussed. This discussion draws on research and practice in the field. Following a brief historical outline of the choral conductor, we explore gesture, rehearsal style and the nature of communication, motivation, and leadership. Any conclusions offer a pedagogical, normative model of practice, rather than a prescriptive list of techniques or mere review of research. The application of the authors’ own philosophies, research, and practice is reflected in the themes and tenor of the writing. Keywords: choral conducting, gesture, rehearsal style, communication, leadership Introduction and historical perspective This chapter addresses issues concerning the choral voice and the conductor’s role in leading, motivating, and expressing the essence of choral music in rehearsal and performance. We introduce the multi-faceted nature of the choral conductor from historical, musical, philosophical, and sociological perspectives and draw on historical, musical, and educational research. The nature and purpose of the choral conductor in relation to efficient and effective delivery of musical, vocal, and educational outcomes is described. Some of the great monuments of classical civilization are represented in large-scale choral compositions that are interpreted by conductors, who in turn have inspired countless performers and listeners. However, conductors operate in a variety of contexts—in schools, churches, communities—both in an amateur and professional capacity. It is largely in the amateur capacity, however, where conductors have to rehearse as well as perform, that many issues concerning leadership and communication of the musical intent arise (Harrison et al. 2013; Matthews and Kitsantas 2013; Varvarigou 2009). Evolution of conducting There are many references to choral conducting in historical sources, stemming from ancient Sumerians c. 2270 B CE evidences in bas-reliefs and wall paintings, the Egyptians c. 1400 B CE and the ancient Greeks, as well as early Christian music. In these instances some form of beating time or extrinsic hand gesture seems to be a notable feature in leading choral singing. Further indication of musical practices from ancient history is provided by Robinson and Winold (1976), who suggest that there may well have been some interpretative gesturing in Vedic music of India as well as in the rhythmically free chanting of early Christian music (also see Durrant 2003). In the context of Western choral traditions of more recent times, time beaters were present in the Sistine Chapel in the fifteenth century. Here a roll of paper, referred to as a “sol-fa” was used to determine the pulse of the music