It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.

chapter Chapter 1|16 pages

Introduction: Choral Conducting in Context

part I|42 pages

How to Study Conducting: Model, Method, Metalanguage

chapter Chapter 2|12 pages

How do People Think about Conducting?

chapter Chapter 3|11 pages

From Ethnography to Peer Research

chapter Chapter 4|16 pages

How to Write about Conducting

part II|44 pages

Choral Singing and Enculturation 1

chapter Chapter 5|14 pages

Defining Choral Culture: What Counts as Choral?

chapter Chapter 6|13 pages

Creating Choral Culture: The Dos and Don'ts

chapter Chapter 7|12 pages

Maintaining Choral Culture: Policing the Boundaries

part III|63 pages

Conducting Gesture and Musical Thought

chapter Chapter 8|15 pages

Different Styles, Different Gestures

chapter Chapter 9|13 pages

Different Styles, Common Ground

chapter Chapter 10|16 pages

Metaphoric Gesture and Embodied Musical Meaning

chapter Chapter 11|13 pages

Spontaneous Gesture and the Ensemble

part IV|40 pages

The Conductor—Choir Bond

chapter Chapter 12|13 pages

Monkey See, Monkey Do

chapter Chapter 13|12 pages

Making Use of the Conductor—Choir Bond

chapter Chapter 14|12 pages