ABSTRACT
Conducting a music ensemble is an endeavor of such complexity that it shifts in substance and meaning from different perspectives. In a detailed review of measures of conducting, Gumm (2015) found a pattern of ongoing reinvention to fill niches left open in the objectivity-subjectivity, complexity-accessibility, point of view, context, and school-of-thought theoretical basis of previous measures. Looking further into how conducting is defined in the content, instructions, and stated intent of existing measures, seven perspectives emerge that likewise fill gaps left open in previous measures.
