inpartnershipwith

Seminar5.30pmWednesday28June2017

BlackburnHighSchoolMusicExpressionintheEnsembleRehearsal

Clinician:RolandYeung

ThispresentaKonisintendedforparKcipantswhohavepaidtoaNendthisseminartousefortheirpersonalandprivatestudy.

PleasecontacttheauthorifyouwishtootherwiseusethecontentofthispresentaKonviawww.rolandyeung.net

MusicalExpression

SalvadorSobralrepresentedPortugalatthe2017EurovisionSongContestinKyivwiththesong“AmarPelosDois”.

hNps://youtu.be/Qotooj7ODCM

CanyouconducKngthisexpressivemelody?

TopicsinthisSeminar

•  MusicExpression•  ANributedmeaningandabsolutemeaning–Philosophy•  ConducKngWithFeelingbyFrederickHarris•  PhilosophyandMusic,ed.GracykandKania•  ExpressioninMusicbyHaleVanderCook•  AnUnderstandableApproachtoMusicalExpressionbyKenneth

Laudermilch•  TheArtofExpressivePlayingbytheNowakbrothers•  PopularSingingbyDonnaSoto-Morecni•  BeyondtheElementsofMusic•  MoodWheelandmusictherapybyKateHevner•  FoundaKonsforconducKngwithexpression•  AlbaEmoKngTechniquebySusanaBloch•  PracKcalwork.

MusicExpressionisabout

Whichwordisbesttodescribethisrealm?

•  Feelings-anemoKonalstateorreacKon

•  Feelingful-fulloffeeling;characterizedbystrongemoKon,sensiKvity,orsympathy

•  EmoKons-astrongfeelingderivingfromone'scircumstances,mood,orrelaKonshipswithothers

•  EmoKonal-arousingorcharacterizedbyintensefeeling.

• Moods-atemporarystateofmindorfeeling.

MusicalMeaning

Understandingmusicleadstomusicalmeaning.Whatismeaninginmusic?

Meaning•  Absolutemeaning•  ANributedmeaningseenextslide

MusicalMeaningisfoundin•  SemioKcs-thestudyofsignsandsymbolsandtheiruseorinterpretaKon

•  MusicTheory•  MusicHistory

ANributedMeaning

FromadicKonaryverb(usedwithobject),aNributed,aNribuKng. 1.toregardasresulKngfromaspecifiedcause;considerascausedby

somethingindicated(usuallyfollowedbyto): SheaNributedhisbadtempertoillhealth. 2.toconsiderasaqualityorcharacterisKcoftheperson,thing,group,etc.,indicated: HeaNributedintelligencetohiscolleagues. 3.toconsiderasmadebytheoneindicated,especiallywithstrongevidencebut

intheabsenceofconclusiveproof: toaNributeapainKngtoanarKst. 4.toregardasproducedbyororiginaKngintheKme,period,place,etc.,

indicated;credit;assign: toaNributeaworktoaparKcularperiod;toaNributeadiscoverytoaparKcular

country.

HowdoesthisrelatetomusicinterpretaKonanddeterminingapersonalresponsetomusic?

ConducKngWithFeelingbyFrederickHarris

“AthoughtprovokingcollecKonofideasbytoday’sleadingconductorsonhowaconductordevelopsfeelingsforapieceofmusicandcommunicatesthosefeelingstoanensemble.”

•  MeredithMusic2001

•  $14.46USD

•  PTOforcontentsandcomments.

PhilosophyandMusic

Relevanttothetopicofthisseminaris

Part2:EmoKon 19.ExpressiontheoriesJeneferRobinson 20.ArousalistTheoriesDerekMatravers 21.ResemblancetheoriesSaamTrivedi 22.Music’sArousalofEmoKonsMalcolmBudd RoutledgeCompaniontoPhilosophyand

Music,ed.GracykandKania,Routledge2011 $206USDonAmazon

AcopyisintheArtsSecKonintheStateLibraryofVictoriainSwanstonStreet,Groundfloor:

Callnumber:AO781.R76G

From“PhilosophyandMusic”

•  Musiciscapableofreproducingonly‘thefluctuaKonofourinneracKvity’andthesecanbesimilarwithdifferentfeelings(1)

•  ThereforemusiccannotexpressorrepresentparKcularfeelings;andthismeansthattherelaKonofmusictoemoKoncannotfuncKonas‘anaestheKcprinciple’(2)

•  Thebeautyandthevalueofmusic,Hanslickconcludes,‘isaspecificallymusicalkindofbeauty’which‘consistssimplyandsolelyoftonesandtheirarKsKccombinaKon’.(3)

•  EduardHanslick“OnMusicallyBeauKful”trans.Payzant–Indianapolis,IN:HackeN1986

(1)p.9-10,(2)p.21,(3)p.28.

SelectedquotesfromPart2:EmoKon

From“PhilosophyandMusic”

•  TheFormalistviewofmusic=therelaKonbetweenmusicandemoKon,thoughreal,ismerelycausal,andhenceofliNlephilosophicaloraestheKcinterest(4)

•  LeonardMeyersuggestspaNernsoftensionandrelease,whenperceivedbytheunderstandinglistener,triggeremoKons(probablymoreaccuratelyfeelings)asakindofside-effect(5)

•  (4)ThePhilosophyofMusic:themeandvariaKons–AaronRidley–Edinburgh,UK:EdinburghUniversityPress2004page70

•  (5)LeonardMeyer“EmoKonandMeaninginMusic”–Chicago,IL:UniversityofChicagoPress1956

MoreselectedquotesfromPart2:EmoKon

ExpressioninMusicbyHaleVanderCook

“Aninexpensivesou-covertextonthebasicsofmusicexpressionfromrenownedRubankauthorandcomposerHaleVanderCook.”

•  Firstpublished1928•  Rubank/HalLeonardChicago1942•  RubankPublicaKonsRevisedediKon

1989•  $4.99USDinpaperback•  Greatconcepts,butdatedmusicstyle

andverydatedlanguage–youdecideforyourself!

•  PTOforcontents.

ExpressionInMusicVanderCook

“Thefollowingchapterscontainmanyprintedexamplesofmusicwithcorrectaccentsmarkedsoclearlythattheycouldbeunderstoodwithoutdifficulty.ThestudyofthissystemwillsoondevelopapracKcalunderstandingoftheprincipleofaccentandtheirapplicaKontoamelodyormusicalcomposiKon.”

•  FromtheIntroduc2onPage3

ExpressionInMusicbyVanderCook

“FactorscontribuKngtoineffecKveperformancearenumerous;...”

•  FromChapter2Page7

ExpressioninMusicbyVanderCook

“Factorsgoverningplayingwithexpression”“Playingingoodstyleproperexpression”“Rulesforplayingingoodstyle…”“Atbest,apageofmusicmaybeconsideredasablueprintoftheplansandspecificaKonsofthemelodyandthemannerinwhichitistobeplayed.…however,theperformerwillfindagreatdeallackinginhisrendiKonofthepassage…”

“…performerplacedemphasisandaccentoncertainnotesinanintelligentandgrammaKcalmannerandthatheshadedotherswithpracKcalcare.”

Selectedquotes

AnUnderstandableApproachtoMusicalExpressionbyKenneth

Laudermilch

MeredithMusicPublicaKons,Maryland2000

AnUnderstandableApproachtoMusicalExpressionbyKennethLaudermilch

asamplefromthe22Concepts

•  Concept3.Thefirstnoteofa‘sighing’moKfisstressed(pushed)andthesecondnoteismadenoKceablyweaker

•  Concert8.Inexpressiveplaying,thefirstnoteoftheslurisheldslightlylongerthansubsequentnotes.

•  Concept16.Therearetwopossibletreatmentsof16thnotes,thestandard(andbyfarthemostcommon)“rhythmic16th”whichisplayedinprecisetempo,andthe“fanfare16th”whichisplayedlater,asa32ndnote.

TheArtofExpressivePlayingbyJerryandHenryNowak

•  TheArtofExpressivePlayingfocusesonaspectsofplayingthatresultinanexpressiveperformance.Therearenoabsoluterulesconcerningexpressiveplayingandphrasing,onlyconcepts.TheseconceptsarisefromthenaturalrelaKonshipbetweenmeter,rhythm,contour,tonality,styleandhistoricalperiod.OursystemofmusicnotaKonisatbest,ageneraloutlineoftheintentofthecomposer.Tothisoutline,weasmusiciansmustaddallofthesubtlenuancesthatarenotrepresentedinthewriNenmusic.

•  Teachersmanual&CD,•  Woodwind&mallets,•  Brass&Percussion•  CarlFischerNewYork2004

Nowak:InflecKonandemphasis

WoodwindManualp.25

fromtheWoodwindandMalletsBook

Nowak:InflecKonandemphasis

FromtheTeachersManualp.33,

PopularSingingbyDonnaSoto-Morecni

•  A&CBlackPublishers,London2006

•  1stediKonnowoutofprint

•  WithCD

PopularSingingbyDonnaSoto-Morecni

•  ComplementaryElementsofStyle– Sound,shape,effort-level

•  Useofavocabulary– Onset,Releases,NoteANack,VocalQualiKes– PhraseWeightandPlacement,Breath,DicKon,ImprovisaKon

•  Analysingasinger’sperformanceSavingAllMyLove,agreatPop/LightR&BperformancebyWhitneyHouston

SavingAllMyLove–WhitneyHouston

SavingAllMyLovep.2–WhitneyHouston

PopularSingingandStylebyDonnaSoto-Morecni

•  Complementaryelementsofstyle

•  Recordedexamplesareonherwebsite

•  hNps://www.donnasoto-m.co.uk/

•  2ndediKonBloomsburyPublishing,London2014

ConducKngmusicexpression

Non-verbalsgesturesneedavocabulary/words

•  ForguidingthedevelopmentofaconducKngtechnique/gestures

•  Fordescribingandexplaininginrehearsalthisdimensionofmusicperformance

•  Eachcomplementarystyleneedstohaveshades–middle,stronger,less

Whatistheroleoftheconductorinshapingtheexpression?

HowdoesaconductordifferenKatethetempiingestures?

ElementsofMusic

StyleishowtheElementsofMusicarecombinedandfocusesonthecomposiKon

•  DuraKon•  Dynamics

•  Tempo

•  ToneQuality•  plusPitch,Melody

Rhythm,PhraseShape

“ExpressiveElementsofMusic”isaboutperformersfreedom

•  Howshort–howlong?•  Howloud–sou?•  Howfast–slow?•  Howbright–dark?•  Howmuchvibrato–

none?•  Howintensethesound?

FeelingsandMood

•  Hevner’sMoodWheelorAdjecKveCircle– CreatedforMusicTherapists

– “Experimentalstudiesoftheelementsofexpressioninmusic”1939

– Measuringpersonalresponsesinclientstomusicplayed.

Hevner’sMoodWheel

http://books.google.com.au/books?id=bHDMwK3syAMC&pg=PT185&lpg=PT185&dq=hevner's+mood+wheel&source=bl&ots=3CIL4zlRHq&sig=9Opf7lSFmEY2KJi9VhRGAX7nWhU&hl=en&sa=X&ei=Qq8wUazqFeq5iQeFgYGQAw&ved=0CEsQ6AEwBA!!

Hevner’s(Mood(Wheel(!feelingcresponsescforcmakingcanalyticalcresponsescusingcelementscofcmusic!!!!!

!!!!!!!Bonney,!Helen!and!Savary,!Louis!MusiccandcyourcMind!published!by!Station!Hill,!appendix!B,!p.160!Hevner,!Kate!AncExperimentalcStudycofcthecAffectivecValuescofcsoundscandcPoetry!“American!Journal!of!Pschology,!1937,!49!419I434!

ConducKng-foundaKonwork

SecngfoundaKonsforexpressiveconducKnginvolves•  EstablishingaconducKngposturethat

–  Isabaseformovementthatreflectsnaturalmovementofthebody–  ConveysanalertnessandopencommunicaKonwithplayers–  Usesminimumeffort,thoughwillhavetensiontoholdtheposture–  Isbalancedandenablesquickresponseandflexibility–  Isclear–  Hasmiddlegroundthatcanmovetoshowmoreorless–  Isreproduceable

•  FrederickAlexanderofAlexanderTechniqueisanauthorthatexplainshealthyandalertposturerelevantfortheconductor.

Posturewithcharacter

•  Toillustratethecharacterofthemusicthatisabouttobeperformed,postureshouldapplyprincipalsofAlbaEmoKngTechniqueusedinDramaandAcKng

•  Asthemusicperformanceprogresses,thepostureshouldchangetoandholdtheprevailingcharacter.

Gestures

•  ExpressiveconducKnggesturesdonotworkbythemselves

•  Inrehearsalandteaching,expressiveconceptsandvocabularyneedstobeexplainedasassociatedwithagesture

•  ExpressivegesturesdependontheabilityofplayerstonoKcedegreesofprogressionorregression,degreesofincreaseordecrease

•  Theconductorlearningtoshowamiddlepointwillhelpgradegestures,orcalibratethem.

WhatisAlbaEmoKngTechnique?

•  AlbaEmo)ngproposesasystema2c

method,basedonscien2ficfindings,

whichallowstotrainanyperson–

independentofgenderorsocialheritage–

toexpressbasicuniversalemo2onsclearly,

withthepossibilitytosummonthemand

modulatetheirexpressiveandsubjec2ve

componentsatwill.Ithelpstolearnto

modulateemo2onalstateswithdifferent

degreesofintensity,allowingaprompt

preciseriseandendofanemo2on.In

short,AlbaEmo2ngisaphysicalmethod

thathelpstotransmitemo2ons

unequivocally.

•  BasedontheresultsofmanyyearsofscienKficresearchonthepsychophysiologicalaspectsofhumanemoKons,Prof.SusanaBlochandhercollaboratorsdevelopedthismethodthatallowsanypersontoexpress,recognizeandperceivecreaKvelythebasicemoKonsof:joy-laughter,sadness-crying,fear-anxiety,anger-aggression,eroKcloveandtenderness,andtobeNerunderstandmixedemoKons,suchasjealousy,prideorambiKon.

•  WebsitehNp://www.albaemoKng.cl/english-2/

• 

AlbaEmoKngTechnique-2

•  BylearningtheprecisereproducKonofrespiratory-postural-facialpaNernsspecificallyrelatedtoeachemoKon,anindividualisenabledto:

–  Getincontactwithh/hisownemoKonsinadirectandsimpleway.Developawarenessofone'sownemoKonsandthoseofothers.

–  FacilitatethecommunicaKonofemoKons.Experienceavivid,genuineandorganictransmissionofanemoKonalstate,validtoanyobserver,independentofh/histalent,gender,orculturalbackground.

–  Increaseone'scapacitytomakefinerdisKncKonsintheexpressionandrecogniKonofemoKons.

–  DevelopandenhanceemoKonalintelligence.

•  Aspecial"step-out"techniqueistaughtwhichallowsthepersonusingthismethodtoimmediatelyreturntoaneutralnon-emoKonalstate,thussafeguardingh/hisemoKonalbalance.

•  ThemethodhasprovedtobeparKcularlyusefulfortheworkofperformers,forpsychotherapeuKcalpurposes,andisnowbeingusedindifferentdomainsofcommunicaKon,educaKon,healthandmanagement.

MiddlePoint

•  ThisisthesetuprouKneaspartofwarmingup

•  Itistodevelopreferencepointsinspacefortheconductorwhenusingexpressivegestures

•  Itisapointfromwhichaconductorcanshowshadesofmoreorless

ThefollowingdrillsillustratehowtheideaofMiddlePointcanhelpconductors.

Drill:Naturalaccent1-3or2-4?

•  Toshowthedifference,theconductorneedstocontrolthesizeoftheupbeat,downbeatandrebound.MakeadrilltopracKcethisbasicgesture.

•  1-3accent:–  Upbeat:strongburstupwardsfromthebeatpointof4aliNlemoretotheoutside,toahighhand

posiKonateyelevelmovinginwardtolineofshouldballjoint,–  Downbeat:fallacceleraKngtobeatpointof1atbellybuNonlevel,–  ReboundandUpbeat:mildreboundwhichturnsintoamiddlesizeupbeat–  Downbeat:milddownbeatintobeatpointof2totheinside,then–  Upbeat:astrongburstfromthebeatpointof2toeyelevel,–  Downbeat:fallacceleraKngdiagonallyoutwardstobellybuNonleveltothebeatpointof3just

outsidethelineoftheshoulderballjoint,–  ReboundandUpbeat:mildreboundoutwardsfrombeatpointof3whichturnsintoamiddlesized

upbeat.–  Downbeat:milddownbeatintobeatpointof4abovethebeatpointof3atelbowlevel–  Upbeat:astrongburstfromthebeatpointof4toeyeleveltothelineoftheshouldballjoint–  Rebound:

•  2-4accent:sameasforpreviousexceptburstfrombeatpointof1atbellybuNonlevelmovingslightlyoutside,mildupbeatanddownbeatinto3,strongburstfrombeatpointof3withstrongacceleraKonintothebeatpointof4whichisatbeltlevel,mildreboundanddownbeatintobeatpointof1.

•  Exercise:accent1-3,2-4,1-2,1-3,1-4,2-3,2-4,3-4,4-1,4-2,4-3

Adrill:legatotoclearbeats

•  ArKculaKondimension

•  StarKng:flowingfrombeattobeatwithconstantspeed

•  To:clearbeatswithacceleraKonintoaVbeatpointandsymmetricalrebound

•  Inthemiddle:smoothoverthetop,smoothacrossthebeatpointwithmildacceleraKonintobeatpointandsymmetricalrebound.

Adrill:secngdynamic&intensitylevels

Dynamicdimension•  Smallergestureforsouerdynamics•  Middledynamic–yourstarKngpoint•  LargergestureforlouderdynamicsIntensitydimension•  Shoulderheightforlighterandgentlertone•  Elbowheightformiddleintensity•  BeltorbellybuNonlevelforstrongertone–yourstarKngpointDrill•  Setatempo&metreandwithoutchangingthem,changelevelstovary

dynamicsandintensity•  Drill1:p,mf,f,mf,p,f,p•  Drill2:s,m,l,m,s,l,s•  Drill3:p&l,p&m,p&s,mf&l,mf&m,mf&s,f&l,f&m,f&s,etc.

SeminarSummary

•  Feelingsandmoodsareanimportantdimensionofdevelopingmusiciansandrequireconsidereduseoftaxonomies/ontology/wordchartsinordertoincorporatetheminensemblerehearsalsandperformances

•  TheconsistentuseofexpressiveadjecKveswillhelpplayersdeveloptheirunderstandingoffeelingsandmoods

•  AsystemaKcuseofconceptsthatguidetheinterpretaKonofthenotaKonandsymbolsintheprintedpartwillinthelongtermdevelopamorerefinedperformancetechnique

•  Theconductor’spracKceneedstodevelopbothfuncKonaltechniquesaswellastechniquesthatillustratemusicexpression

•  ThepostureoftheconductoristhefoundaKonforexpressiveconducKngandtheuseofthemiddleposiKonwillillustratemoreshadesofgrey.

•  AllthebestwithyourconducKng.Thankyouforcoming.

•  SeminarnoteswillbepostedontheGWSwebsiteandRoland’swebsite

•  Iwelcomeyourfeedbackroland.yeung@graingerwindsymphony.asn.au

Whatnexttonight?

•  6.30pmformentorsandpayingconductors,alightrefreshmentsintheMusicStaffRoom

•  6.45pm–7.45pmprivateone-on-onetutorialswithfullconductorparKcipantsandtheirmentorinroomasallocated

•  8.00pm–10.00pmvideoworkshopwiththeGraingerWindSymphonyconductedbyfullconductorparKcipantsinturnwiththeirmentorinthemainrehearsalroom,payingobserverswelcome

•  Yourfeedbackinvitedtoroland.yeung@graingerwindsymphony.asn.au

•  Tomorrownightfrom5pmatthisschoolthereisanotherConductorProfessionalLearningProgram.Pleasecome.