Download pdf - Seminar CW Yeung Music Expression 2017 06 28 posted...2017/06/28 · in partnership with Seminar 5.30pm Wednesday 28 June 2017 Blackburn High School Music Expression in the Ensemble

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

• [email protected]

Whatnexttonight?

• 6.30pmformentorsandpayingconductors,alightrefreshmentsintheMusicStaffRoom

• 6.45pm–7.45pmprivateone-on-onetutorialswithfullconductorparKcipantsandtheirmentorinroomasallocated

• 8.00pm–10.00pmvideoworkshopwiththeGraingerWindSymphonyconductedbyfullconductorparKcipantsinturnwiththeirmentorinthemainrehearsalroom,payingobserverswelcome

• [email protected]

• Tomorrownightfrom5pmatthisschoolthereisanotherConductorProfessionalLearningProgram.Pleasecome.