Conducting

1. INTRODUCTION In the context of real-time interactive musical systems, mapping represents the correspondence between the con-trol space in which the performer acts and the parameter space of the system that is being controlled. The cen-tral role of mapping and the ...

Укр. Авторський підхід до ролі кондактора (ведучого у плейбек-театрі) під час інтерв’ю з оповідачем, що полягає у визначенні фокусів уваги та переліку ролей, що витікають з них, а також рольових “пасток”.
Ключові слова: плейбек-театр, кондактор, кондактинг, фокуси уваги, ролі, “пастки”.
Рус. Авторский подход к роли кондактора (ведущего в плейбек-театре) во время интервью с рассказчиком, состоящий в определении фокусов внимания и вытекающего из них набора ролей, а также ролевых «ловушек».
Ключевые слова: плейбек-театр, кондактор, кондактинг, фокусы внимания, роли, «ловушки».
Eng. The author’s approach to the role of conductor (leading person in Playback Theatre) during an interview with the teller, which consists in determining the focuses of attention and the resulting set of these roles, as well as the role of “traps”.
Keywords: Playback Theatre, conductor, conducting, attention focuses, the roles, “traps”.

Group musical performance, especially large instrumental ensembles, present the outward appearance of an asymmetric, temporally immediate stimulus-response relationship between conductor and ensemble. Interestingly, anecdotal reports from both conductors and performers indicate a degree of variability in the timing of orchestral response to the conductor's gestures. This observation is not present in anecdotal accounts of other instrumental ensemble settings, like wind bands, but commonplace occurrence among orchestral musicians indicates the potential presence of greater complexity in the observed relationship. This study investigates both the quality and quantity of temporal lag between conductor and ensemble in two common instrumental ensemble configurations-wind bands and orchestras-in an effort to describe the interplay present within conducted group performance. The findings indicate that the anecdotally identified lag is present within all ensemble types, and that it presents a flexible, dynamic temporal relationship between conductor and ensemble. Additionally, both the quantity and quality of lag values are significantly different between ensemble types, experience levels, and musical content. Several avenues for future research are identified, and confounds within the sampled ensembles are examined for their potential roles in the observed relationships.

During the ninth annual Nadar Summer Academy (NSA) in 2019 put on by MATRIX [New Music Centre] and Nadar ensemble, we tackled John Cage’s (1912-1992) Concert for Piano and Orchestra (1957-1958). The piece is fascinating and represents a turning point in performance practice. It is also demanding of all the involved players. There are no conventional rules or restrictions, but in Cage’s typical anarchistic style, suddenly everything a performer does on stage is on equal footing and holds just as much artistic significance. Everything, including: entering the stage, opening the piano, changing mutes, removing parts of the instruments, playing toys, (re)moving (tuning) slides, breathing, rests, silences, and of course conventional playing techniques such as striking keys, making crescendos and decrescendos, attacks and articulations, dynamics and note-lengths. All of it is fair game for musical and performative interpretation.

Abstract
Research is a scientific, painstaking and careful investigation into identified problem(s) either in a discipline or in the wider society with the sole objective(s) of unearthing improved alternatives and utilising same as solutions. However, not all research efforts yield useful results for spectacular attraction and solution to identified problem(s) due to poor approaches to selection of research problems, identification of wrong sampling of informants and unsuitable tools for data collection and analysis which constitute unreliable research outcomes and misinformation. This study hinges on the descriptive research paradigm which majorly relied on review of related oral and written literature in general and those of peculiar applications in allied disciplines. It observed that, in addition to the familiar Ethnographic, Anthropological, Ethnomusicological, and Hermeneutic research methods, the Historical, Descriptive, Causal Comparative, Correlational, Quasi Experimental, Experimental, Qualitative, Multi-disciplinary and Interdisciplinary alternatives are rarely applied in the study of music. It is, therefore, recommended that Music researchers should examine contexts of topics and expand intellectual tentacles to accommodate and incorporate appropriate and valuable research methods for authentic output.   

Keywords: Scientific Research; Research Process; Research Methods; Analytical tools; and
      Music Research.

Leonard Bernstein was a charismatic and versatile musician—a brilliant conductor who attained international super-star status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life—musical and personal—and the extravagant scope of his musical and extra-musical activities.  Bernstein’s letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland,Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein’s musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor.

Group musical performance, especially large instrumental ensembles, present the outward appearance of an asymmetric, temporally immediate stimulus-response relationship between conductor and ensemble. Interestingly, anecdotal reports from both conductors and performers indicate a degree of variability in the timing of orchestral response to the conductor’s gestures. This observation is not present in anecdotal accounts of other instrumental ensemble settings, like wind bands, but commonplace occurrence among orchestral musicians indicates the potential presence of greater complexity in the observed relationship. This study investigates both the quality and quantity of temporal lag between conductor and ensemble in two common instrumental ensemble configurations – wind bands and orchestras – in an effort to describe the interplay present within conducted group performance. The findings indicate that the anecdotally identified lag is present within all ensemble types, and that it pres...

This essay will examine the manner in which composers and artistic directors have used conductors and click-tracks within the context of new music ensembles performing integrative concerts. The analyses and examples provided will rely for the most part on material gathered during in-depth interviews that I conducted with artistic directors, composers, conductors, and musicians, all of whom are professionally active in the new music field in Europe (and beyond). I will examine the application of both click-tracks and conductors and demonstrate that their implementation represents an active choice made by either the composer and/or artistic directors. both click-tracks and conductors are viewed by the interviewees as potential tools with somewhat overlapping possibilities and capacities and their presence is no secondary phenomenon of the music. They become instead a means for the above actors to meet their objectives, be they artistic, pragmatic, technical, or otherwise.

This Research Report concerns an investigation at the request of the Kosovo Conservatory with regard
to designing a learning trajectory for Orchestral conductors at bachelor and master level. The course on
the one hand, must conform to the international professional competence requirements for the contemporary
orchestra conductor and, on the other hand, must be enforceable within the specific socio-cultural
and economic conditions of the region.
To that end, analyses and comparisons have been made of high-quality attitudes, knowledge and skills
as described in the core programs for orchestra conducting at some selected reputable music colleges.
International views on the profession of Orchestra conductor have been collected and analysed. On location
in Kosovo discussions with a wide group of stakeholders have taken place in order to get a good
picture of the expectations associated with a realistic perspective. The outcome of the investigation is a
well-founded advice to the Executive Board of the Kosovo Conservatory about a wide-oriented learning
trajectory for the Orchestra conductor, a programme of professional development that connects to the
questions of professional practices, and meets the requirements of the client.

This article discusses the release of a CD "Mysterious Morning" (Pavane Records) on contemporary virtuoso saxophone repertoire featuring works by Charles Wuorinen, Gerard De Clercq, Philippe Hurel, Frederik Neyrinck and Fuminori Tanada, as well as it brings a scope on the vanished education ASCAM.

Dit artikel bespreekt de release van de CD "Mysterious Morning" (Pavane Records) met hedendaags virtuoos repertoire voor saxofoon met werk van Charles Wuorien, Gerard De Clercq, Philippe Hurel, Frederik Neyrinck en Fuminori Tanada. Het geeft ook een overzicht van de ter ziele gegane hedendaagse richting ASCAM.

Creativity and Conducting: Handle in the CAIRA Project Simon Ellis��� Naveen Sundar G.��� Selmer Bringsjord��� Alex Haig Colin Kuebler��� Joshua Taylor��� Jonas Braasch��� Pauline Oliveros��� Doug Van Nort elliss5@ rpi. edu��� govinn@ rpi. edu��� selmer@ rpi. edu��� katadh@ sbcglobal. net kueblc@ rpi. edu��� tayloj@ rpi. edu��� braasj@ rpi. edu��� pauline. oliveros@ gmail. com��� dvnt. sea@ gmail. com Department of Cognitive Science��� Department of Computer Science The Rensselaer AI & Reasoning (RAIR) Lab��� Rensselaer Polytechnic Institute (RPI)��� Troy NY 12180 USA ...

Resumo: Este relato de experiência, consiste de um sucinto recorte de uma pesquisa em andamento no âmbito do Doutoramento em Música da Universidade de Aveiro (Portugal). Objetiva-se ressaltar particularidades do processo e a experiência de ensino técnico basilar da Regência para discentes cegos. Isto, através de uma articulação teórica que empobrece a perspectiva do paradigma performativo abalizado para/pela visualidade, suplantando a dualidade cartesiana de uma mente seccionada do corpo. O procedimento exploratório, a revisão da literatura e o empirismo enquanto docente da disciplina de Regência na UFRN, atuam como procedimentos metodológicos, que abalizam a estrutura investigativa apresentada. Ao mesmo tempo, evidenciam a escassez de reflexões acadêmicas, em torno da acessibilidade da disciplina de Regência ofertada em instituições públicas de ensino superior em música, e a sua possibilidade de ensino para discentes cegos. Palavras-chave: Regência e acessibilidade musical, Regência e deficiência visual, Ensino técnico basilar da Regência. 1. Preâmbulo Por assim dizer, o presente relato de experiência abrange o percurso da minha formação e atuação enquanto performer e docente. Nasce de reflexões que questionam a ausência de meios que tornem acessível o ensino e a preparação performativa da regência para discentes cegos. Como verse -á no corpus desta abordagem, a ponderação levantada por este autor, consiste de uma realidade que ainda não possui muitas reflexões em âmbito acadêmico-musical que tentem discutir ou dirimir os fatores que a circundam.

Along with the times, which encouraged the export and import activities to occur in every country due to limited natural resources through international trade by making payment instruments namely foreign exchange reserves, foreign exchange reserves themselves are net positions of assets outside the government and banks, foreign exchange reserves also experienced fluctuations, therefore the related research was conducted to be able to know the effect of export and import activities on Indonesian foreign exchange reserves in 2009-2017, the analysis used in this study was multiple regression analysis using the application eviews 8. The results of the research obtained were exports have a positive and significant effect on foreign exchange reserves but imports have a negative effect and also significant on foreign exchange reserves, it can be understood that if exports increase then foreign exchange will increase and if imports increase then the position of foreign exchange reserves will decrease.

To appear in A. Ericsson, N. Charness, P. Feltovich & R. Hoffman (Eds.), Cambridge Handbook on Expertise and Expert Performance. New York: Cambridge University Press, pp. 127-145. ... Observation of Work Practices in Natural Settings ... The Florida Institute for Human ...