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|All Authors / Contributors:||
Archibald T Davison
|Description:||73 pages : illustrations diagrams, music ; 22 cm|
|Contents:||The conductor : The limitations of the average choral conductor ; The need of a well-trained ear ; Of ability to cope with a full score ; Of a knowledge of orchestral instruments and of orchestral routine ; Of acquaintance with musical theory, form, harmony and counterpoint ; Of acquaintance with the history of music and especially the literature of music ; The requirement of pianoforte playing and of singing ; Of unity between conductor and chorus ; Of a sense of humor ; Of enthusiastic leadership ; Of ingenuity ; The conductor's rewards The beat : The importance of the traditional method ; Of practice in beating ; Variations in routine ; The baton ; The use of the hands ; The "warning" beat ; The attack ; The release ; The beating of rests ; The avoidance of a hurried beginning ; Economy of gesture ; Primary and secondary accent ; Diagrams for beating the various meters ; The conducting of unbarred music ; Contraction and expansion of the beat ; The music as arbitrator of the conductor's gestures The chorus : Three types of choruses ; The limitations of men's and women's groups ; The mixed chorus ; The virtues of young untrained voices ; Choral defects of the solo singer ; Reading and sight-reading ; Attributes of a good chorus Rehearsals : The importance of morale ; Attendance ; Number of rehearsals ; The rehearsal room ; The seating of the chorus ; Distance of the conductor from the chorus ; Preoccupation with the score ; The conductor's facial expressions ; Silent pronunciation of the text ; Attention of the chorus to the conductor ; The practice of clapping hands and stamping ; Accompanied and unaccompanied music ; Pitch ; Methods of guarding against fatigue ; Order of the pieces at rehearsal ; Danger of over-explanation ; Of frequent interruption ; The teaching of principles ; The value of vocal illustration ; Avoidance of unnecessary comment ; Extremes of praise or blame ; Loss of temper ; Extra-musical effects ; The conductor as teacher ; As arbiter of the choice of music ; The significance of rehearsals Choral technique : Principles of chorus training no inflexible ; Slurring as an example ; Size of the chorus a factor ; The seven important issues ; Pronunciation ; The importance of consonants ; The treatment of certain consonants ; Uses of the letter h ; The singer's attitude toward artificial technical methods ; The letter s ; Closing in on consonants ; Pronunciation affected by musical style and by tempo ; The danger of excessive speed ; Subjective and objective tone ; "Distinguished mediocrity" ; Humming ; Vowel substitutions ; Breath-control ; The avoidance of gaps ; Catch-breaths ; "Staggered" breathing ; Danger of destroying the sense of the text ; Breathing n ornate passages ; The holding out of notes ; Punctuation as a guide to phrasing ; The importance of consonants and catch-breaths in phrasing ; The treatment of monosyllables ; Phrasing in ornate passages ; The principle of silence as a contrast to sound ; The avoidance of artificial accent ; Normal stress ; Controlled dynamics ; Relative dynamic scales of subjective and objective tone ; The value of insistence on technique ; Impressive singing ; The importance of the quality of the music.|
|Responsibility:||by Archibald T. Davison.|