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|Title:||Selected band conductors' preparation to conduct selected band compositions|
|Author(s):||Ellis, Barry Len|
|Doctoral Committee Chair(s):||Leonhard, Charles|
|Department / Program:||Music|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||The problem of the study was to determine the procedures used by selected, eminent university band conductors in preparing to conduct a performance of a major band composition. Information used in the study was gathered by means of personal interviews with five selected university band conductors. The five selected conductors met the following criteria: (1) being a member of the American Bandmasters Association (ABA); (2) being a past or present Director of Bands at a Big Ten University. The participating conductors were: Harry Begian, Director of Bands Emeritus, University of Illinois; Kenneth Bloomquist, Michigan State University; James F. Keene, University of Illinois; Craig Kirchhoff, The Ohio State University; and H. Robert Reynolds, University of Michigan.
The investigator constructed an Interview Guide for Selected Band Conductors which was used in determining significant influences pertinent to each participant's development as a band conductor. Part One of the interview served to establish an individual focus for each conductor. Part Two was employed to determine the score preparation procedures used by each conductor, how they would mark their scores in preparing to rehearse and perform a composition, and the amount of emphasis each places on score preparation in teaching courses in band conducting.
Even though the band directors participating in the study differ in age, background, education, and experience, there emerged notable consistency among them with regard to the processes they employ in preparing to conduct a major band composition: (1) They carry on intensive study of the score using what for them is the most effective means to hearing the composition whether it be playing the score on the piano or another instrument, singing with or without solfege or audiating during analysis of the composition. (2) They use multiple means to gain musical understanding including research to determine the circumstances surrounding the creation and early performances of the composition, the opinions of established critics, listening to recordings during preliminary study of the score and studying other works of the composer and his or her contemporaries. (3) They mark the score minimally to enhance efficiency in rehearsals and the expressive import in performance.
|Rights Information:||Copyright 1994 Ellis, Barry Len|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9503182|
This item appears in the following Collection(s)
Graduate Dissertations and Theses at Illinois
Graduate Theses and Dissertations at Illinois
Dissertations and Theses [Graduate College] - Music