When are initial consonants articulated in choral performance? Cases studies of choral works sung in German

The process of rehearsing and performing a choral piece involves numerous decisions by the conductor. One part of this decision-making is related to the sung text and includes aspects of diction that are not indicated by Western musical notation, for instance the exact instant of articulation of initial consonants. Although choices related to diction have consequences for elements such as clearness of enunciation, rhythmic precision, or intonation, only a few writings on choral conducting are explicit about them. This paper aims to discuss conductors’ choices concerning the instant of articulation of initial consonants in choral performances of works sung in German. It compares conductors’ theoretical suggestions with analyses of six recordings of Johann Sebastian Bach’s movement Trotz dem alten Drachen, BWV 227/5, and four recordings of Franz Schubert’s part-song An die Sonne, D439. Methods include analyses of writings on choral conducting, interviews with conductors, and analyses of recordings using the software programme Sonic Visualiser. Similarities are observed between the theoretical suggestions of conductors and the analysed recordings, however there are some striking differences, including conductors’ underestimations of the actual duration of consonants. Analyses of the recordings reveal that initial consonants are nearly always anticipated (i.e., articulated ahead of the beat to which they are assigned). Exceptions to this concern the plosive [kʰ] and the second consonant of a cluster on occasion. Analyses of recordings also point to the impact on timing anticipation due to the consonant’s surroundings and from the ability or otherwise for the sound of a consonant to be lengthened (i.e., its “lengthenability”). Evidence from the recordings is discussed in relation to conductors’ varying theoretical suggestions on the articulation of consonants, flagging up inconsistencies as well as considering practicalities, and providing insights for choral conductors into the nuances of consonant articulation with ramifications for conducting pedagogy and future research.

Conducting

This chapter provides a thorough review of the literature related to conducting, including its role in the broader language of nonverbal communication, the relationship between the gesture and sound, comparisons between verbal and nonverbal communication modes, and tools for assessing conducting in preservice music teacher education programs. Following the literature review, there are practical considerations for a research-based approach to conducting pedagogy. Elements for consideration include knowledge and skills for conducting (as well as a possible sequence for teaching them) and the importance of providing preservice teachers with opportunities for conducting, both in prescribed ways in methods and rehearsal technique courses and through ad hoc opportunities. Finally, a musicianship-based framework for preservice music teachers permeates decisions related to conducting instruction. All excellent music educators must also be excellent musicians.

Sharing the podium: exploring the process of peer learning in professional conducting

We discuss a recent peer-learning project we undertook as co-conductors of the Young Conservatorium Wind Orchestra at Griffith University. Drawing on current educational theory on peer learning and material from our conducting practice and research, we explore how this approach offers professional conductors the opportunity to work together in an inclusive and empowering learning environment. We outline our peer learning context, the learning relationship we shared, the most significant musical outcomes of such a process, and the implications for conducting pedagogy and the professional development of conductors.