Kutztown University of Pennsylvania
Department of Music
MUS 325
Approved by Department: November 4, 2003
Course Description
Principles of conducting: technique of the baton; methods of adapting to musical organizations of various sizes and abilities; transpositions; reading and memorization of scores and program building. Practice with choral and instrumental recordings and/or live groups. Video tapes of students will be made and studied for self-evaluation.
Prerequisite: MUS 010 Introduction to Music Literature or
MUS 102 Harmony & Theory I,
MUS 104 Aural Skills I,
MUS 202 Harmony & Theory II,
MUS 204 Aural Skills II, or permission of the instructor.
Three credit hours, three clock hours
Course Objectives
1. To provide the student with skills in conveying printed music from a score through movement with a baton and/or hands for the realization and control of musical sounds.
2. To explore vocal, band and orchestral literature for various problems in building techniques for better performances.
Course Outline
A. Conducting Technique
1. The Baton a. Correct grip on the baton b. Common problems in baton technique
2. Time-Beating: Traditional Patterns a. Preparatory beat, starting the sound b. Release gestures, stopping the sound c. Tempo considerations d. The ictus (point) and rebound e. Traditional time beating patterns One, Two, Three,
Four, Six, Nine and Twelve f. Divided beats
3. Time-Beating: Pattern Variations a. Variations of One, Two, Three, Four, Five, and Seven b. Melding beats

4. The Expressive Gestures a. Classification of expressive gestures
1) Marcato gesture
2) Legato gesture
3) Staccato gesture
4) Tenuto gesture
5) Syncopation gesture b. Preparatory gesture c. Release gesture
5. The Development of the Left Hand a. Cues
1) When given
2) How cue is executed
3) Drills for left-hand independence b. Levels of cueing c. Dynamic level indications
6. The Fermata a. Volume and length of fermata b. Release of fermata
1) Continuing
2) Distinct stop c. Direction of cut-off
1) On One, Two, Three, and Four
7. Miscellaneous Topics a. Warm-up exercises b. Subtle tempo variations c. Changing meters d. The metronome e. Accents and cross accents f. Conducting recitative g. Voices and instruments in combination
B. Score Study: general preparation, kinetic interpretation
1. Clefs and Transpositions a. C clefs b. Transposing instruments
2. Mechanics of the Choral Score a. General problems of score reading b. Construction of the choral score
3. Mechanics of the Orchestral Score a. Condensed score b. Full score c. Comparison of original manuscript with full or
condensed score
4. Mechanics of the Band Score a. Piano-conductor score b. Four and five line condensed score c. The full score for band d. Solo instrument in the score

5. Interpreting the Choral Score a. Contour of melodic line b. Harmonic structure c. Unusual entrances d. Breathing in long phrases e. Tone quality of vowels f. Articulation of consonants
6. Interpreting the Orchestral Score a. The string section b. Winds and percussion c. Orchestral traditions in tonal sound d. Balance of sections e. Contrast of sections f. The Concert Soloist
7. Interpreting the Band Score a. Types of band writing b. Comparison and contrast with orchestral writing c. Basic problems of intonation, balance, attack, and release
8. Preparing the Performance a. Recognizing problem areas of the score b. Mutual responsibilities of conductor and musicians c. Page turning d. The music library
9. Memorizing the Score a. Advantages of conducting from memory b. Techniques of memorization
C. Considerations for Effective Conducting
1. Psychological Conducting a. Creating a positive atmosphere for rehearsal and performance b. Common technical errors
2. Public Performance a. Approach to podium b. Conducting the performance c. Regarding the soloist d. Building the program e. Selection of repertoire: diversity, various styles, genres, periods, inclusion of non-western music and world music instruments.
3. Creative Conducting a. Individual's personality b. Facial expression c. Eye contact
D. Aids for the Conductor
1. Seating charts for chorus, orchestra and band
2. Instrumentation of band and orchestra
3. Classification of bowing for string section
4. Synopsis of musical form

5. Terminology for the conductor
6. Evaluation of the rehearsal and performance
Assessment
Assessment of each student's level of accomplishment with reference to the course objectives will be based upon the following:
1. regular graded classroom recitations of the student’s ability to demonstrate proper posture and the use of clear, effective right hand beat patterns and gestures.
2. regular graded classroom recitations of the student’s ability to demonstrate the use of appropriate and effective left hand gestures and other expressive body gestures.
3. preparation of a score for rehearsal, through kinetic interpretation, according to the style of the composition, and presentation of the complete marked director’s score to the class for assessment.
4. ability to demonstrate clear and effective rehearsal procedures and techniques by teaching a prepared score in actual rehearsal settings of the class and graded rehearsal opportunities of university ensembles, both choral and instrumental.
5. ability to effectively rehearse and conduct a diverse variety of types of compositions, vocal and instrumental, including western and non-western music.
6. written and oral tests, classroom discussions, written papers on pertinent topics about vocal and instrumental conducting, and oral communication in rehearsals.
7. peer assessment of conducting techniques demonstrated in classroom rehearsal settings by other members of the class through written evaluations.
Instructional Resources
Bamberger, Carl. The Conductor's Art. New York: McGraw-Hill Book Co., 1965.
Boult, Adrian C. Handbook of the Technique of Conducting. Temecula, CA: Best Books, 2001.
Davison-Archibald. Choral Conducting. Ann Arbor: Books on Demand. Date not provided.
Decker, Harold A. and Kirk, Colleen J. Kirk. Choral Conducting: Focus on Communication. Prospect Heights:
Waveland-Press-Incorporated, Oct. 1995.
Demaree Jr., Robert W. and Moses, Don V. The Complete Conductor. New Jersey: Prentice-Hall, Inc., 1995.
Godfrey, Dan. Memories and Music: Thirty-five Years of Conducting. Temecula, CA: Best Books, 2001.
Green, Elizabeth A. H. The Modern Conductor, Fifth Edition. New Jersey: Prentice-Hall, Inc., 1992.
Hunsberger, Donald and Ernst, Roy. The Art of Conducting. New York: McGraw-Hill Companies, 1992.
Kaplan, Abraham, Choral Conducting. New York: W. W. Norton and Co., Inc., 2000.
Kohut, Daniel L. and Grant, Joe W. Learning to Conduct and Rehearse. Englewood Cliffs, N.J., 1990.
Labuta, Joseph A. Basic Conducting Techniques, Third Edition. New Jersey: Prentice-Hall, Inc., 1995.

LaRue, Jan. Guidelines For Style Analysis. New York: W.W. Norton and Company, 1970.
Leinsdorf, Erich. The Composer's Advocate. New Haven: Yale Univ. Press, 1981.
McElheran, Brock. Conducting Technique, for Beginners and Professionals. New York: Oxford University Press,
1966.
Meyer, Leonard B. Emotion and Meaning in Music. Chicago: The University of Chicago Press, 1956.
Munch, Charles. I am A Conductor. New York: Oxford University Press, 1955.
Neuen, Donald. Choral Techniques and Conducting: A Text for Conductors. Belmont, Cal.: Wadsworth/Thomson
Learning, 2001.
Prausnitz, Frederik. Score and Podium. Lanham, MD: Scarecrow Press, 2002.
Rudolf, Max. The Grammar of Conducting: A Comprehensive Guide to Baton Technique and Interpretation. New
York: Schirmer Books, 1995.
Vermeil, Jean and Naish, Camille. Conversations with Boulez: Thoughts on Conducting. Portland: Timber-Press-
Incorporated, 1996.
Wagner, Richard. On Conducting. London: William Reeves, 1897.
Weingartner, Felix. Conducting. Temecula, CA: Best Books, 2001.