INDEX
A
A cappella singing, 162.
Accompanist—Relation to conductor, 147.
- Choosing of, 147.
- Treatment of, 148.
Accompanying, organ, 150.
Adolescent boy, 124, 125.
Alto, male, 119.
Altschuler, quoted, 61.
Anglican chant—Baton movements for, 33.
Attack—How to secure it, 30.
- In reading new music, 32.
B
Back stroke, 28.
Baton—Description of, 20.
- How used, 21.
- Position of, 22.
Baton movements—Diagrams of, 22.
- Principles of, 22.
- Length of stroke, 32.
Bauer, quoted, 159.
Berlioz, quoted, 62.
Boundaries of music, 41.
Bowing—Directions for, 103.
- Signs, 103, 104.
Boy—Problem of, 126–129.
Boy choir—Problem of, 118.
- Government of, 126–129.
- Remuneration of members, 129.
Boy voice—In church choir, 118–125.
- Life of, 123.
- During adolescence, 124.
Break—Adult voice, 137.
- Child voice, 122.
Breathing, 132.
Breath Control, 133.
C
Canadian Journal of Music, quoted, 19.
Caruso, quoted, 44.
Chant, Anglican—Baton movements for, 33.
Cheatham, quoted, 87.
Cheerful attitude—Value of, 10.
Child Voice—Peculiarities of, 118.
- Difference between boy and girl, 120.
- Compass of, 121.
Children, directing, 79.
Choir, boy—Problems of, 118.
- Boy voice, 118, 119, 120–125.
- Qualifications of leader, 119.
- Remuneration of boys, 129.
- Government of boys, 126–129.
Choir, church—Problems of directing, 108.
- Remedies, 109.
- Difficulties involved in, 111.
- Qualifications of leader, 112.
- Danger of individualism, 112.
- Solo-singing in, 114.
Chorus, high school—Music for, 80.
- Direction of, 82.
- Seating of, 83.
Church music—Remedies needed, 108.
- Solo singing, 114.
- Importance of congregation singing, 116.
Clarinet, 99.
Clearness of speech—As element in leadership, 16.
Community music—Significance of, 85.
- Social effects of, 86.
- Qualifications of song leader, 87.
- Song material, 89.
- Advertising, 90.
- Provision of words, 91.
Compass of child voice, 121.
Compass of orchestral instruments, 107.
Compound measures, 23, 24, 26, 27.
Conducting—Definition, 1.
- History of, 2.
- Psychological basis of, 3.
- Orchestral, 93.
- Church choir, 108.
- Boy choir, 118.
Conductor—Qualities of, 8, 110.
- Present status of, 2, 3.
- As organizer, 13.
- As interpreter, 36.
- Orchestral, 93.
- Relation to accompanist, 147–151.
Congregational singing, 116.
Consonants in singing, 135.
Counting aloud, 161.
Coward, quoted, 65.
Creative imagination, 11.
Crescendo, 58.
D
Diagrams of baton movements, 22, 23, 24.
Dickinson, quoted, 62, 109.
Discipline in rehearsals, 155.
Dynamics, 57–63.
- Terms defined, 59, 60.
E
Efficiency in the rehearsal, 152.
Efficiency vs. Idealism, 153.
Emotion—In interpretation 38.
Enthusiasm as an element in leadership, 16, 17.
Expression—Meaning of, 36, 43.
- In instrumental music, 46.
- Elements of, 46.
- How produced, 72, 75.
F
Fermata, 31.
Five-beat measure, 27.
G
Gehring, quoted, 42.
Girl voice, 120, 121.
H
Harmony, 71.
Haydn score, 166.
Head voice, 122, 123.
High school chorus—Direction of, 82.
- Seating of, 83.
- Music for, 80.
History of conducting, 2.
Hold, 31.
Humor—Sense of, 8.
- Illustrations of, 9.
- Value in rehearsals, 162.
Hymns—Selection of, 117.
I
Idealism vs. Efficiency, 153.
Imagination—Value of, 11.
Individualism—Danger of in church choir, 112.
Instinctive imitation, 3.
Instrumental music—Expression in, 46.
- Timbre in, 66.
- Phrasing in, 69.
Instruments—Proportion of, 97.
- Transposing, 98–100.
- Pitch standards, 101.
- Tuning of, 102.
- Bowing, 108.
- Range of, 107.
Interpretation and expression—Definition, 36.
Interpretation, 36–75.
- Emotion in, 38.
- Definition, 40.
- In vocal music, 43.
- Importance of timbre in, 66.
L
Leadership—Sense of, 13.
- Elements of, 15, 16, 17.
- Summary, 18.
Legato, 135.
Length of program, 142.
Life of boy voice, 123.
M
Male alto, 119.
Melody accentuation, 61.
Memory, muscular in tempo, 55.
Messa di voce, 138.
Metronome, 48.
Movable break, 122.
Music—Non-measured, 33.
- Boundaries of, 41.
- Vocal, 43.
- Instrumental—Expression in, 46.
- School—Field of, 75.
- Church, 108–117.
Music—Distribution and care of, 160.
Music—Selection of, 80.
- For children, 80.
- High school chorus, 81.
- Church, 108–117.
Music stand, 20.
Musical scholarship, 6.
N
Non-measured music, 32.
Nuances, tempo, 53.
O
Orchestra Directing of, 93–95.
- Seating of, 96.
Orchestral instruments–Proportion of, 97.
- Transposing, 98.
- Pitch standards, 101.
- Tuning, 102.
- Ranges of, 107.
Organ accompaniments, 150.
Organizing ability, 13.
P
Personality of conductor, 8.
Personality of supervisor, 78.
Phrasing—Explanation of, 66.
- In vocal music, 67.
- Mistakes in, 68.
- In instrumental music, 69.
Pianissimo, 60, 61.
Pitch—Registers, 71.
- Standards, 101.
Planning the rehearsal, 154.
Poise—as element in leadership, 16.
Portamento, 138.
Principle of time beating, 28.
Program-making, 140.
- Length of, 142.
- Arrangement of numbers, 144.
- Importance of details, 146.
Program music, 42.
Psychological basis of conducting, 3.
Public performance—Attitude of conductor at, 82.
Public school music, 76.
- Relation to church choirs, 115.
Q
Qualities of conductor, 8.
R
Ranges of orchestral instruments, 107.
Recitative, 33.
Registers—Child voice, 122, 123.
- In adult voice, 136.
Rehearsal—How to save time in, 152–163.
- Planning of, 154.
- Discipline in, 155.
Rehearsal letters or numbers, 158.
Relation between conductor and accompanist, 147–151.
Relaxation in singing, 136.
Release—How to secure, 30.
Resonance, 134.
Rhythm, 70.
Rubato, 53.
S
Scholarship, musical—Importance of, 6.
School music—Field of, 76.
- Supervisor's personality, 78.
- Direction of children, 79.
- Selection of music, 80.
- Public performance, 81.
Schumann as a conductor, 13.
Score—Reading, 93, 105.
Seating—Orchestra, 96.
- High School chorus, 83.
Self-confidence—Element in leadership, 15.
Seven-beat measure, 27.
Singing—Solo, 114.
- Congregational, 116.
- Use of vowel and consonants, 134, 135.
- Legato, 135.
- Relaxation in, 136.
- Summary of good, 139.
- A cappela, 162.
Solo singing, 114.
Spitta, quoted, 13.
Standards of pitch, 101.
Sternberg, C. von, quoted, 37.
Stroke, length of, 32.
Supervisor of music, 76.
T
Table—Of orchestral instruments, 107.
- Transposing instruments, 100.
Technique of the rehearsal, 152.
Tempo, 46–56.
- Importance of, 47.
- Finding correct, 48.
- Rubato, 54, 55.
- Establishing of, 55.
Tempo terms defined, 49–53.
Timbre, 64.
- In instrumental music, 66.
- In vocal music, 64, 65, 66.
Time beating—Principles and methods of, 22–29.
- Back stroke, 28, 29.
Tone—How produced, 134.
Tone quality, 64–66.
Transposing instruments, 98, 99, 100.
Tremolo in singing, 138.
Tuning orchestral instruments, 102.
U
Unity in program making, 142.
V
Varasdin, quoted, 19.
Variety in program, 140.
Ventilation of practice rooms, 162.
Vibrato, 138.
Vocal cords, Action of, 137.
Vocal music—Interpretation, 43.
- Timbre, 64.
- Phrasing, 67.
Vocal register, 136.
Voice, the boy's—In church choir, 118–125.
- Life of, 123.
- During adolescence, 124, 125.
Voice, the child's—Peculiarities of, 118.
- Compass of, 121.
- Difference between voice of boy and girl, 120.
- Head voice, 122, 123.
Voice training—In conducting, 119, 131.
- Breathing, 132.
- Breath control, 133.
- Resonance, 134.
- Legato, 135.
- Tone production, 137.
Vowel in singing, 134.
W
Wagner, quoted, 47.
Weingartner, quoted, 12.
Whipple, quoted, 10.
Whole method, 158.
Williams, C. F. A., quoted, 75.