The New Modern Conductor

Eighth Auflage
ISBN: 978-0-19-774855-8
Verlag: Oxford University Press

Buch, Englisch, 416 Seiten, Print PDF, Format (B × H): 178 mm x 254 mm

Conductors today must come to the podium with a wide-ranging set of skills. A modern symphony conductor is expected not only to reveal the spirituality in a Brahms symphony, but also to perform the latest symphonic arrangement of The Lord of the Rings for movie lovers, put together an evening of light classics, and program the first half of a pops concert before reading the charts of a country-western artist while following a click track—to name just a few examples. Modern conductors are charged with maintaining the language and values of the past while also being able to promote todays agenda of outreach and audience building, and at the same time striving to remain true to their role as the composers advocate.

The New Modern Conductor argues that it is time to redefine what it means today to be a "modern conductor" within a cultural landscape transformed by technology and accessibility. In contrast to previous editions of the classic text (first published in 1961), which updated the original work, this eighth edition of The Modern Conductor presents an entirely new approach to conducting designed for the present day. As author (and co-author of the book's seventh edition) Mark Gibson argues, the mastery of the craft involves mastery of a variety of languages--vocabularies both musical and physical, visual and aural. From a technical standpoint, he shows, it is time to reexamine a basic approach to conducting, one that begins not with beating but with music, not with gesture but with score study and stylistic understanding. In doing so, Gibson transforms the basic vocabulary of conducting into a rich language of gesture to reflect one's best understanding of a composer's sound world. Emphasis is placed on learning and understanding music by well-known composers such as Beethoven and Debussy, overlooked masters such as Louise Farrenc and Samuel Coleridge-Taylor, and up and coming composers, including Aya Yoshida, Shawn Okpebholo, and Viet Cuong.

The book is written in two interwoven parts, with chapters devoted to technical skills, both conducting and musical, interspersed with "Score Study" chapters--score analyses that help the reader to understand and conduct a composer's music--and video links to demonstrations of conducting techniques. Written for students in conducting programs and conducting courses from beginner to advanced, this book is a much-needed update to an essential conducting text.

Autoren/Hrsg.

Gibson, Mark

Inhaltsverzeichnis

- List of Musical Examples

- List of Illustrations

- Foreword to The New Modern Conductor, 8th Edition: The Community of Sound, by Dr. Angela Santangelo

- Preface to The New Modern Conductor, 8th Edition: How to Iron a Shirt

- The Nature of Conducting: Preface and Foreword to the Seventh Edition

- Credo, from the 1st Edition, by Elizabeth A. H. Green

- Acknowledgements

- Introduction to The New Modern Conductor

- About the Companion Website

- Chapter 1: The ABC's of Craft

- Chapter 2: Score Study: How to Look at a Score

- Chapter 3: Score Study: How to Study a Score

- Chapter 4: Defining Meter, Tempo, and Traveling

- Chapter 5: Score Study: In 1 - P. I. Tchaikovsky: Waltz from Swan Lake, Op. 23

- Chapter 6: More on Changing Tempo

- Chapter 7: The Baton and Its Use

- Chapter 8: Score Study: In 2 - W. A. Mozart: Overture to Le Nozze di Figaro

- Chapter 9: Defining Meter: 6's, 8, 9's, 12's

- Chapter 10: Defining Meter: 5's, 7's, mixed meter

- Chapter 11: Score Study: In 3 - Maurice Ravel: Menuet from Le Tombeau de Couperin

- Chapter 12: Clefs, Transpositions, and Score Reading (A. Tomaro)

- Chapter 13: Developing the Left Hand

- Chapter 14: Score Study: In 4 - Giuseppe Verdi: Act 1 Prelude from La Traviata

- Chapter 15: Wait a Moment! The Fermata

- Chapter 16: Phrasing and Interpretation

- Chapter 17: Score Study: In 6 - Franz Schubert: Symphony No. 5, 2nd movement

- Chapter 18: Rehearsal: Working with the Ensemble

- Chapter 19: Conductor as Collaborator: Concerto, Opera, Musical Theater

- Chapter 20: Hidden in Plain Sight: Louise Farrenc and Samuel Coleridge-Taylor

- Chapter 21: Score Study: Beethoven - A first look at Beethoven Symphony No. 1

- Chapter 22: Wind Conducting

- Chapter 23: Choral Conducting

- Chapter 24: Score Study: Final Project - Claude Debussy, Prélude à l'aprés-midi d'un faune

- Chapter 25: Careers in Conducting

- Chapter 26: Building Tomorrow

- Postscript

- Appendices

- Bibliography

- Indices

Über Autor(innen)

Mark Gibson has been Director of Orchestral Studies at the College-Conservatory of Music, University of Cincinnati, since 1998, and is the author of The Beat Stops Here: Lessons on and off the Podium for Today's Conductor (OUP 2017) and co-author of the seventh edition of The Modern Conductor (with Elizabeth A.H. Green, 2003). He has also taught at the Eastman School of Music, Indiana University, the University of Michigan, and conservatories in China and Germany. Gibson's students have won top prizes in the Malko, Pedrotti, Solti, Mahler, Flick, Jeunesses Musicales, Dorati, OFUNAM, Li Delun, and Maazel competitions.