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In The Beat Stops Here: Lessons on and off the Podium for Today's Conductor, master conductor Mark Gibson addresses the technique of conducting as an extension of intimate knowledge of the score to the hands and arms. He employs a variety of everyday activities and motions (brushing the dog, Tinkerbelle, the "door knob") to describe the physical aspects of the role. He advocates a comprehensive, detailed approach to score study, addressing major works bar-by-bar in terms of both musical analysis and conducting method. Finally, Gibson explores the various roles a conductor plays, as a teacher, a scholar and a member of the musical community. His writing is highly focused, with an occasionally tongue-in-cheek, discussing everything from motivic development in Brahms to how to hold a knife and fork in public. In short, The Beat Stops Here is a compendium of style and substance in the real world of today's conductor.
In The Beat Stops Here: Lessons on and off the Podium for Today's Conductor, master conductor Mark Gibson addresses the technique of conducting as an extension of intimate knowledge of the score to the hands and arms. He employs a variety of everyday activities and motions (brushing the dog, Tinkerbelle, the "door knob") to describe the physical aspects of the role. He advocates a comprehensive, detailed approach to score study, addressing major works bar-by-bar in terms of both musical analysis and conducting method. Finally, Gibson explores the various roles a conductor plays, as a teacher, a scholar and a member of the musical community. His writing is highly focused, with an occasionally tongue-in-cheek, discussing everything from motivic development in Brahms to how to hold a knife and fork in public. In short, The Beat Stops Here is a compendium of style and substance in the real world of today's conductor.
Über den Autor
Mark Gibson is Professor of Media and Associate Dean, Media, Writing and Publishing at RMIT University, Australia. He was previously head of Communications and Media Studies at Monash University, and has also worked in media and cultural studies at Murdoch University and Central Queensland University, Australia. He has research interests in cultural industries and the intellectual legacy of countercultural movements of the 1960s and 1970s. He is author of Culture and Power: A History of Cultural Studies (2007).
Inhaltsverzeichnis
- Acknowledgements
- Preface
- Foreword: Teaching Conducting
- List of Musical Examples and Illustrations
- PART 1: REPERTOIRE LESSONS
- Introduction to Repertoire Lessons
- A Glossary of Conducting Gesture
- Chapter 1. Overture
- Ludwig van Beethoven: "Die Geschöpfe des Prometheus," Op. 43 (1801)
- Gioacchino Rossini: La Cenerentola (1817)
- Felix Mendelssohn: "Die schöne Melusine," Op. 32 (1833)
- Giuseppe Verdi: Les Vêpres Siciliennes (I Vespri Siciliani) (1855)
- Johannes Brahms: Tragische Ouvertüre, Op. 81 (1880)
- Chapter 2. Opera
- Wolfgang Amadeus Mozart: Don Giovanni, K. 527 (1787)
- Sestetto: "Solo, solo in buio loco"
- Giuseppe Verdi: Un ballo in maschera (1859)
- Finale 3º Scena e Romanza:
- "Forse la soglia attinse...Ma se m'è forza perderti"
- Jules Massenet: Manon (1884)
- Duo: "Pardonnez-moi, Dieu de toute puissance"
- Giacomo Puccini: Madama Butterfly (1904)
- Duetto: "Viene la sera"
- Chapter 3. Smaller symphonic works
- W.A.Wolfgang Amadeus Mozart: Symphony No. 29 in A Major, K. 201 (1774)
- Antonín Dvorák: Scherzo Capriccioso, Op. 66 (1883)
- Maurice Ravel: Valses nobles et sentimentales (1911, orch. 1912)
- Chapter 4. Concerto and solo works
- Ludwig van Beethoven: Piano Concerto no. 4 in G Major, Op. 58 (1805-6)
- Gustav Mahler: Des knaben Wunderhorn (1887-1899); Four songs
- Jean Sibelius: Violin Concerto in D Minor, Op. 47 (1904)
- Chapter 5. Larger symphonic works
- Nikolai Rimsky-Korsakov: Scheherazade, Op. 35 (1888)
- Igor Stravinsky: Petrouchka: Scènes burlesques en 4 tableaux (1911, rev. 1947)
- PART 2: PROFESSIONAL LESSONS
- Chapter 6. The Conductor as Teacher
- Not the Eternal Tao
- Are Two Hands Better?
- MAKE YOUR OWN METRONOME!
- Storytelling
- Heads, Shoulders, Knees and Toes
- Developing Score Reading Skills (by A. Tomaro)
- Quantifiable
- Chapter 7. The Conductor as Scholar
- On Rewriting the Act 3 Finale of Bizet's Les Pêcheurs de Perles (1863)
- Heroism Denied: Movement Order in Mahler's Sixth Symphony (1903-4, rev. 1906)
- Puccini's Turandot (1924): A Conductor's Perspective
- Chapter 8. The Conductor as Leader
- Working with the Orchestra: Bill of Rights
- Three-part Conducting Rules
- More Rules for the Road
- Talk Show - a cautionary tale
- Quiz Show
- Working in the Opera House:"Gott, welch dunkel hier!"
- Working with Singers: A Breed Apart
- Working with Chorus: Dreamers of Dreams
- Building a Career: Ou voulez-vous allez?
- POSTSCRIPT: Present and Future Tense
- Appendix A: Musical works and editions
- Appendix B: Texts and Translations
- Appendix C: Tempo Indications and Metronome Markings
- Appendix D: Endnotes
- Appendix E: Resource materials/bibliography
- INDEX
Details
| Erscheinungsjahr: | 2017 |
|---|---|
| Genre: | Importe, Musik |
| Rubrik: | Kunst & Musik |
| Thema: | Musiktheorie & Musiklehre |
| Medium: | Taschenbuch |
| Inhalt: | Buch |
| ISBN-13: | 9780190605889 |
| ISBN-10: | 019060588X |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Gibson, Mark |
| Komponist: | Mark Gibson |
| Hersteller: | OXFORD UNIV PR |
| Verantwortliche Person für die EU: | Deutsche Bibelgesellschaft, Postfach:81 03 40, D-70567 Stuttgart, vertrieb@dbg.de |
| Maße: | 280 x 216 x 17 mm |
| Von/Mit: | Mark Gibson |
| Erscheinungsdatum: | 23.02.2017 |
| Gewicht: | 0,799 kg |