Conducting Trainning

Students must possess the knowledge acquired in IPDCI.

– Individual work regarding the reading of scores and gesture coordination.
– Group work in the realization of scores, their analysis, conducting, auditions, thecnical sessions and debates on interpretation.
– Score reading exercises diagonally, vertically, horizontally, with and without request for internal listening.
– Exercises in vocal technique, breathing, vocal positioning, vocal tract, passages, and timbre balance.
– Instrumental technique exercises.

Assessment continuous:
Vocal performance 10 %
Warm-up 10 %
Conducting (classes) 20 %
Conducting (in-class assessments) 20 %
Conducting (public presentations) 30 %
Written work 10 %

Exam:
Exam 90 %
Written work 10 %

– Develop hearing, through a primarily harmonic concern.
– Develop gesture coordination, when applied to score reading.
– Develop techniques of reading scores and writing specifics.
– Acquire choral and orchestral conducting techniques.
– Develop stylistic and aesthetic analysis skills.
– Acquire specific knowledge of each instrument or voice, their families and performance in the orchestra or choir.
– Acquire notions of choral or orquestral ordering depending on the timbre, range, length and technical solutions of the voice or instrument.
– Conduct polyphonic coral works in multiple voices (up to a maximum of 5).
– Conduct instrumental chamber works.
– Organize and to conduct small coral and instrumental groups.

– Reading scores with one, two, three, four and five voices.
– Melodic and harmonic tone. Your understanding and employment.
– Usable techniques at the vocal and instrumental level.
– Motor and gesture coordination. Techniques and performance.
– Gesture coordination and manual unfolding, with metronomic and expression marking.
– Polyphonic conducting including entries, “Arsis”, “Thesis”, dynamics, agogical, breaths, attacks, “fermatas”, suspensions, musical speech, style and aesthetic assuptions.
– Hearing of works from various eras and styles, which could be paradigms of interpretation.
– Practice of choral and instrumental conducting, for the synthesis of all the approached variables.
– Public presentations of the studied scores.

• - Exam - 90.0%
• - Written work - 10.0%

NAO

Beck, Andy – Vocalize!, Alfred Music Publishing, Co, Inc, 2013.
Heizmann, Klaus – Vocal Warm-ups, Schott, Mainz, 2003.
Kemp, Michael – Innovative Warm-ups for the volunteer choir, GIA Publications, Inc, Chicago.
Robinson, Russell e Althouse, Jay – The Complete Choral Warm-up Book, Alfred Publishing, USA, 1995
Brewer, Mike – Kick-Start Your Choir, faber Music, London, 1997.
Green, Elizabeth – The Modern Conductor, Prentice-Hall, London, 1997.
Heizmann, Klaus – Vocal Warm-ups, Schott, Mainz, 2003.
Herzfeld, Friedrich- La Magia de la Batuta, ed. Labor, Barcelona, s/d.
Holst, Imogen – Conducting a Choir, Oxford University Press, New York, 2000.