Modern Conductor, The

Auteur

Mark Gibson. Director of Orchestral Activities at the College-Conservatory of Music (CCM), University of Cincinnati, Mark Gibson enjoys a distinguished podium career both as a performer on the concert stage and in the opera pit and as a teacher and observer of the craft of conducting. As professor of ensembles and conducting at CCM, he serves as music director of the CCM Philharmonia Orchestra, one of the world's leading conservatory orchestras, and heads CCM's program in orchestral conducting. During the summers, Mr. Gibson serves as co-artistic director and conductor of the Opera Theatre and Music Festival of Lucca (Italy), sponsored by the University of Cincinnati.

Sought after both for conducting master classes and orchestral appearances, Mr. Gibson has been invited as guest professor of conducting at the Central Conservatory of Music, Beijing, the Hochschule fur Musik and Theater, Munich, and the Indiana University School of Music, visiting professor of conducting and ensembles at the Eastman School of Music.

A former Tanglewood conducting fellow, Mr. Gibson pursued conducting studies with Gustav Meier, Seiji Ozawa and Leonard Bernstein. He attended the University of Minnesota, studying piano with Paul Freed before earning his B.M. in piano at the New England Conservatory of Music with Theodore Lettvin. His conducting and opera studies began with Gustav Meier at the University of Michigan, from which he earned a M.M. degree.

His students occupy podiums around the world, including Xian Zhang, first prizewinner of the inaugural Maazel/Vilar Conductors' Competition.

Prior to joining the faculty of CCM, Mr. Gibson was principal conductor of the Alabama Symphony Orchestra, a regular guest conductor with the New York City Opera, and resident conductor of the Gran Teatre del Liceu, Barcelona.

Texte du rabat

Written in a clear style that speaks directly to the serious conducting student, The Modern Conductor, Seventh Edition, maintains Dr. Elizabeth A.H. Green's time-honored approach to conducting technique while offering new insights into opera conducting, career-building, and score study.

Building on the concept of conducting as a time-space activity, co-author Mark Gibson clarifies the pedagogical ideas of the legendary Russian maestro, Nicolai Malko, as first put forth by Dr. Green. The Seventh Edition incorporates into Malko's classic approach a heightened emphasis on the role of the conductor and the non-technical skills that the aspiring conductor must acquire to prepare for a podium career in the twenty-first century. Among the topics included are:

• The Usefulness of the Baton
• Expressive Gestures
• "Zig-Zag"
• Audition/Rehearsal Checklist The student will attain insights into handling contemporary scores and unconventional notation, as well as instrumental and choral conducting and aspects of advanced musicianship in relation to wind ensemble, orchestra and chorus. Important concepts and terms are highlighted to enable the reader to find them quickly. Exercises and drills are included in the text to reinforce critical concepts and skills.

Résumé
For junior- to graduate-level courses in Introduction to Conducting (advanced techniques included), Band, Orchestra, Chorus. Requires background in Music Theory, Music History, and Music Analysis. Building upon a classic conducting text, this edition updates references and expands sections to provide students with more comprehensive explanations of concepts. It emphasizes that a technical approach should be complimented with musical insight and an understanding of conducting as a gesture. This text details baton timing techniques; shows the relationship of time, speed, and motion; and looks beyond training into preparing for a career as a conductor.

Contenu

The Art of Conducting, by Eugene Ormandy.

I. TECHNIQUE. 1. So You Want to Be a Conductor?
2. The Conductor: Basic Time-Beating.
3. The Baton.
4. TWO, ONE, SIX, FIVE, and Subdivided Beats.
5. The Expressive Gestures.
6. Phrasing, Tempo Changes.
7. Developing the Left Hand.
8. The Fermata.
9. Beyond TWO, THREE, FOUR and SIX: Twentieth-Century Innovations.
10. Melding and the Virtuoso Technique.

II. SCORE STUDY. 11. Clefs and Transpositions.
12. Instrumental Conducting: Orchestra and Band Scores.
13. Choral Conducting.
14. Conductor as Collaborator: Opera and Concerto.
15. Applied Musicianship: Band, Orchestra, Chorus.
16. Memorizing the Score; Performing the Score.

APPENDICES. Appendix A: Seating Charts.
Appendix B: Instrumentation.
Appendix C: Classification of Bowings.
Appendix D: Terminology for the Conductor.
Appendix E: The Training Exercises in Sequence.
Bibliography.
Indexes. <B