v

LIST OF FIGURES

Fig. 1 Four Planes of Conducting ...............................................................24

Fig. 2 Baton Use and Grip (Garofalo and Battisti 2005:4)...........................25
Fig. 3 Dynamic Cone, Showing Possible Alterations in Size of Beat and
Sagittal Motion (Garofalo and Battisti 2005:55) .........................25
Fig. 4 Diagram of the Left Hand Rest Position ...........................................30
Fig. 5 Structure of the Upper Arm, Showing the Alignment of the Radius and
the Ulna (Calais-Germain 1993:144)..........................................32
Fig. 6 Altering Size of the Conducting to Teach Dynamics.........................33
Fig. 7 Conductor’s Basic Arm Position.......................................................36
Fig. 8a Rudolf’s Neutral-Legato 4-Beat Patterns (Rudolf 1995:3) ................42
Fig. 8b Rudolf’s Expressive-Legato 4-Beat Patterns (Rudolf 1995:22) .........42
Fig. 9 Farberman’s Pitch Registration Levels (Farberman 1997a:81) ..........46
Fig. 10 Farberman’s Pattern Cube (Farberman 1997a:101)...........................47
Fig. 11 The Central and Peripheral Nervous System (Kröschlová 2000:8) ....71
Fig. 12 Two Nerve Cells (Kröschlová 2000:10)............................................72
Fig. 13 Laban’s Concept of the Dynamosphere – with Effort Actions (see
Newlove and Dalby 2004:141)...................................................90
Fig. 14 Delsarte’s Ninefold Accord (Shawn 1974:30)...................................94
Fig. 15 Example of an ‘Including’ Left Hand Pre-Conducting Behaviour .....95
Fig. 16 Dalcroze’s Beat Pattern for 3/4 Time (Jaques-Dalcroze 1920:31) ...105
Fig. 17 Dalcroze’s Beat Pattern for 4/4 Time (Jaques-Dalcroze 1920:43) ...105
Fig. 18 Delsarte’s Chart for the Head (see Shawn 1974:37) ........................106
Fig. 19 Low, Purposeful Centred Gesture ...................................................115
Fig. 20 Opening bars of Egmont Overture (Beethoven 1985:239)...............115
Fig. 21 Quick Frivolous Gestures ...............................................................116
Fig. 22 Opening bars of the third movement of Symphony No.4 (Tchaikovsky
1979:82) ..................................................................................116
Fig. 23 Interpretations of ‘the Ring’ Gesture Throughout Europe (Morris et al.
1979:116-117) .........................................................................144
Fig. 24 Non-Verbal Communication Sheet (mouth & eyebrows) ................156
Fig. 25 Conductor Non-Verbal Observation Form (Roshong 1978:87) .......161