Please use this identifier to cite or link to this item: http://bura.brunel.ac.uk/handle/2438/28496
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dc.contributor.authorGalbreath, D-
dc.contributor.authorThatcher, G-
dc.date.accessioned2024-03-08T15:52:18Z-
dc.date.available2024-03-08T15:52:18Z-
dc.date.issued2020-12-17-
dc.identifierORCiD: Gavin Thatcher https://orcid.org/0009-0003-7702-502X-
dc.identifier.citationGalbreath, D. and Thatcher, G. (2020) 'Complicating leadership: choral conducting training through movement theatre practice', Music Performance Research, 10, pp. 21 - 37. doi: 10.14439/mpr.10.3.en_US
dc.identifier.issn1755-9219-
dc.identifier.urihttps://bura.brunel.ac.uk/handle/2438/28496-
dc.description.abstractConductors are typically presumed to possess the physical, interpretative control in choral performance. Questioning that presumption, this article explores how student conductors might be encouraged to engage physically with the musical sound – and sounding bodies – of a choir. It argues that singers’ vocal performance directly and fruitfully impacts on a conductor’s gestural leadership. Borrowing techniques from established physical/movement-based performance and theatre, it explores how conductors might act as the embodied nexus of the poietic and esthesic dimensions of interpretation (Nattiez, 1990), thus collaboratively constructing a performance. To frame the discussion, a conceptualisation of the overlap between body and voice is set out. This conceptualisation emerged during the development of vocal-physical performance projects (2015-16) and was subsequently developed into a broader philosophical orientation. Focusing on issues of embodiment and empathy, this orientation is enlisted to re-examine choral conducting training practices. The influence of these explorations on Daniel Galbreath’s choral conducting teaching is outlined. Additional action-research with theatre practitioner and teacher Gavin Thatcher is then detailed to demonstrate further developments and disruptions to Galbreath’s practice. As a result, a conducting training practice emerges from these practical enquiries that exploits performers’ mutual, direct physical contact via sound.en_US
dc.format.extent21 - 37-
dc.languageEnglish-
dc.language.isoenen_US
dc.publisherRoyal Conservatoire of Scotlanden_US
dc.rightsCopyright © 2020 Royal Conservatoire of Scotland. This work is licensed under a Creative Commons Attribution 4.0 International License (https://creativecommons.org/licenses/by/4.0/).-
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/-
dc.subjectchoral conductingen_US
dc.subjectphysiovocalityen_US
dc.subjectphysical theatreen_US
dc.subjectleadershipen_US
dc.subjectconductor trainingen_US
dc.titleComplicating leadership: choral conducting training through movement theatre practiceen_US
dc.typeArticleen_US
dc.identifier.doihttps://doi.org/10.14439/mpr.10.3-
dc.relation.isPartOfMusic Performance Research-
pubs.publication-statusPublished-
pubs.volume10-
dc.identifier.eissn1755-9219-
dc.rights.licensehttps://creativecommons.org/licenses/by/4.0/legalcode.en-
dc.rights.holderRoyal Conservatoire of Scotland-
Appears in Collections:Dept of Arts and Humanities Research Papers

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