Ensemble conductors rely on nonverbal communication to convey dynamics, tempo, stops and starts, phrasing, style, and emotion to their ensemble. Conducting books address many of these elements, but few of them discuss how a conductor should portray the emotional content in music. This paper presents the idea that facial expression should be used as the principal means of communicating emotions to an ensemble. Books, articles, essays, and an interview are used to explain: how music affects people emotionally, why emotions are best communicated through the face, what the six primary facial emotions are, and how a conductor may use his or her face effectively. Through the better use of the face, conductors will communicate emotional content more effectively, resulting in an improved musical product.
|Advisor:||Carnahan, John A.|
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 51/01M(E), Masters Abstracts International|
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