Seminar CW Yeung Music Expression 2017 06 28 posted...2017/06/28 · in partnership with Seminar...
Transcript of Seminar CW Yeung Music Expression 2017 06 28 posted...2017/06/28 · in partnership with Seminar...
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inpartnershipwith
Seminar5.30pmWednesday28June2017
BlackburnHighSchoolMusicExpressionintheEnsembleRehearsal
Clinician:RolandYeung
ThispresentaKonisintendedforparKcipantswhohavepaidtoaNendthisseminartousefortheirpersonalandprivatestudy.
PleasecontacttheauthorifyouwishtootherwiseusethecontentofthispresentaKonviawww.rolandyeung.net
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MusicalExpression
SalvadorSobralrepresentedPortugalatthe2017EurovisionSongContestinKyivwiththesong“AmarPelosDois”.
hNps://youtu.be/Qotooj7ODCM
CanyouconducKngthisexpressivemelody?
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TopicsinthisSeminar
• MusicExpression• ANributedmeaningandabsolutemeaning–Philosophy• ConducKngWithFeelingbyFrederickHarris• PhilosophyandMusic,ed.GracykandKania• ExpressioninMusicbyHaleVanderCook• AnUnderstandableApproachtoMusicalExpressionbyKenneth
Laudermilch• TheArtofExpressivePlayingbytheNowakbrothers• PopularSingingbyDonnaSoto-Morecni• BeyondtheElementsofMusic• MoodWheelandmusictherapybyKateHevner• FoundaKonsforconducKngwithexpression• AlbaEmoKngTechniquebySusanaBloch• PracKcalwork.
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MusicExpressionisabout
Whichwordisbesttodescribethisrealm?
• Feelings-anemoKonalstateorreacKon
• Feelingful-fulloffeeling;characterizedbystrongemoKon,sensiKvity,orsympathy
• EmoKons-astrongfeelingderivingfromone'scircumstances,mood,orrelaKonshipswithothers
• EmoKonal-arousingorcharacterizedbyintensefeeling.
• Moods-atemporarystateofmindorfeeling.
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MusicalMeaning
Understandingmusicleadstomusicalmeaning.Whatismeaninginmusic?
Meaning• Absolutemeaning• ANributedmeaningseenextslide
MusicalMeaningisfoundin• SemioKcs-thestudyofsignsandsymbolsandtheiruseorinterpretaKon
• MusicTheory• MusicHistory
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ANributedMeaning
FromadicKonaryverb(usedwithobject),aNributed,aNribuKng. 1.toregardasresulKngfromaspecifiedcause;considerascausedby
somethingindicated(usuallyfollowedbyto): SheaNributedhisbadtempertoillhealth. 2.toconsiderasaqualityorcharacterisKcoftheperson,thing,group,etc.,indicated: HeaNributedintelligencetohiscolleagues. 3.toconsiderasmadebytheoneindicated,especiallywithstrongevidencebut
intheabsenceofconclusiveproof: toaNributeapainKngtoanarKst. 4.toregardasproducedbyororiginaKngintheKme,period,place,etc.,
indicated;credit;assign: toaNributeaworktoaparKcularperiod;toaNributeadiscoverytoaparKcular
country.
HowdoesthisrelatetomusicinterpretaKonanddeterminingapersonalresponsetomusic?
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ConducKngWithFeelingbyFrederickHarris
“AthoughtprovokingcollecKonofideasbytoday’sleadingconductorsonhowaconductordevelopsfeelingsforapieceofmusicandcommunicatesthosefeelingstoanensemble.”
• MeredithMusic2001
• $14.46USD
• PTOforcontentsandcomments.
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PhilosophyandMusic
Relevanttothetopicofthisseminaris
Part2:EmoKon 19.ExpressiontheoriesJeneferRobinson 20.ArousalistTheoriesDerekMatravers 21.ResemblancetheoriesSaamTrivedi 22.Music’sArousalofEmoKonsMalcolmBudd RoutledgeCompaniontoPhilosophyand
Music,ed.GracykandKania,Routledge2011 $206USDonAmazon
AcopyisintheArtsSecKonintheStateLibraryofVictoriainSwanstonStreet,Groundfloor:
Callnumber:AO781.R76G
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From“PhilosophyandMusic”
• Musiciscapableofreproducingonly‘thefluctuaKonofourinneracKvity’andthesecanbesimilarwithdifferentfeelings(1)
• ThereforemusiccannotexpressorrepresentparKcularfeelings;andthismeansthattherelaKonofmusictoemoKoncannotfuncKonas‘anaestheKcprinciple’(2)
• Thebeautyandthevalueofmusic,Hanslickconcludes,‘isaspecificallymusicalkindofbeauty’which‘consistssimplyandsolelyoftonesandtheirarKsKccombinaKon’.(3)
• EduardHanslick“OnMusicallyBeauKful”trans.Payzant–Indianapolis,IN:HackeN1986
(1)p.9-10,(2)p.21,(3)p.28.
SelectedquotesfromPart2:EmoKon
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From“PhilosophyandMusic”
• TheFormalistviewofmusic=therelaKonbetweenmusicandemoKon,thoughreal,ismerelycausal,andhenceofliNlephilosophicaloraestheKcinterest(4)
• LeonardMeyersuggestspaNernsoftensionandrelease,whenperceivedbytheunderstandinglistener,triggeremoKons(probablymoreaccuratelyfeelings)asakindofside-effect(5)
• (4)ThePhilosophyofMusic:themeandvariaKons–AaronRidley–Edinburgh,UK:EdinburghUniversityPress2004page70
• (5)LeonardMeyer“EmoKonandMeaninginMusic”–Chicago,IL:UniversityofChicagoPress1956
MoreselectedquotesfromPart2:EmoKon
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ExpressioninMusicbyHaleVanderCook
“Aninexpensivesou-covertextonthebasicsofmusicexpressionfromrenownedRubankauthorandcomposerHaleVanderCook.”
• Firstpublished1928• Rubank/HalLeonardChicago1942• RubankPublicaKonsRevisedediKon
1989• $4.99USDinpaperback• Greatconcepts,butdatedmusicstyle
andverydatedlanguage–youdecideforyourself!
• PTOforcontents.
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ExpressionInMusicVanderCook
“Thefollowingchapterscontainmanyprintedexamplesofmusicwithcorrectaccentsmarkedsoclearlythattheycouldbeunderstoodwithoutdifficulty.ThestudyofthissystemwillsoondevelopapracKcalunderstandingoftheprincipleofaccentandtheirapplicaKontoamelodyormusicalcomposiKon.”
• FromtheIntroduc2onPage3
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ExpressionInMusicbyVanderCook
“FactorscontribuKngtoineffecKveperformancearenumerous;...”
• FromChapter2Page7
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ExpressioninMusicbyVanderCook
“Factorsgoverningplayingwithexpression”“Playingingoodstyleproperexpression”“Rulesforplayingingoodstyle…”“Atbest,apageofmusicmaybeconsideredasablueprintoftheplansandspecificaKonsofthemelodyandthemannerinwhichitistobeplayed.…however,theperformerwillfindagreatdeallackinginhisrendiKonofthepassage…”
“…performerplacedemphasisandaccentoncertainnotesinanintelligentandgrammaKcalmannerandthatheshadedotherswithpracKcalcare.”
Selectedquotes
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AnUnderstandableApproachtoMusicalExpressionbyKenneth
Laudermilch
MeredithMusicPublicaKons,Maryland2000
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AnUnderstandableApproachtoMusicalExpressionbyKennethLaudermilch
asamplefromthe22Concepts
• Concept3.Thefirstnoteofa‘sighing’moKfisstressed(pushed)andthesecondnoteismadenoKceablyweaker
• Concert8.Inexpressiveplaying,thefirstnoteoftheslurisheldslightlylongerthansubsequentnotes.
• Concept16.Therearetwopossibletreatmentsof16thnotes,thestandard(andbyfarthemostcommon)“rhythmic16th”whichisplayedinprecisetempo,andthe“fanfare16th”whichisplayedlater,asa32ndnote.
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TheArtofExpressivePlayingbyJerryandHenryNowak
• TheArtofExpressivePlayingfocusesonaspectsofplayingthatresultinanexpressiveperformance.Therearenoabsoluterulesconcerningexpressiveplayingandphrasing,onlyconcepts.TheseconceptsarisefromthenaturalrelaKonshipbetweenmeter,rhythm,contour,tonality,styleandhistoricalperiod.OursystemofmusicnotaKonisatbest,ageneraloutlineoftheintentofthecomposer.Tothisoutline,weasmusiciansmustaddallofthesubtlenuancesthatarenotrepresentedinthewriNenmusic.
• Teachersmanual&CD,• Woodwind&mallets,• Brass&Percussion• CarlFischerNewYork2004
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Nowak:InflecKonandemphasis
WoodwindManualp.25
fromtheWoodwindandMalletsBook
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Nowak:InflecKonandemphasis
FromtheTeachersManualp.33,
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PopularSingingbyDonnaSoto-Morecni
• A&CBlackPublishers,London2006
• 1stediKonnowoutofprint
• WithCD
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PopularSingingbyDonnaSoto-Morecni
• ComplementaryElementsofStyle– Sound,shape,effort-level
• Useofavocabulary– Onset,Releases,NoteANack,VocalQualiKes– PhraseWeightandPlacement,Breath,DicKon,ImprovisaKon
• Analysingasinger’sperformanceSavingAllMyLove,agreatPop/LightR&BperformancebyWhitneyHouston
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SavingAllMyLove–WhitneyHouston
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SavingAllMyLovep.2–WhitneyHouston
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PopularSingingandStylebyDonnaSoto-Morecni
• Complementaryelementsofstyle
• Recordedexamplesareonherwebsite
• hNps://www.donnasoto-m.co.uk/
• 2ndediKonBloomsburyPublishing,London2014
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ConducKngmusicexpression
Non-verbalsgesturesneedavocabulary/words
• ForguidingthedevelopmentofaconducKngtechnique/gestures
• Fordescribingandexplaininginrehearsalthisdimensionofmusicperformance
• Eachcomplementarystyleneedstohaveshades–middle,stronger,less
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Whatistheroleoftheconductorinshapingtheexpression?
HowdoesaconductordifferenKatethetempiingestures?
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ElementsofMusic
StyleishowtheElementsofMusicarecombinedandfocusesonthecomposiKon
• DuraKon• Dynamics
• Tempo
• ToneQuality• plusPitch,Melody
Rhythm,PhraseShape
“ExpressiveElementsofMusic”isaboutperformersfreedom
• Howshort–howlong?• Howloud–sou?• Howfast–slow?• Howbright–dark?• Howmuchvibrato–
none?• Howintensethesound?
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FeelingsandMood
• Hevner’sMoodWheelorAdjecKveCircle– CreatedforMusicTherapists
– “Experimentalstudiesoftheelementsofexpressioninmusic”1939
– Measuringpersonalresponsesinclientstomusicplayed.
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Hevner’sMoodWheel
http://books.google.com.au/books?id=bHDMwK3syAMC&pg=PT185&lpg=PT185&dq=hevner's+mood+wheel&source=bl&ots=3CIL4zlRHq&sig=9Opf7lSFmEY2KJi9VhRGAX7nWhU&hl=en&sa=X&ei=Qq8wUazqFeq5iQeFgYGQAw&ved=0CEsQ6AEwBA!!
Hevner’s(Mood(Wheel(!feelingcresponsescforcmakingcanalyticalcresponsescusingcelementscofcmusic!!!!!
!!!!!!!Bonney,!Helen!and!Savary,!Louis!MusiccandcyourcMind!published!by!Station!Hill,!appendix!B,!p.160!Hevner,!Kate!AncExperimentalcStudycofcthecAffectivecValuescofcsoundscandcPoetry!“American!Journal!of!Pschology,!1937,!49!419I434!
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ConducKng-foundaKonwork
SecngfoundaKonsforexpressiveconducKnginvolves• EstablishingaconducKngposturethat
– Isabaseformovementthatreflectsnaturalmovementofthebody– ConveysanalertnessandopencommunicaKonwithplayers– Usesminimumeffort,thoughwillhavetensiontoholdtheposture– Isbalancedandenablesquickresponseandflexibility– Isclear– Hasmiddlegroundthatcanmovetoshowmoreorless– Isreproduceable
• FrederickAlexanderofAlexanderTechniqueisanauthorthatexplainshealthyandalertposturerelevantfortheconductor.
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Posturewithcharacter
• Toillustratethecharacterofthemusicthatisabouttobeperformed,postureshouldapplyprincipalsofAlbaEmoKngTechniqueusedinDramaandAcKng
• Asthemusicperformanceprogresses,thepostureshouldchangetoandholdtheprevailingcharacter.
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Gestures
• ExpressiveconducKnggesturesdonotworkbythemselves
• Inrehearsalandteaching,expressiveconceptsandvocabularyneedstobeexplainedasassociatedwithagesture
• ExpressivegesturesdependontheabilityofplayerstonoKcedegreesofprogressionorregression,degreesofincreaseordecrease
• Theconductorlearningtoshowamiddlepointwillhelpgradegestures,orcalibratethem.
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WhatisAlbaEmoKngTechnique?
• AlbaEmo)ngproposesasystema2c
method,basedonscien2ficfindings,
whichallowstotrainanyperson–
independentofgenderorsocialheritage–
toexpressbasicuniversalemo2onsclearly,
withthepossibilitytosummonthemand
modulatetheirexpressiveandsubjec2ve
componentsatwill.Ithelpstolearnto
modulateemo2onalstateswithdifferent
degreesofintensity,allowingaprompt
preciseriseandendofanemo2on.In
short,AlbaEmo2ngisaphysicalmethod
thathelpstotransmitemo2ons
unequivocally.
• BasedontheresultsofmanyyearsofscienKficresearchonthepsychophysiologicalaspectsofhumanemoKons,Prof.SusanaBlochandhercollaboratorsdevelopedthismethodthatallowsanypersontoexpress,recognizeandperceivecreaKvelythebasicemoKonsof:joy-laughter,sadness-crying,fear-anxiety,anger-aggression,eroKcloveandtenderness,andtobeNerunderstandmixedemoKons,suchasjealousy,prideorambiKon.
• WebsitehNp://www.albaemoKng.cl/english-2/
•
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AlbaEmoKngTechnique-2
• BylearningtheprecisereproducKonofrespiratory-postural-facialpaNernsspecificallyrelatedtoeachemoKon,anindividualisenabledto:
– Getincontactwithh/hisownemoKonsinadirectandsimpleway.Developawarenessofone'sownemoKonsandthoseofothers.
– FacilitatethecommunicaKonofemoKons.Experienceavivid,genuineandorganictransmissionofanemoKonalstate,validtoanyobserver,independentofh/histalent,gender,orculturalbackground.
– Increaseone'scapacitytomakefinerdisKncKonsintheexpressionandrecogniKonofemoKons.
– DevelopandenhanceemoKonalintelligence.
• Aspecial"step-out"techniqueistaughtwhichallowsthepersonusingthismethodtoimmediatelyreturntoaneutralnon-emoKonalstate,thussafeguardingh/hisemoKonalbalance.
• ThemethodhasprovedtobeparKcularlyusefulfortheworkofperformers,forpsychotherapeuKcalpurposes,andisnowbeingusedindifferentdomainsofcommunicaKon,educaKon,healthandmanagement.
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MiddlePoint
• ThisisthesetuprouKneaspartofwarmingup
• Itistodevelopreferencepointsinspacefortheconductorwhenusingexpressivegestures
• Itisapointfromwhichaconductorcanshowshadesofmoreorless
ThefollowingdrillsillustratehowtheideaofMiddlePointcanhelpconductors.
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Drill:Naturalaccent1-3or2-4?
• Toshowthedifference,theconductorneedstocontrolthesizeoftheupbeat,downbeatandrebound.MakeadrilltopracKcethisbasicgesture.
• 1-3accent:– Upbeat:strongburstupwardsfromthebeatpointof4aliNlemoretotheoutside,toahighhand
posiKonateyelevelmovinginwardtolineofshouldballjoint,– Downbeat:fallacceleraKngtobeatpointof1atbellybuNonlevel,– ReboundandUpbeat:mildreboundwhichturnsintoamiddlesizeupbeat– Downbeat:milddownbeatintobeatpointof2totheinside,then– Upbeat:astrongburstfromthebeatpointof2toeyelevel,– Downbeat:fallacceleraKngdiagonallyoutwardstobellybuNonleveltothebeatpointof3just
outsidethelineoftheshoulderballjoint,– ReboundandUpbeat:mildreboundoutwardsfrombeatpointof3whichturnsintoamiddlesized
upbeat.– Downbeat:milddownbeatintobeatpointof4abovethebeatpointof3atelbowlevel– Upbeat:astrongburstfromthebeatpointof4toeyeleveltothelineoftheshouldballjoint– Rebound:
• 2-4accent:sameasforpreviousexceptburstfrombeatpointof1atbellybuNonlevelmovingslightlyoutside,mildupbeatanddownbeatinto3,strongburstfrombeatpointof3withstrongacceleraKonintothebeatpointof4whichisatbeltlevel,mildreboundanddownbeatintobeatpointof1.
• Exercise:accent1-3,2-4,1-2,1-3,1-4,2-3,2-4,3-4,4-1,4-2,4-3
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Adrill:legatotoclearbeats
• ArKculaKondimension
• StarKng:flowingfrombeattobeatwithconstantspeed
• To:clearbeatswithacceleraKonintoaVbeatpointandsymmetricalrebound
• Inthemiddle:smoothoverthetop,smoothacrossthebeatpointwithmildacceleraKonintobeatpointandsymmetricalrebound.
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Adrill:secngdynamic&intensitylevels
Dynamicdimension• Smallergestureforsouerdynamics• Middledynamic–yourstarKngpoint• LargergestureforlouderdynamicsIntensitydimension• Shoulderheightforlighterandgentlertone• Elbowheightformiddleintensity• BeltorbellybuNonlevelforstrongertone–yourstarKngpointDrill• Setatempo&metreandwithoutchangingthem,changelevelstovary
dynamicsandintensity• Drill1:p,mf,f,mf,p,f,p• Drill2:s,m,l,m,s,l,s• Drill3:p&l,p&m,p&s,mf&l,mf&m,mf&s,f&l,f&m,f&s,etc.
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SeminarSummary
• Feelingsandmoodsareanimportantdimensionofdevelopingmusiciansandrequireconsidereduseoftaxonomies/ontology/wordchartsinordertoincorporatetheminensemblerehearsalsandperformances
• TheconsistentuseofexpressiveadjecKveswillhelpplayersdeveloptheirunderstandingoffeelingsandmoods
• AsystemaKcuseofconceptsthatguidetheinterpretaKonofthenotaKonandsymbolsintheprintedpartwillinthelongtermdevelopamorerefinedperformancetechnique
• Theconductor’spracKceneedstodevelopbothfuncKonaltechniquesaswellastechniquesthatillustratemusicexpression
• ThepostureoftheconductoristhefoundaKonforexpressiveconducKngandtheuseofthemiddleposiKonwillillustratemoreshadesofgrey.
• AllthebestwithyourconducKng.Thankyouforcoming.
• SeminarnoteswillbepostedontheGWSwebsiteandRoland’swebsite
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Whatnexttonight?
• 6.30pmformentorsandpayingconductors,alightrefreshmentsintheMusicStaffRoom
• 6.45pm–7.45pmprivateone-on-onetutorialswithfullconductorparKcipantsandtheirmentorinroomasallocated
• 8.00pm–10.00pmvideoworkshopwiththeGraingerWindSymphonyconductedbyfullconductorparKcipantsinturnwiththeirmentorinthemainrehearsalroom,payingobserverswelcome
• Tomorrownightfrom5pmatthisschoolthereisanotherConductorProfessionalLearningProgram.Pleasecome.