The influences of facial expression and conducting gesture on college musicians' perceptions of choral conductor and ensemble expressivity

The purpose of this study was to examine the influences of facial expression and conducting gesture on perceptions of choral conductor and ensemble expressivity. College musicians ( N = 156) viewed excerpts of two choral conductors who had been recorded conducting with either an expressive conducting gesture and a neutral/static face or an expressive facial expression and a neutral/static conducting gesture. They then rated the expressivity of the conductor and of the ensemble. Results indicated no significant differences in participant ratings of choral conductor expressivity or ensemble expressivity ( p > .05) between conditions. Responses to open-ended questions revealed four themes that impacted perceptions of ensemble and conductor expressivity: facial expression, conducting gestures, musical elements, and conductor investment.

Conductor Expressivity Affects Evaluation of Rehearsal Instruction

The purpose of this study was to examine the effect of conductor expressivity on the evaluation of rehearsal instruction. We video recorded two conductors in rehearsal with a university band. We extracted a 3.5-min excerpt of their rehearsals that featured alternation between conductor talk and expressive conducting. For one of the conductors (the “experimental” conductor), we also re-recorded the same rehearsal excerpt with the conductor using unexpressive gestures. In postproduction, we created two versions of the experimental conductor’s rehearsal—one unaltered and the other altered to show unexpressive conducting gestures. The footage of the experimental conductor’s verbal instruction was identical in both versions. Collegiate musicians ( N = 134) viewed the rehearsal excerpts of both the experimental conductor (either expressive or unexpressive) and the control conductor and evaluated both conductors on eight criteria related to instructional effectiveness. Significant differences were found between conditions in the composite evaluations of the experimental conductor. Further inspection revealed significantly higher evaluations favoring the expressive condition on seven of the eight criteria. Notable among these results is the influence of expressive gesture on the perception of distinctly verbal conductor behaviors. We suggest this may indicate the inseparability of gestural and verbal aspects of rehearsal instruction.

Conducting Expressively

When expressivity (ignited by imagination) is incorporated into the learning process for both the conductor (teacher) and player (student), the qualities of movement, communication, instruction, and ensemble sound all change for the better, often with less work. Expressive conducting allows the conductor to feel more connected to the music and the players; it can also result in better ensemble sound. There are, however, inhibitors to expressive conducting that break down gestural communication, waste rehearsal time, inhibit creativity in performance, and influence ensemble sound for the worse. This article identifies seven misconceptions and offers practical solutions.

High School Band Students’ and Directors’ Perceptions of Verbal and Nonverbal Teaching Behaviors

This study was designed to examine the use and perception of selected teaching behaviors of high school band directors. Videotaped rehearsals of six band directors’ top-performing ensembles were analyzed for conductor magnitude, sequential pattern components, and instructional pacing. Directors and students rated video excerpts of their rehearsals, completed a questionnaire, and participated in interviews. Teaching behaviors were generally consistent with previous research. Student evaluations of excerpts containing drill, all strict conducting, and more teacher talk were rated lowest. Highest rated excerpts contained more or relatively equal amounts of student response and teacher talk, some expressive conducting, and varying facial expressions. Directors rated excerpts containing little variety in facial expression and more or equal amounts of teacher talk highest. Lowest rated excerpts contained drill or structured rehearsal; all or mostly strict, or no conducting; and longer student activity times. Students were able to identify and discuss their director’s teaching behaviors, had a respect for their director’s musical abilities and knowledge regardless of rapport, desired more praise, and thought of disapproving feedback as necessary critique. Directors were most critical of their conducting behaviors, spent time reflecting on their teaching, and believed self-assessment was beneficial to improve one’s teaching.

The Effect of Ensemble Performance Quality on the Evaluation of Conducting Expressivity

This study was designed to examine whether the presence of excellent or poor ensemble performances would influence the ratings assigned by ensemble members to conductors who demonstrated highly expressive conducting. Two conductors were videotaped conducting one of two excerpts from an arrangement of Frank Ticheli’s Loch Lomond. These videos subsequently were duplicated and synchronized with either excellent or poor performances that previously had been recorded with a university wind ensemble. To determine whether identical conducting performances would be evaluated differently on the basis of excellent or poor ensemble performance, college band, choir, and orchestra members ( N = 120) viewed each of the four 1-minute excerpts and rated conductor expressivity and ensemble performance quality on 10-point Likert-type scales and provided one brief written comment about each video. Results indicated that ensemble performance quality significantly affected ratings of conductor expressivity ( p < .001). However, the effect size was modest (partial η2 = .29). Participants’ written comments were directed most frequently to the conductor in the excellent-performance condition and to the ensemble in the poor-performance condition.