Effects Of Expressive And Nonexpressive Conducting On The Performance And Attitudes Of Advanced Instrumentalists

A smart, small book for any manager’s pocket. In every manager’s career there are moments where decisions need to be made in order to achieve success and this smart, nicely packaged little book can be there to help each time. The trick to succeeding in these moments is to identify each of these situations ahead of time and understand how to act and what to do to reduce the chances of failure. That is exactly what The Little Black Book for Managers has done. The authors have listed a whole host of situations most managers face, based on thousands of personal experiences, and have mapped out how to deal with each situation. The book contains specific examples of words and phrases that can be used as well as illustrations and exercises to analyse your current performance. It is short on waffle and high on practical wisdom. It is designed to be dipped in and out of – reached for whenever a situation arises. This is a practical support tool for managers at all levels, from shop-floor supervisor to main board director. The Little Black Book for Managers explains how to deal with scenarios such as; Having a lack of confidence to deal with other people in the way that is needed Times when you have to assert your authority more Allocating critical work. Who to choose? Needing to get extra effort from the team when under pressure Incentivising Delegation Having to deal with under-performers Personality clashes between work colleagues Managing a meeting with senior leaders

It is a truism in teaching choral conducting that the director should look like s/he wishes the choir to sound. The conductor's physical demeanour has a direct effect on how the choir sings, at a level that is largely unconscious and involuntary. It is also a matter of simple observation that different choral traditions exhibit not only different styles of vocal production and delivery, but also different gestural vocabularies which are shared not only between conductors within that tradition, but also with the singers. It is as possible to distinguish a gospel choir from a barbershop chorus or a cathedral choir by visual cues alone as it is simply by listening. But how can these forms of physical communication be explained? Do they belong to a pre-cultural realm of primate social bonding, or do they rely on the context and conventions of a particular choral culture? Is body language an inherent part of musical performance styles, or does it come afterwards, in response to music? At a practical level, to what extent can a practitioner from one tradition mandate an approach as 'good practice', and to what extent can another refuse it on the grounds that 'we don't do it that way'? This book explores these questions at both theoretical and practical levels. It examines textual and ethnographic sources, and draws on theories from critical musicology and nonverbal communication studies to analyse them. By comparing a variety of choral traditions, it investigates the extent to which the connections between conductor demeanour and choral sound operate at a general level, and in what ways they are constructed within a specific idiom. Its findings will be of interest both to those engaged in the study of music as a cultural practice, and to practitioners involved in a choral conducting context that increasingly demands fluency in a variety of styles.