This study investigated undergraduate conductors' perceptions of instrumental conducting curricula. Participants (N = 173) completed an Internet-based survey consisting of questions about their perceived level of conducting and rehearsal preparedness and the extent to which instructional time was devoted to specific topics by their conducting teachers. Responses to these questions were rated using 5-point Likert-type scales. Participants also wrote responses to three openended questions addressing their confidence while conducting and were asked to provide one suggestion for curricular improvement. Participants' mean ratings for items relating to rehearsal preparedness were lower than items for conducting skill preparedness. Results of one-way analysis of variance tests indicated significant differences between ratings based on gender. Respondents felt most confident about their conducting patterns, least confident about error detection and correction, and most frequently indicated the need for additional podium time during undergraduate conducting courses. Keywords instrumental, undergraduate conductors, conducting curriculaFor novices learning how to conduct, the number of skills necessary to lead an ensemble can seem overwhelming. Undergraduates enrolled in beginning conducting courses are confronted with both physical and technical challenges from their first days of

The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.

The purpose of this study was to examine university conducting teachers' attitudes about score study, the source materials they used to teach score study, their personal score study practices, and the score study approaches they taught their undergraduate conducting students. Respondents (N = 236) were members of the College Band Directors National Association who taught undergraduate conducting courses. Our findings indicated that "developing an interpretation of how the music should be performed" was considered the most important reason to study the score, that respondents spent an average of 6 hours in score study per week, and that The Art of Conducting by Donald Hunsberger and Roy Ernst was the most frequently used undergraduate conducting textbook. The two most frequently used personal score study practices, which were also reported as the two most frequently taught practices to undergraduate conductors, were "define all unfamiliar music terms" and "initial, casual read-through of the score."

The purpose of this study was to explore whether conductor facial expression affected the expressivity ratings assigned to music excerpts by high school band students. Three actors were videotaped while portraying approving, neutral, and disapproving facial expressions. Each video was duplicated twice and then synchronized with one of three professional wind ensemble recordings. Participants ( N = 133) viewed nine 1-min videos of varying facial expressions, actors, and excerpts and rated each ensemble’s expressivity on a 10-point rating scale. Results of a one-way repeated measures ANOVA indicated that conductor facial expression significantly affected ratings of ensemble expressivity ( p < .001, partial η2 = .15). Post hoc comparisons revealed that participants’ ensemble expressivity ratings were significantly higher for excerpts featuring approving facial expressions than for either neutral or disapproving expressions. Participants’ mean ratings were lowest for neutral facial expression excerpts, indicating that an absence of facial affect influenced evaluations of ensemble expressivity most negatively.

This multiple case study examined undergraduate music majors' perceptions of their experiences while enrolled in a basic conducting course. During the semester, three sophomore music majors with an emphasis in band, choir, or orchestra each participated in three interviews, completed weekly reflection logs, and attended an end-of-the-semester videotaped conducting review. Analysis of the data revealed that participants focused on issues related to conducting gesture, often expressed uncertainty about their leadership and conducting abilities, believed that score study increased their confidence and conducting effectiveness, and that only after conducting an ensemble did they begin to gain awareness of the complexities of conducting. Furthermore, participants expressed the desire for more individualized feedback and conducting opportunities. These results suggest that undergraduates enrolled in conductor preparation programs might benefit from pedagogical activities that (a) connect their nonverbal conducting behavior to score study practices and (b) help students gain greater confidence when leading an ensemble.