Chapter 1 -- Mastering a Non-Verbal Language of Communication: and introduction

Chapter 1 -- Mastering a Non-Verbal Language of Communication: and introduction

Every conductor functions as an "administrator, teacher, and performer" (Haithcock 9) Haithcock in his first chapter present a methodology to master non-verbal language of communication to "vividly respond to the detailed expectation of the music" (9) In the following pages before he launches into this methodology, Haithcock laments the structural rigidity to which conductors often limit themselves because of the perceived necessary management of rhythmic and musical precision. However, a "conductor who enlightens the musicians through a physical presentation […] adds a subjective dimension of compelling leadership, […] often called interpretation." Following this belief, Haithcock lists the the four principles to offer "enlightened and compelling musical leadership" (10).

Prepare the mind -- Through deep study of the score the conductor should have an aural expectation through studying the score itself. This will allow him or her to elicit "a specific sound" (10) rather than merely present a "navigational information" for the ensemble.

Train the body to be fluid instead of fixed -- This element allows the conductor to express varying "speed, space, and weight to outline the desired musical shape".

Analyze yourself while analyzing others -- In other words, being open to the possibility that the ensemble might not be the source of problems.

Create a non-verbal exchange of ideas with the musicians, a cycle of stimulus and response, from the podium. -- This idea is essential in that one must be responsive to the actual music played.

After outlining these principles, Haithcock warns against "eye bound" approaches to communicating which only serves to "reinforce and clarify" that will limit the spontaneity of the conductor. Along with developing one's "inner ear" as well as score study coupled with "conducting technique and critical listening in front of an ensemble"  he further denotes that movement analysis as important to development. (11) Specifically, the concepts outlined "include the basics of mime artistry as well as the methods of Moshe Feldenkrais and Fedrick Alexander as synthesized by movement expert Jerald Schweibert" Finally he lists two more movement analysis system experts, "Rudolf Laban and Irmgard Bertenieff" (12)