Fuelberth (2004) International Journal of Research in Choral Singing 2(1).

Conducting Gestures 27

The Effect of Various Left hand Conducting

Gestures on Perceptions of Anticipated Vocal Tension in Singers

Rhonda J. Vieth Fuelberth

University of Nebraska – Lincoln

Abstract

The purpose of this study was to determine the anticipated tension level for the no change condition
effect of a videotaped model of a conductor, utilizing (M=4.11, SD=2.47). There was no significant
various left hand conducting gestures, on singers’ difference between anticipated tension levels for the
anticipated inappropriate vocal tension levels, given palm up and no change conducting conditions.
the meaning interpreted from a gesture. Specifically,
the potential of left hand conducting gestures to
generate or prevent perceptions of inappropriate
vocal tension was examined. According to interview data collected by Blades-
A stimulus tape was created including a control Zeller (1993), the characteristics of a “model” vocal
conducting condition (left hand, no change) and five pedagogue include (a) the ability to diagnose vocal
experimental conducting conditions: (a) left hand, problems and prescribe effective solutions, (b) the
fisted gesture; (b) left hand, palm up; (c) left hand, ability to assess student needs and clearly
palm down; (d) left hand stabbing gesture; and (e) communicate information to the student, (c) the
left hand, sideways, phrase-shaping gesture. wisdom to treat each student as an individual.
Participants (N=192) selected to evaluate the Research studies have attempted to explicate
stimulus tape were members of university choral characteristics of effective teaching and conducting.
ensembles. Prior to evaluating the stimulus tape, In particular, the areas of musical competency,
participants were given a characterization of personality traits, instructional delivery, and
inappropriate vocal tension. conducting skills, appear pervasively in the
Results indicated that the mean anticipated effectiveness literature.
tension levels for the fisted (M=6.35, SD=2.11) palm The act of conducting is nonverbal in nature. It
down (M=5.63, SD=2.35), and stabbing (M=6.00, includes such elements as facial expression, eye
SD=2.11) conducting conditions were greater than contact, body position and posture, and conducting
the mean anticipated tension level for the no change gesture. There are extensive bodies of extant
condition (M=4.11, SD=2.47). Results also indicated literature on conducting gesture, vocal pedagogy
that the mean anticipated tension level for the and choral singing. Empirical research addressing
sideways, phrase-shaping condition (M=3.01. the vocal product of conducting gesture, however is
SD=1.97) was significantly lower than the mean more scarce.
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 28

The issue of inappropriate vocal tension, labeled subdivided patterns, and metric conducting patterns
in numerous ways, appears in virtually all of the as gestural approaches to short spaces between
vocal and choral pedagogical literature. Thus, phrases.
investigating the ability of choral conductors to use Fuelberth (2003b) examined the same left hand
conducting gesture effectively in maintaining a conducting gestures utilized in the present study for
sense of well-being and health among singers may their effect on vocal tension. Singers (N=103), of
be needed. varying levels of expertise, performed a musical
According to Love (1993) nonverbal selection while responding to a videotaped model of
communication comprises “gestures, body a conductor using a variety of left hand conducting
movements, the use of interpersonal space, facial gestures including: (a) left hand, no change; (b) left
expression, touch, posture, paralanguage, gaze, eye hand, fisted gesture; (c) left hand, palm up; (d) left
contact, in addition to physical appearance and hand, palm down; (e) left hand stabbing gesture;
personal habits” (p. 4944). Many such facets of and (f) left hand, sideways, phrase shaping gesture.
nonverbal communication would appear to be Experienced choral conductors analyzed the
intricately related to the nature of conducting videotaped performances for inappropriate vocal
gesture. Ideally, 100% of a conductor’s tension level. Results showed that there were
communication is nonverbal in performance. In an significant differences in vocal tension ratings, as
analysis of expressive movement and conducting evaluated by experienced vocal and choral music
gesture, Benge (1996) concluded: (a) conducting is educators, for all conducting conditions except the
a type of nonverbal communication; (b) there is a palm-down conducting condition. The same
universality to the language of conducting; (c) videotaped model of a conductor implementing the
specific gestures and movements are generally six aforementioned conducting gestures was used in
interpreted in the same way; and (d) conducting the present study. In the present study, as in the
gestures of expressive conductors communicate a Fuelberth (2003a) pilot study, singers’ perceptions of
vast array of expressive and stylistic information. anticipated vocal tension levels while observing the
Conducting gesture is one nonverbal element of conductor on the tape without vocally responding
communication utilized by the choral conductor in are measured.
rehearsal and performance settings. Julian (1989) Patterson (1984) categorized conducting
quotes Edward Sapir in defining conducting as “an gestures used by high school choral directors.
elaborate code that is written nowhere, known by Gestures used for analysis included (a) gestures
none, and understood by all.” (p. 49) This suggested by choral conducting texts, (b) gestures
communication is characteristically nonverbal and is used by choral conductors in performance to
demonstrated by both intentional and unintentional achieve selected technical qualities such as
behaviors. A conductor communicates through balance, tone quality and diction, (c) gestures used
“body language that includes eye contact, body by choral conductors to achieve legato, staccato and
orientation and posture, facial expression, marcato conducting styles, and (d) gestures used by
movement of feet, torso, and head, in addition to the choral conductors to achieve expressive elements
expected hand gestures.” (Julian, 1980, p. 64). Such such as crescendo, diminuendo. Conducting texts
nonverbal communication may result in various suggest various purposes of the left hand in
responses from the singers. conducting gesture. In general, the authors of these
Few studies have examined student responses texts (Garretson, 1998; Green, 1992; Kaplan, 1992;
to specific conducting gestures. Skadsem (1997), Hylton, 1995) are in agreement about the role of the
investigated the effect of four instructional conditions left hand. Specifically, the left hand is primarily used
on dynamic responses in singers. The four to generate an expressive response from singers.
conditions were (a) conductor verbalization, (b) Left hand gestures give emphasis to the instructions
dynamic markings in the score, (c) conductor given by the right hand. Further, the left hand may
gesture, and (d) choir dynamic level. Results be used for cues and releases, dynamics,
showed that verbal instructions given by the crescendos and diminuendos, accents and phrase
conductor invoked the most significant changes in shaping.
the dynamic responses of singers. Fuller (2000), Choral musicians vary greatly in level of
examined the effect of various conducting gestures experience. Within the same choral ensemble, there
on choral singers’ precision and expressiveness at may exist a new chorus member with no previous
phrase punctuation points. He sought to ascertain vocal training and an experienced singer with
the effectiveness of managed preparatory gestures, extensive years of private study. Often, the choral
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 29

conductor is the singers’ only voice teacher. Extant Miller (1996b) discussed the relationship
choral conducting texts suggest that the choral between proper vocal technique and longevity in
conductor be knowledgeable about the voice as well singing. He contended that maintenance of physical
as possess conducting ability (Garretson, 1998; condition, a healthy lifestyle, and proper technique in
Heffernan, 1982; Hylton, 1995; Kaplan, 1985; Roe, singing contribute to long-term voice use. Miller also
1983). Roe suggests the principal goal of the suggested that voice category can also be a factor in
conductor should be good singing. Characteristics of longevity. Sundberg (1987) indicated that improved
good singing include attractive tone quality, accurate technique could inhibit functional disorders of the
intonation, musical interpretation, flexibility, excellent voice. Sundberg identified two types of voice
breath support, and relaxed jaw and confidence. disorders: functional disorders, which stem from
Poor intonation, breathiness, tension in the throat, inappropriate use of the voice, and organic
and lack of phrasing are choral vocal problems that disorders, which stemmed from changes in the vocal
require the attention of choir and conductor (Hylton, tissues. Cook-Koenig (1995) examined causes of
1995). Smith and Sataloff (2000) suggest the “tools” vocal fatigue and strain in choral singers. They cited
of healthy, artistic choral singing include posture, the importance of vocal technique, as taught by
relaxation, breathing and resonance. They voice teachers and choral conductors.
emphasize that the conductor should be clear and Changes in vocal function can be traumatic for
purposeful about each vocal technical detail. This singers and professional voice users. The
clarity and sense of purpose is manifested not only teacher/conductor seeks not only to recruit singers
through nonverbal communication in the form of into the choral program, but also to retain them over
conducting gesture, but also through meaningful and time. Sapir (1993) examined vocal attrition in voice
effective verbal instruction. students. Students who reported voice problems
In order to analyze singer response to were more likely to be anxious about their voice and
conducting gesture, there must first exist a working were more likely to discontinue singing. Symptoms
definition of inappropriate vocal tension. Many voice of vocal problems included hoarseness, reduced
pedagogues and conductors have sought to define pitch range, voice fatigue, a sensation of tightness,
inappropriate vocal tension using specific visual or and pain or discomfort in the throat.
audible characteristics. According to Miller (1996a), Although those instructed in proper use of the
the tongue, the neck, and the jaw are the three vocal mechanism should theoretically care more
major sources of inappropriate vocal tension, which diligently for their voices, the converse can be true.
work both together and separately. Miller (1996b) A survey by Galloway and Berry (1981) examining
further implies that tension in one muscle group vocal problems among voice performance and vocal
often affects another muscle group. McKinney pedagogy majors from the same university (N=40)
(1994) characterizes visual vocal faults as “postural revealed that 56% of participants in the survey
rigidity, collapsed chest, tight jaw, furrowed brow, exhibited symptoms of voice disorders. These
raised shoulders, tilted head, white knuckles, knees symptoms included problems with articulation, voice
locked back, shaking legs, heaving chest and so on” quality, and resonance problems associated with
(p. 18). voice abuse, voice misuse, and pathological
Kitch and Oates (1994) sought to define vocal conditions. Almost all of the respondents complained
tension from a performer’s point of view. The of vocal fatigue and sore throats after choral
muscular tension areas explored were the throat, rehearsals.
jaw, neck, tongue, and chest. These researchers The purpose of this study was to determine the
report that vocal fatigue was associated with each effect of a videotaped model of a conductor, utilizing
performer’s self-reported perceptions of muscular various left hand conducting gestures, on singers’
tension. Bunch (1993) suggests absence of vibrato anticipated inappropriate vocal tension levels, given
was an indicator of strain on the voice. Six visually the meaning interpreted from a gesture. In order to
observable areas of inappropriate tension included further focus the direction of the study, the following
overly active facial muscles, position and movement research questions were developed:
of the lower jaw, rigidity of the tongue, tension in the 1. Given a definition of inappropriate vocal
neck, tension in the chest, and emotional tension. In tension, how will singers perceive possible
addition, Bunch proposes that noisy breathing and a inappropriate vocal tension while viewing a
strident vocal sound were both audible indicators of videotaped model of a conductor?
muscular tension.
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 30

2. What reasons will singers give for their participants varied greatly from less than one year to
evaluations of possible inappropriate vocal more than ten years of choral singing experience.
tension? A ten measure excerpt of the folk song, “Turtle
3. Where will the visual focus of the singer be Dove” (Figure 1), was selected as the musical
as they view the stimulus tape? example in this study. The excerpt begins and ends
on the tonic pitch. The same musical example was
Methods and Procedure used in a previous study examining actual vocal
response to the conducting gestures utilized in the
One hundred ninety two undergraduate and present study (Fuelberth, 2003a). The same piano
graduate students participated in this study. These accompaniment, including melodic line, was used for
students were choral ensemble members attending each of the six conducting conditions. No vocal
a mid-west university. The experience levels of the model was provided on the stimulus tape.

Figure 1. Musical Example “The Turtle Dove.”

Four stimulus tapes were created including six change; (b) left hand, fisted gesture; (c) left hand,
conducting conditions. The six conditions were palm up; (d) left hand, palm down; (e) left hand,
placed in a random sequence on each of the four stabbing gesture; and (f) left hand, sideways phrase-
tapes to control for order effect (Figure 2). shaping gesture. Two experienced music educators
Throughout each of the conditions the conductor viewed the videotape to confirm the changes in
maintained a legato four pattern in the right hand. conducting gesture.
The conductor used a baton in the right hand for the The videotaped examples framed the
experiment. A tempo of m.m. quarter note = 72 was conductor’s upper and lower torso. During the
chosen for each excerpt. The first four measures of experimental measures, the video camera zoomed
each example served as a baseline. During these in to isolate the conductors hand motions and
four measures the conductor conducted using only downplay facial expression. The conductor was
the right hand beat pattern. The following six asked to wear a black turtleneck and dark slacks for
measures served as experimental measures. the videotape session. The conductor was asked to
During the experimental measures, six maintain a neutral facial expression throughout each
conducting conditions were utilized: (a) left hand, no of the six examples.
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 31

Tape 1
Example 1 Fisted Gesture Singers viewed one of the four stimulus tapes
Example 2 Palm Down while completing Part 1 of the questionnaire (Figure
Example 3 No Change 3). Subjects were asked to circle a number on six
Example 4 Palm Up separate 10 point Likert scales. Each rating was to
Example 5 Stabbing Gesture correspond to the level of inappropriate vocal
Example 6 Sideways, Phrase tension that would be generated by each conducting
-Shaping Gesture example. Rating scale descriptors were “minimum
inappropriate vocal tension” to “maximum
Tape 2 inappropriate vocal tension.” Prior to viewing the
Example 1 Sideways, Phrase videotape, singers were given the following
–Shaping Gesture characterization of inappropriate vocal tension in
Example 2 No Change verbal and written form:
Example 3 Stabbing Gesture
Example 4 Palm Up For the purpose of this study, inappropriate
Example 5 Fisted Gesture vocal tension is the audible or visible presence
Example 6 Palm Down of tension in the vocal mechanism. Visible
characteristics include muscular tension
Tape 3 involving the face, jaw, neck, shoulders, arms,
Example 1 No Change hands, torso, and legs. Audible characteristics
Example 2 Palm Up include fluctuation in intonation, difficulty in
Example 3 Sideways, Phrase executing higher pitches, and harsh tone
–Shaping Gesture quality.
Example 4 Palm Down
Example 5 Fisted Gesture This characterization was established for the
Example 6 Stabbing Gesture purposes of this study and was confirmed by four
experienced voice teachers and choral conductors.
Tape 4 The characterization was developed based on
Example 1 Stabbing Gesture results of a previous research study (Fuelberth,
Example 2 Palm Down 2000) and on previously published pedagogical
Example 3 Fisted Gesture literature (Bunch, 1993; McKinney, 1994; Miller,
Example 4 Sideways, Phrase 1996b; Smith & Sataloff, 2000; Sundberg, 1987).
–Shaping Gesture Following the viewing of the videotape, subjects
Example 5 Palm Up were asked to complete a questionnaire indicating
Example 6 No Change where the subject's visual focus was while viewing
the stimulus tape. Demographic information was
also collected, including years of ensemble
Figure 2. Random Order of Conducting Conditions experience, number of conducting courses taken
on the Four Stimulus Tapes. and college major.
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 32

Part 1: Please read the following characterization of inappropriate vocal tension:

For the purpose of this study, inappropriate vocal tension is the audible or visible presence of tension in the vocal
mechanism. Visible characteristics include muscular tension involving the face, jaw, neck, shoulders, arms, hands,
torso, and legs. Audible characteristics include fluctuation in intonation, difficulty in executing higher pitches, and
harsh tone quality.
Please circle a number that corresponds to the level of inappropriate vocal tension level that would be
generated by each conducting example. After circling the number, please state the reason for your rating.
Example 1
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Example 2
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Example 3
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Example 4
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Example 5
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Example 6
1 2 3 4 5 6 7 8 9 10
minimum inappropriate vocal tension maximum inappropriate vocal tension
Reason: ____________________________________________________________________________________
Part 2: Please respond to the following:
Where was your visual focus while responding to the videotape?
____________________________________________________________________________________________
Please circle your response to the following:
How many years have you participated in choral ensembles (Grade 8 and later)?
Less than 1 1-2 3-5 6-10 More than 10
Choral voice part: Soprano Alto Tenor Bass
How many years have you participated in instrumental ensembles (Grade 8 and later)?
Less than 1 1-2 3-5 6-10 More than 10
Years of private vocal study: Less than 1 1-2 3-5 6-10 More than 10
Year in school: Freshman Sophomore Junior Senior Graduate
Number of college conducting classes:
Undergraduate: 0 1 2 More than 2
Graduate: 0 1 2 More than 2
College Major (please fill in the blank): _______________________________________

Figure 3. Questionnaire.
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 33

RESULTS across the five tests at the .05 level, using a

Bonferoni adjustment. Results indicated that the
Preliminary analyses. An analysis of variance mean anticipated tension levels for the fisted
(ANOVA) was carried out to compare the mean (M=6.35, SD=2.11), palm down (M=5.63, SD=2.35),
anticipated inappropriate vocal tension levels of and stabbing (M =6.00, S D =2.11) conducting
groups of participants viewing the four random conditions were greater than the mean anticipated
ordered stimulus tapes. There were no significant tension level for the no change condition (M=4.11,
differences between groups viewing the four tapes SD=2.47). Results also indicated that the mean
(F(23)=1.46, p<.05). An analysis of variance was anticipated tension level for the sideways, phrase-
also carried out to compare the mean anticipated shaping condition (M =3.01. S D =1.97) was
tension scores of participants by voice part and significantly lower than the mean anticipated tension
again, by conducting experience. No significant level for the no change condition (M = 4 . 1 1 ,
differences were found between sopranos, altos, SD=2.47). A summary of the pairwise comparisons
tenors and basses (F(23)=.08, p=.05) or between can be found in Table 2. Table 3 shows anticipated
conductors who have taken zero, one or two inappropriate vocal tension ratings according to
conducting classes (F(17)=.32, p=.05). Table 3 group, vocal part, and conducting experience.
contains a summary of the mean scores of these
groups. Table 1
As previously stated, the primary purpose of this
study was to determine the effect of a videotaped Perceived Possible Inappropriate Vocal Tension
model of a conductor on singers’ anticipated Ratings by Choral Singers Including Mean and
inappropriate vocal tension levels, given the Standard Deviations
meaning interpreted from a gesture. Upon listening
to a characterization of inappropriate vocal tension Experimental Conducting
and viewing the stimulus tape, singers were asked Conditions M D
to rate each example for its potential to generate Sideways, Phrase-Shaping
tension. A one-way within-subjects ANOVA was Gesture 3.01* .98
conducted with the factor being left hand conducting
conditions and the dependent variable being Palm Up 3.68 .77
anticipated vocal tension levels. The means and
standard deviations for the tension ratings are No-Change 4.11 .46
reported in Table 1 .The results for the ANOVA
indicated a significant conducting condition effect, Palm Down 5.63* .35
Wilkes’s λ=.319, F(5,187)=80.01, p<.05, multivariate
2
h =.68. Five follow-up pairwise comparisons were Stabbing Gesture 6.00* .12
conducted to test for differences between fisted,
palm up, palm down, stabbing, and sideways Fisted Gesture 6.35* .11
phrase-shaping experimental conducting conditions
and the control condition (left hand, no change).
Four of the five pairwise comparisons were
significant, controlling for familywise error rate
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 34

Table 2

Pairwise Comparisons of the 5 Experimental Conducting Conditions and the Control (No Change) Condition

Paired Samples Test

Paired Differences
95% Confidence
Std. Interval of the
Error Difference
Mean Std. Deviation Mean Lower Upper t df Sig (2-tailed)
Pair 1 FISTED-CONTROL -.15 2.891 .209 -.56 .26 -.724 191 .470
Pair 2 PALMD-CONTROL .14 2.448 .177 -.21 .48 .767 191 .444
Pair 3 PALMU-CONTROL .35 3.234 .233 -1.1 .81 1.495 191 .137
Pair 4 STABBING-CONTROL 2.15 2.872 .207 1.74 2.55 10.351 191 .000
Pair 5 SIDEWAYS-CONTROL .83 3.304 .238 .36 1.30 3.495 191 .001

Table 3

Perceived Anticipated Inappropriate Vocal Tension Ratings by Group (Stimulus Tapes 1-4)

Conducting Condition All Tape 1 Tape 2 Tape 3 Tape 4

Fisted Gesture 6.35* 5.09 6.35 7.21 5.85
Palm Down 5.63* 4.36 5.75 6.57 4.50
No Change 4.11 3.18 5.00 4.14 3.75
Palm Up 3.68 3.05 3.78 3.95 3.80
Stabbing Gesture 6.00* 6.18 5.33 6.83 4.10
Sideways, Phrase-Shaping 3.01* 1.84 3.16 3.71 2.45

Perceived Anticipated Inappropriate Vocal Tension Ratings by Voice Part

Conducting Condition All Sopranos Altos Tenors Basses

Fisted Gesture 6.35* 7.16 6.00 5.92 6.49

Palm Down 5.63* 6.33 5.08 5.50 5.62

No Change 4.11 3.88 3.95 4.41 4.04

Palm Up 3.68 3.44 3.47 3.84 3.85

Stabbing Gesture 6.00* 6.09 5.50 5.95 6.38

Sideways, Phrase-Shaping 3.01* 3.09 2.74 2.98 3.17

Table 3, continued
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 35

Perceived Anticipated Inappropriate Vocal Tension Ratings by Conducting Experience

Conducting Condition All No Cond 1 Course 2 Courses

Fisted Gesture 6.35* 5.92 7.00 7.35

Palm Down 5.63* 5.28 6.10 6.55

No Change 4.11 4.07 4.02 4.55

Palm Up 3.68 3.74 3.49 3.80

Stabbing Gesture 6.00* 5.80 6.35 6.30

Sideways, Phrase-Shaping 3.01* 2.90 3.12 3.35

tension ratings (n >5) were tabulated into the

Table 4 following categories: rigid posture, muscular tension,
lack of emotion, harsh movements, confusing
Reasons for Maximum Inappropriate Tension gesture and facial expression. Reasons for
Ratings minimum inappropriate vocal tension ratings (n<5)
were tabulated into the following categories: flowing
Reason # Responses and relaxed, easy to follow, and little muscular
tension. Table 4 contains a summary of singer
Muscular Tension 175 reasons for minimum and maximum tension ratings.
The third research question sought to determine
Harsh Movements 112 the visual focus of the subjects as they viewed the
videotape. All responses were tabulated into the
Rigid Posture 109 following categories: hands and/or arms, left hand
gesture, conducting gesture, baton/beat hand, face
Lack of Emotion 88 and/or neck, facial expression and whole body.
Where multiple areas of focus were indicated, the
Facial Expression 27 investigator included each area in the tabulation.
The areas of focus most cited were the hands and/or
Confusing Gesture 24 arms, left hand gesture, and face and/or neck (n=71,
n=70 and n=38, respectively). Areas of focus less
frequently cited were facial expression, baton/beat
Reasons for Minimum Inappropriate Tension Ratings hand and whole body (n =18, n=16, n= 1 3 ,
respectively).
Reason # Responses
DISCUSSION
Flowing, relaxed 120
The vocal mechanism requires a certain amount
Little Muscular Tension 35 of tension to be present in the body for energetic
singing; however, inappropriate tension can hinder
Easy to Follow 24 healthy vocal production. Creating an atmosphere
conducive to good vocal health benefits both
conductor and singer.
Participants were asked to give a reason for The ability to create a positive learning
their rating. Reasons for maximum inappropriate environment appears to be a desirable trait among
conductors and teachers. In an attempt to develop a
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 36

model and assessment instrument, Gumm (1993) the six conducting conditions. This finding would
identifies ten dimensions of choral music teaching suggest that training and experience in conducting
styles. One dimension, positive learning leads to greater sensitivity to conducting gesture and
environment, involves teacher sensitivity to student to greater awareness of tension.
fatigue and frustration. Another dimension, Most findings in the present study are similar to
nonverbal communication, includes relying “primarily a study in which student vocal responses to these
on conducting gesture to communicate with gestures were actually videotaped and analyzed
students.” Various conducting gestures may be (Fuelberth, 2003). Two exceptions to these
related to creating a positive learning environment. similarities involve the palm up and palm down
Participants in this study had a wide array of conducting conditions. In the Fuelberth (2003) study,
varied choral experience. With this varied analysis revealed higher tension levels for the palm
experience comes a certain set of pre-determined up condition than the no change condition, while the
expectations and resultant evaluations of any choral present study contradicts that finding. One reason
conductor. Significant differences were found for this contradiction might be a difficulty in
between the perceived anticipated inappropriate differentiating between louder dynamic levels and
vocal tension ratings of the fisted gesture, stabbing higher tension levels in singers. Because the palm
gesture and palm down conducting conditions. up gesture typically is used to elicit a crescendo on
Perhaps the potential of these conducting gestures the part of the singer, the aural/visual tension rating
to generate perceptions of tension could cause from the earlier study may be higher than the
conductors to reevaluate their effectiveness in perceptual rating in the present study. Additionally,
performance and rehearsal settings. It is also to higher ratings for the palm down condition in the
interesting to note that results indicated that the present study may indicate that vocal tension is not
mean anticipated tension level for the sideways, as easily observed when singers are singing at a
phrase shaping condition was significantly lower quieter dynamic level. The palm down gesture is
than the mean anticipated tension level for the no typically used to generate a quieter dynamic level on
change condition. This finding may indicate that a the part of the singer. In the Fuelberth (2003) study,
function of the left hand may also be to relieve the palm down gesture generated the lowest tension
inappropriate vocal tension. rating of all conducting conditions. This finding may
It is interesting to note that standard deviations mean that singers may perceive higher levels of
greater than 2.00 occurred for the no change tension when presented with that particular gesture,
(S D =2.46), palm down (S D=2.35), stabbing but because of the dynamic level, conductors may
(SD=2.11), and fisted (SD=2.11) conditions. These not observe the higher level of inappropriate vocal
four conditions also resulted in the highest perceived tension.
tension levels. Because no left hand gesture was Participants gave specific and non-specific
present in the no change condition, the higher responses when asked to state a reason for their
standard deviation may indicate that participants evaluations. Muscular tension and a lack of
were unsure of how to rate an example without left muscular tension were frequently reported as
hand gesture. It may also indicate a level of reasons for higher or lower perceived tension
discomfort or tension that may arise when the left ratings, respectively. The descriptors flowing and
hand is apparently giving no expressive instruction relaxed were frequently used following a low tension
whatsoever. rating. Muscular tension or relaxation on the part of
While no significant differences were found the conductor may generate a similar response on
between the four groups of singers viewing the four the part of the singer.
different stimulus tapes, it is interesting to note that The overall picture of the conductor includes
the singers who viewed Tape 4, rated only one body position and posture, right hand gesture, left
condition, the fisted gesture, over 5.00. The overall hand gesture and facial expression. Therefore, the
lower anticipated tension ratings could be due to the focus of the singer while viewing the stimulus tape is
fact that the no change condition was presented last very important. In an effort to isolate left hand
on the stimulus tape, therefore in all previous gesture and the experimental condition, the video
conducting segments, the conductor model used camera zoomed in to capture the conductor’s hands
both hands throughout each of the first five at the center of the screen. The areas of focus most
conducting examples. It is also interesting to note cited were the hands and/or arms and left hand
that participants who had taken 2 courses in gesture (n =71 and n=70). Areas of focus less
conducting had the highest mean score for five of frequently cited were facial expression, baton/beat
Fuelberth (2004) International Journal of Research in Choral Singing 2(1). Conducting Gestures 37

hand and whole body (n =18, n=16, n= 1 3 , Dissertation, Florida State University).
respectively). Such responses suggest that the Dissertation Abstracts International, 56(03),
videotape was effective in isolating the hand 0752.
gestures of the conductor.
Although the conductor maintained a neutral Fuelberth, R.F. (2000, January). Ensemble
facial expression throughout, 38 participants cited Evaluations of Inappropriate Vocal Tension in
the face and neck, and 18 participants cited facial Singers. Paper presented at the Kansas Music
expression as a point of focus. Many respondents Educators Association and Missouri Music
indicated their discomfort with the neutral facial Educators Association Conferences.
expression, stating that they relied heavily on the
conductor's face for guidance. Certainly, the Fuelberth, R.F. (2003a). The effect of conducting
conductor is responsible for clearly indicating gesture on singers' perceptions of inappropriate
musical and expressive intent not only through the vocal tension: A pilot study. International Journal
gestures indicated through the beat hand and the of Research in Choral Singing, 1, 13-21.
expressive hand, but through intentional and
unintentional use of facial expression and body Fuelberth, R.F. (2003b). The effect of left hand
tension or movement. The left hand was selected in conducting gesture on inappropriate vocal
this study as a starting point for exploring singer tension in individual singers. Bulletin of the
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expression, it is important to note that the patterns, subdivided patterns, managed
conductor’s face or neck and facial expression still preparatory gestures, and no conducting on
drew the attention of 56 participants. choral singers’ precision and expressiveness at
Further research is needed to examine singer’s phrase punctuation points less than the unit
visual focus while in rehearsal and performance pulse (Doctoral dissertation, University of
settings. Further research in this area could be Missouri-Columbia, 2000). D i s s e r t a t i o n
beneficial in determining the effect of conductor Abstracts International, A 61/05, 1672.
intention, function, verbal/non-verbal effectiveness,
left and right hand conducting gesture, body Galloway, H., Berry, A. (1981). A survey of
position, and facial expression on inappropriate communicative disorders in college vocal
vocal tension in singers. performance and pedagogy majors. Journal of
Music Therapy, 18, 25-40.
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