The conductor's gesture: a practical application of Rudolf von Laban's movement language
Gespeichert in:
| Beteiligte Personen: | , , |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Chicago, Ill.
GIA Publ.
2011
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027343047&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | "Foreword by Eugene Migliaro Corporon"--Cover. - "Philosophical foreword by Gerald Custer"--Contents. - Accompanying DVD contains the author illustrating a number of the concepts discussed in the book including a masterclass Includes summary and bibliography |
| Umfang: | XXIX, 331 S. Ill., graph. Darst., Notenbeisp. DVD-Video (12 cm) |
Internformat
MARC
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| 245 | 1 | 0 | |a The conductor's gesture |b a practical application of Rudolf von Laban's movement language |c James Jordan. With Giselle Wyers and Meade Andrews |
| 264 | 1 | |a Chicago, Ill. |b GIA Publ. |c 2011 | |
| 300 | |a XXIX, 331 S. |b Ill., graph. Darst., Notenbeisp. |e DVD-Video (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a "Foreword by Eugene Migliaro Corporon"--Cover. - "Philosophical foreword by Gerald Custer"--Contents. - Accompanying DVD contains the author illustrating a number of the concepts discussed in the book including a masterclass | ||
| 500 | |a Includes summary and bibliography | ||
| 600 | 1 | 4 | |a Laban, Rudolf von / 1879-1958 |
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Datensatz im Suchindex
| _version_ | 1819284883699138560 |
|---|---|
| adam_text | Table of
Contentò
Toreword by Eugene
Miglioro
Corporon
.........................xv
Philosophical foreword by Gerald Custer
.........................xxi
Preface
..........................................xxv
PART1
The Theories and Work of Rudolf
von Laban:
An Examination of the Perception of Movement
.....................1
CHAPTER
1
Introduction
......................................5
Laban
as a Gestural Morphology
...........................10
The Pitfalls of Pedagogical Impatience
........................11
CHAPTER
2
The beginnings
.....................................15
Conducting: Movement Analogues through tffortyhape
..............16
CHAPTER
3
The Consequences of Gesture
...........................21
developing Observations/kills and Awareness of Movement
...........24
The Real Issue
...................................24
Δ
/lew Pedagogy and Theory for Conducting
...................25
CHAPTER
4
An Overview of the Psychological Research:
Kinesthesia, body Mapping, and the Influence of Mirror
Леигопѕ
..........29
Introduction to the Research
............................50
A History of the development of the Theories of
ľvinestheticVensation
for Movement Perception
.............................51
Perception as Examined by the Empiricist Philosophers
and the Associationist Psychologists
.......................51
tarly Phenomenology
................................55
Modern Psychological Phenomenology
......................54
The Association ists
..................................55
William McPougall: Hormic Psychology and the
/lăture
of Instincts
........56
Ľdward
Bradford Titchener Context Theory andytructural Psychology
.....57
William James: Muscular Theory
—
Eccentric Projection of the reeling
......58
Gestalt
Psychology
..................................59
VII
THE CONDUCTOR S GESTURE
·
JAMES JORDAN
The Differentiation Theory of Werner
........................41
Twentieth-Century Developmental Psychology
...................41
ytudies Concerning the Origin and
Development
of Movement Patterns in Young Children
...................44
James J. Gibson;
Gunnar
Johansson
.........................46
behaviorism
......................................47
Music Education
....................................49
Modern educational Dance
..............................51
Rudolf
von Laban...................................
52
Philosophical basis of the Work of
Laban
...................55
Effort
......................................55
The Effort Elements
................................57
The Effort Elements in Combination
......................58
The
Projective
Geometry of
Laban
.......................61
The Rhythm of Movement and Phrasing in the Theories of
Laban
.......61
У
ummary
.....................................63
The Importance of the body Map and the Theories of Antonio Damasio:
Connections with William James and Teelings of Knowing
..........64
The Pedagogical Mandate of This book
......................65
How Movement and Conducting Affects Ensembles:
Understanding the Power of body Mapping and Mirror/leurons
.......65
CHAPTER
5
Δ
Morphology of Conducting: Outlining the
Laban
Path through
ypatial Imagination and
Projective
Geometr/...................
69
The Morphology: A Movement Learning Theory
...................71
An Explanation of the Morphology
..........................75
Vpecifics of the Morphology
.............................74
CHAPTER
6
Toward an Understanding of Effort
..........................77
CHAPTER
7
An Overview of the Importance of breath
and Its Relationship to Movement
...........................81
CHAPTER
8
The Dimensional Architectures of Movement
.....................87
Rhythm Impulse and Conducting Are Inseparable
..................89
Kinesthetic Oral/Aural
................................90
VIII
TABLE
OF
CONTENTS
Teaching the Architecture ofyound
.........................91
Always Moving in Cross Dimensionsypace Orientation
...............92
CHAPTER
9
The Theory Underlying the Perceptions of Personaiypace
.............95
The Line of Cmbrace
.................................97
Theyound Membrane or Poor Plane
.........................98
yimultaneous Conducting Planes: The Three Dimensional Planes
..........98
Connecting Core to the
Pistai
Relationships of the body
............102
Theytarfish Connection
...............................102
CHAPTER
10
Labans
Conceptions of
У
patial Architecture Applied to Conducting
.......105
Rudolf
von Laban..................................
108
Philosophical basis of the Work of
Laban
...................109
Using the Architecture of the body to Conducting Advantage
........110
yimultaneous Conducting Planes: The Three dimensional Planes
......111
The
Laban
Effort Elements: riow, Weight, Time, andypace
..........113
Experiencing the Efforts in Combination
....................114
Connectingyounds to Gestureybunding Musical Line
............125
Уиттагу
.....................................127
Other
Laban
Organizations
.............................127
Laban-Related Organizations
............................128
Laban-Related Programs and Projects
.......................128
Lims
Partner Organizations
.............................129
PART
2
The Impulse to Move:
Harmonic Rhythm
................................131
CHAPTER
11
harmonic Progression: The Genesis for Movement
.................155
The Importance of harmonic Rhythm
........................154
Hierarchy of Chord Progressions (as suggested by Arnoldychoenberg)
.... 136
The Intentionality and Imperatives of harmonic Progression
...........159
Explanation of Exercises
¡пУкіІіУет
Eight
......................140
ix
THE CONDUCTORS GESTURE
·
JAMES JORDAN
PART3
ytates and
Prives
................................141
CHAPTER
12
Portal to Expressivity: Laban sytates and
Prives
for Conductors
........143
Giselle Wyers
A Preface to This Chapter Geoffrey
boere
....................144
Review ofyingle Effort Elements
..........................146
Effortytates
.....................................147
Effort
Prives
.....................................148
ГиіІ
Effort Action
...................................148
Reviewingyingle Effort Elementsyuggested Exercises
..............148
Experiencing Weightytrong and Light
.......................149
ytrong Weight
..................................149
Light Weight
...................................150
Experiencing Tlow: bound and Tree
.........................151
bound now
...................................152
Tree flow
.....................................153
Combinations of bound and Tree Movements
.................153
Experiencingypace: Pirect and Indirect
......................154
Out of
У
pace
.................................155
Experiencing Time: Quick andyustained
......................156
Efforts in Combinationytates
............................157
Preamytate
...................................158
Awakeytate
...................................159
Mobileytate
...................................160
ytableytate
...................................160
Remoteytate
..................................161
Rhythmytate
...................................161
Efforts in Combination:
Prives
............................162
Action
Prive
{/pace, Time, Weight)
.......................162
Passion
Prive
(Weight, Time, How)
.......................163
Vision
Prive
(/ pace, Flow, Time)
.........................163
У
pell
Prive (/ pace,
Weight, flow, Lacks Time)
.................163
Experiencing theytates
...............................164
Experiencing theytates in Rehearsal
........................164
beyond the Action
Prive
...............................165
Movementyignatures
................................166
Expressivity in Conducting
..............................167
Listening with
Laban:
Creating a Kinesthetic Analysis of theycore
........172
Musical Elements
...................................172
Exploring Choral Works in Petail
..........................175
TABLE
OF
CONTENTS
Morten Lauridsen s
Uirait-On
..........................175
Michael McGlynn s Dulaman
...........................176
yamue! barber s Agnus Pei
...........................176
Claude Pebussy
s U ieul Qu il
ia
fait bon regarder
................177
A Ebrief Discussion
of Laban s
yhapďyystem
...................178
yhape
Qualities (Affinities)............................
178
Modes ofyhape Change
............................179
Conclusion
.....................................179
PART
4
bodying Forth:
developing a Kinesthetic Vocabulary and Movement Language
......181
CHAPTER
13
The
Laban
Connection to Mirror
Леигопѕ:
The Importance of Learning and Re-Learning Movement
.............183
Understanding Mirror
Леигопѕ
.........................185
Laban,
Mirror /leurons, and breath
.......................187
SKILL SETS
Acquiring Conducting Technique Using the Principles of
Laban
.......189
SKILL SET ONE
developing Movement Observation andyelf-PerceptionVkills
..........191
body Kinesthetic Exercise
1:
Weight at Center
...................192
reeling Weight at
Уоиг
Center
.........................192
body hxinesthetic Exercise
2:
Learning the Kinesthetic
of Withholding Weight
..............................195
body Kinesthetic Exercise
5:
Learning the Kinesthetic of the body
Interacting with the Cffort of Weight in Relative isolation
...........197
Experiencing dimensions of Time
........................197
Experiencing Various Interactions of Time, Weight,
andypace Using the body
........................198
SKILL SET TWO
Unlocking the Conductor s Architecture
......................201
The Unlocking Joint: The Point of Gestural Release
..............202
XI
THE CONDUCTORS GESTURE
·
JAMES JORDAN
SKILL SET THREE
Accurately Perceiving /our Architecture
......................205
The Crystals
.....................................207
The body: ATystem of Levers
...........................208
Theytudy of the body Architecture
and Its Hierarchy of Resultant Gravity Pulls
..................210
Geometric Divisions of the body forytudy andyelf-Perception
.......210
Perceiving Xour Kinesphere and Interactive Gravity Pulls
...........211
ypatial distinctions and Zones for Movement
.................215
yequential Exploration of the Organization of the body
with Corresponding Gravity Pulls
........................214
The Defenseycale: The foundation of Anesthetic Experience
for Conductors
...............................214
Experiencing Two-Dimensional Movement Around the Axis:
Movement in the Octahedron
..........................216
The Poor, Wheel, and Table Planes: Two-Dimensional Movement
.........217
Movement within the Cube: The Experience of Three
Interactive Gravity Pulls
.............................220
Moving from
Tuli body
Movement to Focusing
the Movement V/orld on the Upper body
...................224
Modified Diagonals and the Dynamic of Movement
Among and between Diagonals Create the Icosahedron
...........226
SKILL SET FOUR
Developing a Kinesthetic Vocabulary of Effort Combinations
through Awakening Movement Imagination
.....................229
Experiencing the Efforts in Combination
......................231
SKILL SET FIVE
The Movement Imagery Exercises
..........................243
SKILL SET SIX
Theyixteen Movement Themes
...........................247
basic Themes
.....................................248
Advanced Themes
..................................249
Laban
Movement Experience DVD: Experiencing the Movement Themes
.....250
SKILL SET SEVEN
Predicting and Imaging Movement to Evoke the Music
Laban
Movementycore Analysis (LM/A)
......................251
Choosing Appropriate Efforts in Combination
...................259
XII
TABLE
OF
CONTENTS
SKILL SET EIGHT
Music
Exercises
for Practice
.............................265
Dab and Glide
....................................267
Glide, Press, Float, Dab, and Punch
.........................268
Float, Dab, Wring, Glide, and Press
.........................270
Press and Wring
...................................271
Dab and Glide over FLoat and Glide
........................272
The Zoo
.......................................273
Mixolydian Conducting Round
...........................274
SKILL SET NINE
The Movement Experience DVD
...........................275
The Discipline of Etudes for the Development of Conducting Technique
.... 277
F. M.
Alexander and Rudolf
Laban:
Ayymbiotic Relationship Meade Andrews
...................278
How to Use the DVU for Practice andytudy
....................279
Self-Jïudy
Outline:
The Conductor s Gesture
UVÜ
Introduction James Jordan
.............................280
Chapter
2:
The
Laban Masterdasses
Meade Andrews
...............281
The Architectural Design of the body: The Interaction and
Mutual Dependence of
Laban
and Alexander Technique
........281
Defining and Delineating
Уоиг
Personály
pace:
Exploring the Dimensions of Movement
..................281
Exploring the Pfanes of Movement:
The Door Plane, Wheel Plane, and Table Plane
.............282
Experiencing the Diagonals of the Cube
....................284
The Defenseycale: Definition and Application Using
Time, Weight, andypace
.........................285
Exploring the Isolated Efforts through Movement:
The building blocks of Expressive Conducting Gesture
.........285
Experiencing the Efforts in Isolation through Life
Movementyituations
............................286
Experiencing the Efforts in Combination through
Movement Experiences
...........................286
Acquiring a Movement Vocabulary through Effort in
Combination Experiences
.........................286
Experiencing Efforts and Efforts Juxtaposed
.................286
XIII
THE CONDUCTOR S GESTURE
·
JAMES JORDAN
Chapter
5:
Applying the Efforts in Combination to Patterns:
Prill and Practice Examples James Jordan
.....................287
Chapter
4:
Choral Conducting Masterclass
—
Practical
Application James Jordan and Meade Andrews
...................287
Chapter
5:
Instrumental Conducting Masterclass
—
Practical
Application James Jordan
..............................288
SKILL SET TEN
Preparatory Audiation and
Laban
Efforts
СР/трЗ
download for Conducting Technique [development
...........291
The Acquisition of Conducting Analogues
.....................292
Using Movement Imagery for Conductingytudy
..................292
Pedagogical Concept behind the CC/MP3: Movement Imaging
.........293
SUMMARY
A Retrospective on a Conducting Method based Upon
the Theories of Rudolf
von Laban.......................
295
Á
Compendium of Thoughts for Reytudy
.....................296
bibliography
.....................................307
Rhythm bibliography
.................................317
About the Authors
..................................327
xiv
|
| any_adam_object | 1 |
| author | Jordan, James Mark 1953- Wyers, Giselle Andrews, Meade |
| author_GND | (DE-588)1033250120 (DE-588)1054236828 |
| author_facet | Jordan, James Mark 1953- Wyers, Giselle Andrews, Meade |
| author_role | aut aut aut |
| author_sort | Jordan, James Mark 1953- |
| author_variant | j m j jm jmj g w gw m a ma |
| building | Verbundindex |
| bvnumber | BV041899287 |
| ctrlnum | (OCoLC)884957646 (DE-599)BVBBV041899287 |
| format | Book |
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| genre | DVD gnd |
| genre_facet | DVD |
| id | DE-604.BV041899287 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T16:57:19Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027343047 |
| oclc_num | 884957646 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XXIX, 331 S. Ill., graph. Darst., Notenbeisp. DVD-Video (12 cm) |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | GIA Publ. |
| record_format | marc |
| spellingShingle | Jordan, James Mark 1953- Wyers, Giselle Andrews, Meade The conductor's gesture a practical application of Rudolf von Laban's movement language Laban, Rudolf von / 1879-1958 Laban, Rudolf von 1879-1958 (DE-588)118568434 gnd Conducting Bewegungslehre (DE-588)4069421-5 gnd Dirigieren (DE-588)4012435-6 gnd |
| subject_GND | (DE-588)118568434 (DE-588)4069421-5 (DE-588)4012435-6 |
| title | The conductor's gesture a practical application of Rudolf von Laban's movement language |
| title_auth | The conductor's gesture a practical application of Rudolf von Laban's movement language |
| title_exact_search | The conductor's gesture a practical application of Rudolf von Laban's movement language |
| title_full | The conductor's gesture a practical application of Rudolf von Laban's movement language James Jordan. With Giselle Wyers and Meade Andrews |
| title_fullStr | The conductor's gesture a practical application of Rudolf von Laban's movement language James Jordan. With Giselle Wyers and Meade Andrews |
| title_full_unstemmed | The conductor's gesture a practical application of Rudolf von Laban's movement language James Jordan. With Giselle Wyers and Meade Andrews |
| title_short | The conductor's gesture |
| title_sort | the conductor s gesture a practical application of rudolf von laban s movement language |
| title_sub | a practical application of Rudolf von Laban's movement language |
| topic | Laban, Rudolf von / 1879-1958 Laban, Rudolf von 1879-1958 (DE-588)118568434 gnd Conducting Bewegungslehre (DE-588)4069421-5 gnd Dirigieren (DE-588)4012435-6 gnd |
| topic_facet | Laban, Rudolf von / 1879-1958 Laban, Rudolf von 1879-1958 Conducting Bewegungslehre Dirigieren DVD |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027343047&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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