owledge the material assistance rendered him
by Professor John Ross Frampton, of the Iowa State Teachers College,
and Professor Osbourne McConathy, of Northwestern University, both of
whom have read the book in manuscript and have given invaluable
suggestions. He wishes also to acknowledge his very large debt to
Professor George Dickinson, of Vassar College, who has read the
material both in manuscript and in proof, and to whose pointed
comments and criticisms many improvements both in material and in
arrangement are due.

K.W.G.

OBERLIN, OHIO
_June, 1918_

_Essentials in Conducting_

CHAPTER I

INTRODUCTION

[Sidenote: DEFINITION]

The word "conducting" as used in a musical sense now ordinarily refers
to the activities of an orchestra or chorus leader who stands before a
group of performers and gives his entire time and effort to directing
their playing or singing, to the end that a musically effective
ensemble performance may result.

This is accomplished by means of certain conventional movements of a
slender stick called a _baton_ (usually held in the right hand), as
well as through such changes of facial expression, bodily posture, _et
cetera_, as will convey to the singers or players the conductor's
wishes concerning the rendition of the music.

Conducting in this sense involves the responsibility of having the
music performed at the correct tempo, with appropriate dynamic
effects, with precise attacks and releases, and in a fitting spirit.
This in turn implies that many details have been worked out in
rehearsal, these including such items as making certain that all
performers sing or play the correct tones in the correct rhythm;
insisting upon accurate pronunciation and skilful enunciation of the
words in vocal music; indicating logical and musical phrasing;
correcting mistakes in breathing or bowing; and, in general,
stimulating orchestra or chorus to produce a tasteful rendition of
the music as well as an absolutely perfect _ensemble_ with all parts
in correct proportion and perfect balance.

In order to have his directing at the public performance function
properly, it thus becomes the conductor's task to plan and to
administer the rehearsals in such a way that the performers may become
thoroughly familiar with the music, both in technique and in spirit.
In other words, the conductor must play the part of musical manager as
well as that of artistic inspirer, and if he does not