How do conductors' movements communicate compositional features and interpretational intentions?

(ProQuest: ... denotes formulae omitted.)Music theorists have conventionally held the view that the expressiveness of music originates from compositional features such as the arrangement of tonal and rhythmic structures (Rothfarb, 2002). More recently, it has been argued that the idea of music should not be constrained to the written score, but should also take into account the act of music-making (Dogantan-Dack, 2014). Deviation from existing compositional structures is an essential aspect of musical performance (Leech-Wilkinson u0026 Prior, 2014), and each musicianu0027s musical interpretations of the score may also affect their body movement. (Davidson, 2007, 2012; Desmet et al., 2012). From this perspective, body movement in music performance appears to be one of the most important considerations. Wanderley, Vines, Middleton, Mckay, and Hatch (2005) categorized musiciansu0027 movements based on their functions including producing sound (instrumental movement), conveying expressive intention (ancillary movement), and communicating with their coperformers (communicative movement). These categories of musiciansu0027 movements bear a relationship to compositional structures. When musicians produce sounds according to the instructions in the score, their instrumental movement, such as cellistsu0027 bowing and percussionistsu0027 accented strokes, must be organized in relation to compositional structure (Dahl, 2000; Winold, Thelen, u0026 Ulrich, 1994). Musiciansu0027 ancillary body movements are also associated with compositional features such as phrase structure (MacRitchie, Buck, u0026 Bailey, 2013; Vines, Krumhansl, Wanderley, u0026 Levitin, 2006). In addition to this, evidence has shown that music listenersu0027 body movements reflect compositional structures of music including metrical hierarchical levels and rhythm (Burger, Thompson, Luck, Saarikallio, u0026 Toiviainen, 2013; Leman u0026 Naveda, 2010; Toiviainen, Luck, u0026 Thompson, 2010).Conductorsu0027 movements direct the performance in relation to selected compositional features according to their interpretational intentions. The kinematic features of these movements, including baton and hand position, velocity, acceleration, jerk, and trajectory, can regulate musiciansu0027 synchronization (Luck u0026 Nte, 2008; Luck u0026 Sloboda, 2007, 2008; Luck u0026 Toiviainen, 2006), as well as communicate expressive qualities to an audience (Gallops, 2005; Luck, Toiviainen, u0026 Thompson, 2010; Mathers, 2009; WOllner, 2008). In addition, as suggested by educational manuals concerned with conducting and orchestral direction (Green u0026 Malko, 1987; Rudolf, 1994), conductors use a particular gestural repertoire to communicate compositional features they have selected to highlight. However, such discussions of the correspondence between conducting movement and compositional elements have been based on subjective, qualitative descriptions of movement. It is still not clear how kinematic features of conducting movements deliver melodic, rhythmic, and dynamic aspects of a composition at particular time-points in the score. More research is needed to provide knowledge of how these kinematics in conducting movement can communicate such compositional features and the conductoru0027s musical interpretations.Conductors each display their own features in movement kinematics, and variability of movement between different conductors should be anticipated. Therefore, the present study aimed to examine the similarity level of kinematic features within and between conductors. Furthermore, the aforementioned studies have focused on the overall characteristics of the entire movement (Burger et al., 2013; Leman u0026 Naveda, 2010; Toiviainen et al., 2010). The present study, on the other hand, sought to associate conductorsu0027 actual conducting movements with their stated expressive intentions of compositional structures at specific time-points in the musical score.Accordingly, the research questions were: (a) In kinematic aspects, how do conducting movement kinematics vary within and between each conductor? …