A Perspective on Conducting Courses in Music Education Programs in Japan

Transcription

1 University of Iowa Iowa Research Online Theses and Dissertations Summer 2013 A Perspective on Conducting Courses in Music Education Programs in Japan Yuichi Ura University of Iowa Copyright 2013 Yuichi Ura This dissertation is available at Iowa Research Online: Recommended Citation Ura, Yuichi. "A Perspective on Conducting Courses in Music Education Programs in Japan." DMA (Doctor of Musical Arts) thesis, University of Iowa, Follow this and additional works at: Part of the Music Commons

2 A PERSPECTIVE ON CONDUCTING COURSES IN MUSIC EDUCATION PROGRAMS IN JAPAN by Yuichi Ura An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa August 2013 Essay Supervisor: Professor William LaRue Jones

3 Copyright by YUICHI URA 2013 All Rights Reserved

4 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL D.M.A. ESSAY This is to certify that the D.M.A. essay of Yuichi Ura has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the August 2013 graduation. Essay Committee: William LaRue Jones, Essay Supervisor Christine Getz Richard Mark Heidel Maurita Murphy Mead Christine Rutledge-Russell

5 To my family ii

6 ACKNOWLEDGMENTS First of all, I would like to express my deepest gratitude to my essay supervisor, Dr. William LaRue Jones, who kindly accepted me into his studio five years ago and has been educating me with perseverance. This essay would not have been possible without help from my essay committee consisting of Dr. Christine Getz, Dr. Mark Heidel, Dr. Maurita Murphy Mead, and Professor Christine Rutledge. I sincerely thank and respect their passion for education. I would also like to thank some fellow students in Dr. Jones s studio, Dr. Jeremy Starr, Mrs. Andrea Molina, Dr. Christopher Fashun. Dr. Kira Omelchenko, and Mr. Michael Wright. Their efforts and success always inspire me. I cannot describe how lucky I am to be working with my current colleagues at the University of Miyazaki, Professors Shigemi Takei, Hirotoshi Kasai, Ikuyo Fujimoto, Hiroshi Suga, and Mikiko Sakamoto. I could not have conducted my research without their understanding. I further appreciate Professors Haruto Imai, Hiroaki Yamada, Norihisa Yamamoto, Haruto Yoshida, and Shinji Moriguchi. Their thoughtful support made this essay possible. Many thanks as well to their former students. I owe gratitude to my mentors of conducting, composition, and English writing, Professors Ian McMicking, Koya Ban, Yukio Kitahara, Rik Hansen, Ray Cramer, Mary Trachsel, and Dr. Libby Larsen. Their encouragement is always in my heart. Finally, special thanks go to my parents and brother, who all love music and have supported me over the years. iii

7 TABLE OF CONTENTS LIST OF TABLES... vi LIST OF FIGURES... ix CHAPTER 1 INTRODUCTION...1 CHAPTER 2 STATISTICAL ANALYSIS OF CONDUCTING COURSES Current State of Conducting Courses in Music Education Programs in Japan Backgrounds of the Instructors Conducting Course Contents and Materials...16 CHAPTER 3 INTERVIEWS WITH CONDUCTING PROFESSORS Ensembles for Students to Conduct in the Conducting Courses Views on the Saito Conducting Method Use of the Left Hand The Timing for Players to Make Sound The Definition of Clear Conducting Messages to Future Music Teachers...30 CHAPTER 4 INTERVIEWS WITH MUSIC TEACHERS...32 CHAPTER 5 CONCLUSION...40 APPENDIX A. COLLECTION OF SYLLABI, 2012/ B. HARUTO IMAI INTERVIEW C. HIROAKI YAMADA INTERVIEW D. NORIHISA YAMAMOTO INTERVIEW E. HARUTO YOSHIDA INTERVIEW iv

8 F. SHINJI MORIGUCHI INTERVIEW G. GLOSSARY OF JAPANESE CONDUCTING TERMS BIBLIOGRAPHY v

9 LIST OF TABLES Table 1 Questions Asked during the Music Teacher Interviews Interview Results with Former Students of Professor Imai Interview Results with Former Students of Professor Yamada Interview Results with Former Students of Professor Yamamoto Interview Results with Former Students of Professor Yoshida An Ideal Curriculum for Music Education Program An Ideal Syllabus for Conducting (Class Schedule) An Ideal Syllabus for Advanced Conducting (Class Schedule)...45 A1 Summary of Conducting (Hokkaidō University of Education)...47 A2 Summary of Conducting 2b (Hokkaidō University of Education)...48 A3 Summary of Conducting (Hirosaki University)...49 A4 Summary of Conducting (Iwate University)...50 A5 A6 Summary of Conducting 1 (Miyagi University of Education)...51 Summary of Conducting 2 (Miyagi University of Education)...52 A7 Summary of Conducting (Akita University)...53 A8 Summary of Conducting (Ibaraki University)...54 A9 Summary of Conducting (Utsunomiya University)...55 A10 Summary of Conducting 1 (Gunma University)...56 A11 Summary of Conducting 2 (Gunma University)...57 A12 Summary of Conducting 1 (Saitama University)...58 A13 Summary of Conducting 2 (Saitama University)...59 A14 Summary of Conducting 1 and 2 (Chiba University)...60 vi

10 Table A15 Summary of Conducting (Tokyo Gakugei University)...61 A16 Summary of Conducting (Yokohama National University)...62 A17 Summary of Music Expression 2 (Niigata University)...63 A18 Summary of Musical Activities in a Group Setting C (Niigata University)...64 A19 Summary of Conducting (Jōetsu University of Education)...65 A20 Summary of Conducting (Kanazawa University)...66 A21 Summary of Conducting (University of Fukui)...67 A22 Summary of Conducting 1 (University of Yamanashi)...68 A23 Summary of Conducting 2 (University of Yamanashi)...69 A24 Summary of Basic Conducting (Shinshū University)...70 A25 Summary of Practical Conducting (Shinshū University)...71 A26 Summary of Conducting (Gifu University)...72 A27 Summary of Conducting (Shizuoka University)...73 A28 Summary of Conducting (Aichi University of Education)...74 A29 Summary of Conducting Seminar 1 (Mie University)...75 A30 Summary of Conducting Seminar 2 (Mie University)...76 A31 Summary of Conducting (Shiga University)...77 A32 Summary of Conducting 1 and 2 (Kyoto University of Education)...78 A33 Summary of Conducting (Osaka Kyōiku University)...79 A34 Summary of Ensemble Conducting (Osaka Kyōiku University)...79 A35 Summary of Conducting (Hyōgo University of Teacher Education)...80 A36 Summary of Conducting 1 (Nara University of Education)...81 A37 Summary of Conducting 2 (Nara University of Education)...82 A38 Summary of Conducting (Wakayama University)...83 vii

11 Table A39 Summary of Conducting (Shimane University)...84 A40 Summary of Conducting (Okayama University)...85 A41 Summary of Conducting 1 (Hiroshima University)...86 A42 Summary of Conducting 2 (Hiroshima University)...87 A43 Summary of Practical Conducting (Yamaguchi University)...88 A44 Summary of Conducting (Naruto University of Education)...89 A45 Summary of Conducting 1 (Naruto University of Education)...90 A46 Summary of Conducting 2 (Naruto University of Education)...91 A47 Summary of Conducting (Kagawa University)...92 A48 Summary of Conducting (Ehime University)...93 A49 Summary of Basic Conducting and Conducting I (Kōchi University)...94 A50 Summary of Conducting (Fukuoka University of Education)...95 A51 Summary of Conducting 1 (Saga University)...96 A52 Summary of Conducting 2 (Saga University)...97 A53 Summary of Conducting (Nagasaki University)...98 A54 Summary of Conducting 1 (Kumamoto University)...99 A55 Summary of Conducting 2 (Kumamoto University) A56 Summary of Practical Conducting (Ōita University) A57 Summary of Conducting (University of Miyazaki) A58 Summary of Conducting (Kagoshima University) A59 Summary of Conducting A (University of the Ryukyus) A60 Summary of Conducting B (University of the Ryukyus) viii

12 LIST OF FIGURES Figure 1 Maximum Number of Semesters Students Can Take Conducting Courses Percentage of Universities Offering Advanced Conducting Courses Average Length of the Conducting Course Offered Split between Single Instructor and Multiple Instructors for the Conducting Courses Split between Full-Time and Part-Time Instructors for the Conducting Courses Split between Single Instructor and Multiple Instructors for Advanced Conducting Courses Instructors Teaching Advanced Conducting Courses as Full-Time Faculty Members Specialized Fields of the Instructors of the Conducting Courses (1) Specialized Fields of the Instructors of the Conducting Courses (2) Specialized Fields of the Instructors of Advanced Conducting Courses (1) Specialized Fields of the Instructors of Advanced Conducting Courses (2) Percentage of the Conducting Courses Taught by Conducting Specialist Percentage of Advanced Conducting Courses Taught by Conducting Specialists Percentage of Students in Conducting or Advanced Conducting Courses Who Can Study with a Conducting Specialist Percentage of Specialist Instructors with Orchestral Conducting Backgrounds Percentage of Specialist Instructors with Band Conducting Backgrounds Percentage of Specialist Instructors with Choral Conducting Backgrounds Number of Class Hours Spent on Basic Motions and Patterns in the Conducting Courses...17 ix

13 Figure 19 Percentage Values the Final Examination Plays in Deciding the Final Grade in the Conducting Courses Percentage Values the Final Examination Plays in Deciding the Final Grade in Advanced Conducting Courses Textbooks Used in the Conducting Courses Textbooks Used in the Advanced Conducting Courses Reference Books Used in Either Conducting or Advanced Conducting Courses...21 B1 Excerpt from the second piece from Schumann s Scenes from Childhood C1 Excerpt from Katatsumuri C2 Excerpt from Mushi no Koe C3 Excerpt from the music to Radio Calisthenics no D1 Excerpt from Furusato D2 Excerpt from Inquiétude F1 Excerpt from the music to Radio Calisthenics no G1 Glossary of Japanese Conducting Terms (1) G2 Glossary of Japanese Conducting Terms (2) G3 Glossary of Japanese Conducting Terms (3) x

14 1 CHAPTER 1: INTRODUCTION In the second semester of 2012, I had my first opportunity to teach conducting for the music education program at the University of Miyazaki in Japan. 1 My experiences in preparing for the course has made it clear to me that there is no uniform approach to teaching conducting among similar programs at national universities in the country. Doing the process of completing a thorough preparation for music education students, conducting is one of the most fundamental subjects needed before becoming teachers. In Japan, the Educational Personnel Certification Law stipulates that Conducting, 2 in addition to Solfège, 3 Voice, Instrument(s), 4 Music Theory, Composition, and Music History, is a compulsory course for every student pursuing a teacher s license in music. 5 However, many national universities currently offer conducting courses for only one semester, due to limited class hours and budgets. 6 Some universities offer Conducting only as an intensive course. 7 Such conditions cannot be 1 At Japanese universities, the second semester begins in October and ends in January or February. The first semester is from April through July or August. 2 In this essay, Conducting between single quotation marks means the compulsory course in which students study basic conducting techniques. It is distinguished from elective courses such as Advanced Conducting and Conducting 2. 3 In Japan, subjects taught in a solfège course include not only the application of the sol-fa syllables, but also the basics of sight reading, sight singing, and ear training. 4 Students study piano in this course at most universities of education in Japan. 5 教育職員免許法施行規則, accessed June 18, 2013, 6 Typically, each class is held once a week and 15 or 16 times through a semester. The duration of one class is 90 minutes long. 7 An intensive course is a type of collegiate course that is designed to cover a lot of contents in a short time. In Japan, it is typically held continuously for four or five days during a break or once every two or three weeks during a semester.

15 2 the best way for the students to acquire solid conducting skills applicable for classroom and club activities in elementary, junior high, and senior high schools in future. Topics taught in a collegiate conducting course depend on the instructor. For instance, some teach basic patterns and motions of the right hand thoroughly, spending most class hours on these skills alone. Others teach a little about a wide variety of topics such as posture, use of the left hand, rehearsal techniques, and so on. Some instructors assign their students orchestral pieces at the end of the term while others do not use any instrumental works for practice. As a consequence of this variability, the ways in which each student can develop as a teacher/conductor is largely determined by the instructor with whom he or she studies. Arguably the biggest problem conducting courses face in music education programs in Japan is the lack of instructors who have academically studied conducting and/or are active as professional conductors. In fact, only 6 full-time instructors specializing in conducting, including myself, are employed across 44 national universities. 8 Instructors who are not conductors must devise original plans based on their own experiences and research. Several different perspectives that could be useful resources for those instructors are offered in this essay. This essay is composed of two parts. In the first part, I looked at the syllabi of 60 conducting courses offered by music education programs at 44 national universities in Japan. The syllabi have been translated into English. Information drawn from the syllabi is listed in charts and compared in graphs. For the second part of the essay, I interviewed 5 conducting professors to discuss their insights into the current circumstances in which 8 This has been revealed in the process of the research. The 44 universities are all that have music education programs.

16 3 conducting courses are offered in music education programs. I also interviewed former students of the professors above in order to discover what they have accomplished following their study and what challenges they currently face conducting classes and/or ensembles in their schools.

17 4 CHAPTER 2: STATISTICAL ANALYSIS OF CONDUCTING COURSES 2.1 Current State of Conducting Courses in Music Education Programs in Japan As mentioned in the introduction of this essay, the class hours during which music education majors can study conducting are limited at national universities in Japan. Figure 1 shows that more than 60% of the universities offer conducting courses for only one semester or less. Further, as seen in Figure 2, 65.9% of the universities offer no advanced conducting courses. Number of Universities Percentage Intensive Course Only 4 9.1% One Semester % One Semester and One Intensive Course 2 4.5% Two Semesters % Three Semesters 2 4.5% Total: % Two Semesters 27.3% Three Semesters 4.5% Intensive Course Only 9.1% One Semester and One Intensive Course 4.5% One Semester 54.5% Figure 1. Maximum Number of Semesters Students Can Take Conducting Courses An intensive course is one designed to cover much content in a short time. In Japan it is typically held over four or five days, either within the semester or during a break.

18 5 Number of Universities Percentage Yes % No % Total: % Yes 34.1% No 65.9% Figure 2. Percentage of Universities Offering Advanced Conducting Courses Figure 3 indicates that the basic Conducting course is offered for only one semester or as an intensive course at 95.5% of the national universities in Japan. As seen in Figure 4, a single instructor teaches the Conducting course at 90.9% of the universities. At 4 universities out of 44, multiple instructors specialized in different fields teach the course together or by sharing the class hours. At 72.5% of the universities, a full-time professor teaches the Conducting course. 9 9 See Figure 5.

19 6 Number of Universities Percentage Intensive % One Semester % Two Semesters 2 4.5% Total: % Two Semesters 4.5% Intensive 11.4% One Semester 84.1% Figure 3. Average Length of the Conducting Course Offered Number of Universities Percentage Single Instructor % Multiple Instructors 4 9.1% Total: % Multiple Instructors 9.1% Single Instructor 90.9% Figure 4. Split between Single Instructor and Multiple Instructors for the Conducting Courses

20 7 Number of Instructors Percentage Full-Time Faculty % Part-Time Faculty % Total: % Part-Time Faculty 27.5% Full-Time Faculty 72.5% Figure 5. Split between Full-Time and Part-Time Instructors for the Conducting Courses Instructors of Conducting who teach with other instructor(s) are omitted. On the other hand, at 86.7% of the universities a single instructor teaches advanced conducting courses. This percentage is slightly smaller than the percentage of universities where only one instructor teaches the Conducting course. 10 As seen in Figure 7, all of the 13 professors teaching advanced conducting courses at Japan s national universities work full-time. 10 See Figure 6.

21 8 Number of Universities Percentage Single Instructor % Multiple Instructors % Total: % Multiple Instructors 13.3% Single Instructor 86.7% Figure 6. Split between Single Instructor and Multiple Instructors for Advanced Conducting Courses Number of Instructors Percentage Full-Time Faculty % Part-Time Faculty 0 0.0% Total: % Full-Time Faculty 100.0% Figure 7. Instructors Teaching Advanced Conducting Courses as Full-Time Faculty Members

22 9 2.2 Backgrounds of the Instructors Among the 38 instructors who teach the Conducting course, 21.1% are brass players and 18.4% are composers. Figure 9 shows that 55.3% of the instructors of Conducting are instrumentalists and 7.9% are specialists in voice. Number of Instructors Percentage Woodwinds % Brass % Percussion 1 2.6% Piano 1 2.6% Strings % Voice 3 7.9% Composition % Music Education % Musicology 1 2.6% Conducting Only 2 5.3% Total: % Figure 8. Specialized Fields of the Instructors of the Conducting Courses (1) Instructors of Conducting who teach with other instructor(s) are omitted. The number of the investigated instructors and the number of single instructors seen in Figure 4 are different because two instructors teach Conducting at more than one national university.

23 10 Number of Instructors Percentage Instruments % Voice 3 7.9% Other % Conducting Only 2 5.3% Total: % Conducting Only 5.3% Other 31.6% Instruments 55.3% Voice 7.9% Figure 9. Specialized Fields of the Instructors of the Conducting Courses (2) The category Other involves those who are specialized in composition, music education, or musicology. 30.8% of those who teach advanced conducting courses are woodwind players, 11 while nearly 70% are instrumentalists. 12 None of the instructors of advanced courses are music education professors See Figure See Figure See Figure 10.

24 11 Number of Instructors Percentage Woodwinds % Brass % Percussion 0 0.0% Piano 1 7.8% Strings % Voice 1 7.8% Composition % Music Education 0 0.0% Musicology 1 7.8% Conducting Only 0 0.0% 4 Total: % Figure 10. Specialized Fields of the Instructors of Advanced Conducting Courses (1) This research is based on the instructors biographies and résumés.

25 12 Number of Instructors Percentage Instruments % Voice 1 7.7% Other % Total: % Other 23.1% Voice 7.7% Instruments 69.2% Figure 11. Specialized Fields of the Instructors of Advanced Conducting Courses (2) This research is based on the instructors biographies and résumés. Figure 12 reveals that many instructors of the Conducting course do not have a background in conducting. 61.4% of the national universities do not hire a professional or specifically educated conductor for the required conducting course. Furthermore, nonconductors teach advanced conducting courses at 66.7% of the universities. 14 So, music education majors at fewer than 40% of the national universities in Japan can study conducting with a specialist in conducting before they graduate, as seen in Figure See Figure 13.

26 13 Number of Universities Percentage Yes % No % Total: % No 61.4% Yes 38.6% Figure 12. Percentage of the Conducting Courses Taught by Conducting Specialist This research is based on the instructors biographies and résumés. Number of Universities Percentage Yes % No % Total: % Yes 33.3% No 66.7% Figure 13. Percentage of Advanced Conducting Courses Taught by Conducting Specialists This research is based on the instructors biographies and résumés.

27 14 Number of Universities Percentage Yes % No % Total: % No 61.4% Yes 38.6% Figure 14. Percentage of Students in Conducting or Advanced Conducting Courses Who Can Study with a Conducting Specialist Among the 17 instructors who are specialized in conducting, 14, or 82.4%, have backgrounds in orchestral conducting. 15 As seen in Figure 16, only 35.3% of the conductor/instructors have strong backgrounds in band. Figure 17 shows that nearly 60% of the conducting specialists are not choral conductors. 15 See Figure 15.

28 15 Number of Instructors Percentage Orchestral Conductors % Non- Orchestral Conductors % Total: % Non-Orchestral Conductors 17.6% Orchestral Conductors 82.4% Figure 15. Percentage of Specialist Instructors with Orchestral Conducting Backgrounds This research is based on the instructors biographies and résumés. Number of Instructors Percentage Band Conductors % Non- Band Conductors % Total: % Non-Band Conductors 64.7% Band Conductors 35.3% Figure 16. Percentage of Specialist Instructors with Band Conducting Backgrounds This research is based on the instructors biographies and résumés.

29 16 Number of Instructors Percentage Choral Conductors % Non-Choral Conductors % Total: % Non-Choral Conductors 58.8% Choral Conductors 41.2% Figure 17. Percentage of Specialist Instructors with Choral Conducting Backgrounds This research is based on the instructors biographies and résumés. 2.3 Conducting Course Contents and Materials Contents of the conducting courses vary from one university to the next. For example, Figure 18 illustrates that the class hours each instructor spends on fundamental techniques, such as basic motions and patterns, in the Conducting course vary greatly. The diversity is found in the 60 syllabi provided as Appendix A at the end of this essay. Approaches to evaluating students in these courses are also varied. For the Conducting course, the importance of the final examination is normally not more than 60%. 16 Out of 17 universities, it is 100% at 2 and is 0% at 3. The importance of the final exams for advanced courses is shown in Figure See Figure 19.

30 17 Number of Universities Percentage 0 class hours 0 0.0% 1 c.h % 2 c.h 0 0.0% 3 c.h % 4 c.h % 5 c.h % 6 c.h % 7 c.h % 8 c.h % 9 c.h % 10 c.h % 11 c.h % 12 c.h % 13 c.h % 14 c.h % 15 c.h % Total: % c.h. 2 c.h 3 c.h. 4 c.h. 5 c.h. 6 c.h. 7 c.h. 8 c.h. 9 c.h. 10 class c.h. hours 11 c.h. 12 c.h. 13 c.h. 14 c.h. 15 c.h. Figure 18. Number of Class Hours Spent on Basic Motions and Patterns in the Conducting Courses

31 18 Number of Universities Percentage 0-10% % 11-20% 2 9.5% 21-30% % 31-40% 1 4.8% 41-50% % 51-60% 2 9.5% 61-70% 0 0.0% 71-80% 1 4.8% 81-90% 0 0.0% % 2 9.5% Total: % % 11-20% 21-30% 31-40% 41-50% 51-60% 61-70% 71-80% 81-90% % Figure 19. Percentage Values the Final Examination Plays in Deciding the Final Grade in the Conducting Courses

32 19 Number of Universities Percentage 0-10% % 11-20% 0 0.0% 21-30% % 31-40% % 41-50% % 51-60% 0 0.0% 61-70% % 71-80% % 81-90% % % 0 0.0% Total: % % 11-20% 21-30% 31-40% 41-50% 51-60% 61-70% 71-80% 81-90% % Figure 20. Percentage Values the Final Examination Plays in Deciding the Final Grade in Advanced Conducting Courses

33 20 Number of Universities Percentage Redel. Taktschlagen oder Dirigieren % Saida. Hajimete no Shikihō 1 7.1% Saito. Shikihō Kyōtei (The Saito Conducting Method) % Scherchen. Handbook of Conducting 1 7.1% Watanabe. Yasashii Shikihō 1 7.1% Yamamoto. Manabō Shikihō, Step by Step % Redel Saida Saito Scherchen Watanabe Yamamoto Figure 21. Textbooks Used in the Conducting Courses At 2 universities out of the 14, more than one textbook is used in the Conducting course. Number of Universities Percentage Saito. Shikihō Kyōtei (The Saito Conducting Method) % Scherchen. Handbook of Conducting % 1 1 Saito Scherchen Figure 22. Textbooks Used in the Advanced Conducting Courses

34 21 Number of Universities Percentage Ameya. Jissenteki Shikihō Nyūmon 1 6.3% Komatsu. Jissenteki Shikihō 1 6.3% Rudolf. The Grammar of Conducting 1 6.3% Saito. Shikihō Kyōtei (The Saito Conducting Method) % Saida. Hajimete no Shikihō % Takahashi. Shikihō Nyūmon % Watanabe. Yasashii Shikihō 1 6.3% Yamada. Shiki no Gihō % Yamamoto. Manabō Shikihō, Step by Step % Figure 23. Reference Books Used in Either Conducting or Advanced Conducting Courses At several universities out of the 16, more than one reference book is used. As Figures show, Shikihō Kyōtei (The Saito Conducting Method) is most commonly used in conducting courses for music education majors in Japan. The Saito Conducting Method is used at 50.0% of the universities for both the Conducting and advanced courses. 17 It is designated as a reference book at 75.0% of the national universities throughout Japan. 18 At some universities, professors use more than one textbook and/or reference book. 17 See Figures 21 and 22.

35 22 CHAPTER 3: INTERVIEWS WITH CONDUCTING PROFESSORS I interviewed five conducting professors. These professors were chosen because they are the only full-time professors teaching conducting at national universities who are professionally trained as conductors and/or orchestral performers. 19 Brief biographies of the professors are presented below. The first interviewee, Haruto Imai, is an Associate Professor of Music at Saga University in Saga, Japan. He also serves as a conductor of the Tokyo Academy Chorus and an adjunct instructor of conducting at Kumamoto University. After earning a bachelor s degree in string bass at Tōhō Gakuen School of Music, Imai studied conducting at Senzoku Gakuen College of Music under several faculty members, including Kazuyoshi Akiyama. The second interviewee, Hiroaki Yamada, is an Associate Professor of Music at Naruto University of Education in Naruto, Tokushima, Japan. He studied musicology at Tokyo National University of Fine Arts and Music, and opera coaching and conducting at the Hochschule für Musik und darstellende Kunst in Wien. He won the second prize in the International Besançon Competition for Young Conductors in The third interviewee Norihisa Yamamoto is a Professor of Music at Tokyo Gakugei University in Koganei, Tokyo. He regularly conducts his brass group Ensemble Pegasus Tokyo and guest conducts orchestras inside and outside of Japan. His book 18 See Figure Moriguchi is an adjunct instructor at Yamaguchi University and Ōita University, but is a fulltime professor at a non-national institution (Ōita Prefectural College of Arts and Culture).

36 23 Manabō Shikihō, Step by Step (Let s Study Conducting, Step by Step) is utilized as a textbook for conducting courses at several universities. The fourth interviewee, Haruto Yoshida, is an Associate Professor of Music at Shinshū University in Nagano. After majoring in trumpet and graduating from the Berlin University of the Arts, he studied conducting with Carl August Bünte for three years. Between 1994 and 2006, he was principal trumpet at the Filharmonia Pomorska in Poland and the Osaka Philharmonic. The fifth interviewee, Shinji Moriguchi, is an Associate Professor of Music at Ōita Prefectural College of Arts and Culture in Ōita, Japan. This college is not included in the 44 investigated institutions because it is not a national university. Moriguchi is included because he teaches conducting weekly at Ōita University and intensively at Yamaguchi University, which are both national universities. He won the third prize in the Prague Spring International Music Competition in 1995 and was a conductor of the Orchestra Ensemble Kanazawa between 2003 and Summarized in this chapter are the five professors thoughts and attitudes on the following six topics: Ensembles for Students to Conduct in the Conducting Courses, Views on the Saito Conducting Method, Use of the Left Hand, The Timing for Players to Make Sound, The Definition of Clear Conducting, and Messages to Future Music Teachers. The interviews were held in the office of each professor between February 14 and March 5, The interview transcripts are found as appendices at the end of this essay.

37 Ensembles for Students to Conduct in the Conducting Courses In Professor Imai s conducting course at Saga University, teaching assistants (TAs) play two pianos for the students participating in the course. At Kumamoto University where Professor Imai teaches an intensive course, there is no TA for his class, so he plays the piano while teaching. He no longer has the students play the piano because their performance abilities were too low to be used in the conducting class. Though Imai also teaches an instrumental ensemble course at Saga, he does not allow his students to conduct the ensemble. Professor Yamada focuses on basic techniques and uses very simple songs in the Conducting course at Naruto University of Education, but his students have opportunities to conduct actual ensembles in a course named Instrumental and Vocal Ensembles. The instrumental ensemble organized in this course consists of pianicas, accordions, marimba, piano, etc. His students also conduct a chorus singing pieces that are typically used in junior high school choruses. They learn rehearsal techniques through conducting the chorus. At Tokyo Gakugei University, there are 55 students in Professor Yamamoto s Conducting course. He usually has his students sing together for their fellow conductors. Most songs are sung a cappella. The pieces are all chosen from his textbook. He assigns Promenade from Mussorgsky s Pictures at an Exhibition for the final examination. Students used to play the piece on piano, but now each student plays whatever instrument he or she can. Students create their own parts for the particular instruments by transcribing from the score.

38 25 What Professor Yoshida does at Shinshū University is very unique. He has his students conduct with CDs. He explains, I tell them that what we do is not real, but I can t help it because of the number of students 20 His students can conduct a real ensemble later in a course named Instrumental Teaching Methods. At the end of Instrumental Teaching Methods, the students conduct a short and easy piece, such as an arrangement of a sixteen-measure song. Professor Moriguchi plays the piano for his students at Ōita University and Yamaguchi University. At the beginning of the semester, he plays for all of the students who practice tataki simultaneously even though the students gestures are not exactly together. He believes that the students will develop bad habits of conducting to the sound if he does so throughout the course. Despite this, he mentions that the purpose of this activity is to solidify the motions of the basic patterns. His students also conduct their classmates singing simple songs. 3.2 Views on the Saito Conducting Method Professor Imai has studied the Saito conducting method, as he is a Tōhō alumnus, but he believes that his students do not have to know the special vocabulary of the method. 21 He also thinks that some of the techniques are not suitable in places of education, as he says, Doing sen-nyu at school is ridiculous. He also explains, It s nonsense to use the technique if the players don t know the meaning of it. In Conducting 1, Imai teaches hard tataki first because he thinks that it is more difficult 20 During the academic year 2012/2013, there were 21 students in Basic Conducting and 15 students in Practical Conducting. 21 See glossary (Appendix G).

39 26 than soft motions. From his experience, he is aware that players in the ensemble never make a sound until the conductor shows the beat-point by using tataki. Since Professor Yamada studied conducting in Vienna, he has not formally studied the Saito method. In his conducting classes, he only teaches tataki, shakui and subdivisions based on the method. He does not teach sen-nyu or haneage because students can do them naturally without instruction. He says, Whenever active music teachers come to my seminar, they all conduct with haneage. Yamada does not teach heikin undo because he believes that we cannot use the technique efficiently unless the players are professional. Professor Yamamoto studied the Saito method under a student of Hideo Saito, but he thinks that the method is not suitable for educational institutions, as it is designed to train conducting specialists. In explanation, he says, Even if I have my students practice a certain technique like tataki for a month I don t think it is necessary. It is too much for music education majors. He only spends one hour on tataki regardless of achievement. The first three techniques in The Saito Conducting Method are tataki, heikin undo, and shakui in order, but in Yamamoto s textbook heikin undo comes first, then shakui and tataki are explained. He has chosen this order because he has realized that the meaning of tataki is difficult for his students to comprehend. On the other hand, he thinks that heikin undo is the easiest motion for them. Professor Yoshida has not studied the Saito method and does not teach it in his conducting courses. He says that his course contents are based on nothing. Yoshida argues, I don t reject the method outright but I feel that the Saito method requires us to apply the techniques to music I don t know if it s the best for music education majors

40 27 because what they need to learn is not limited to basic patterns or motions. He also says, Students studying the Saito method tend only to be aware of how to move their hands. But I hope my students will feel the music first. In the end, I hope their hands will move automatically, naturally, and unconsciously. In order to explain techniques, he uses adjectives such as hard, soft, light, and heavy instead of the terms from The Saito Conducting Method. Professor Moriguchi says that he has never read to the end of The Saito Conducting Method. He simply utilizes Studies nos. 1 and 2 from the book as course materials. Though there are spots for sen-nyu in Study no. 2, he skips such detailed instructions. The only terms Moriguchi uses in his classes are tataki, shakui, and heikin undo. Throughout the semester, he makes sure that his students keep developing their tataki. 3.3 Use of the Left Hand Professors Yamamoto, Yoshida, and Moriguchi have very different opinions about the use of the left hand. Yamamoto says, I think that the right hand shows the rhythm or the pulse of the music. The left hand shows expression and other contents of the music. Especially when the students conduct a chorus, he tells them that they may mirror the motion of the right hand with the left. By contrast, Yoshida never says anything like, Count beats with the right hand and show the expression with the left hand. Instead, he asks his students, Don t you look unbalanced if you conduct only with your right hand? and lets them draw symmetrical patterns with both hands so as to get used to using the left hand.

41 28 Moriguchi feels that the use of left hand is difficult to teach, and he says that he can talk about the use of left hand only briefly because of limited class hours. At Ōita Prefectural College of Arts and Culture, where he teaches full-time, many students take his conducting course. He instructs them, Let s conduct only with the right hand for now, because he thinks that it is nonsense for them to use the left hand badly simply by moving their hands symmetrically. 3.4 The Timing for Players to Make Sound Professors Imai, Yamada, and Moriguchi offer widely different approaches to teaching students about timing to make sound. Imai explains that a small time-gap is created anyway when a conductor s arm goes up quickly. His ideal timing is when his baton starts rising. Yamada basically tells his students to play after the beat because he believes that conducting does not require sound on its beat-point. In his opinion, the beat-point is only permission for the ensemble to start making sound. He thinks that the more important thing for the players is to unite their hearts. Moriguchi is aware that players, especially accomplished musicians, will hate the conductor if he or she shows the beat-points all the time. Regarding the showing of beatpoint, he observes that the higher the performers level, the more they will do so. Despite this, he does not conduct overly ahead. He explains, The natural point is here the beat-point. But if the ensemble is not flowing, I will purposely conduct ahead. 3.5 The Definition of Clear Conducting In the interviews, Professors Imai, Yoshida, and Moriguchi stressed the definition of clear conducting. Imai believes that various conducting techniques, including those used to express the structure of a work, will create clarity of conducting. In other words,

42 29 analytic ability is an important technique for conductors to master. When Imai says to his students, That s not clear, he simply means that he could not play the music in the way that it is being conducted if he were in the orchestra. He also thinks that what the conductor wants to do is more clear when his or her enthusiastic expression is stronger than normal mechanical techniques. In short, he believes that clear conducting conveys the conductor s musical messages directly to the players. Yoshida concurs that clear conducting can make players understand what the conductor wants to do musically. As he explains, Whenever I conduct, I try to show what I think I want to see...if I were in the orchestra. Based on his experience as a trumpeter in professional orchestras, he says of current Japanese conductors, I m speaking only for myself, but there is no difference among most Japanese conductors. They all conduct very beautifully and methodically as if they re making air shots. Yoshida does not consider these conductors to be clear, however. In addition, he thinks that conducting with either right hand or left hand is acceptable as long as the conductor conducts clearly. With regard to clear conducting, Moriguchi states, When the conducting is clear, what the conductor wants to do is clear The most important thing is a strong image. How to breathe and how to use eyes are also important. He also mentions, It s a given fact that the patterns are clear. Moriguchi thinks that the definition of clear conducting is always the same regardless of the context, whether professional orchestras or educational institutions.

43 Messages to Future Music Teachers The following statements are some of the most important concepts that the five conducting professors would like to convey to their students studying in music education programs. Concerning conducting techniques, Professor Imai says, Some students can express the music right away. Some cannot because they are shy. We must teach how to talk to these shy students. Mechanical techniques are necessary for them. But Professor Yamada does not consider conducting techniques to be the most important thing he teaches to his students. Rather, he states, I think the ability to communicate with others is much more important. Looking into others eyes and other such actions are so significant. In Professor Yamamoto s classes, he preaches to students the importance of musical analysis and ability to take control of people. Yet what he wants his students to remember is that conductors no not make sounds. Therefore, conductors must be modest. He concludes that what he would most like to say to the future music teachers in his class is Know yourselves. We all need to pursue music, Professor Yoshida says. He argues, There s no music for music education, or there s no education for music education. There s only music. So what we must convey to our students is music. Therefore, the ideal future identity of each of his students is not as an educator of music or a player of music, but simply a musician. In his classes, he wants his students to feel that conducting is fun. Professor Moriguchi believes that what teachers want to teach is significant and that what conductors want their players to comprehend is important. Other than this, he does not have a strong message to his students beyond sharing his musical experiences: I

44 31 don t feel at all like I m on a higher level and should emphasize my professional career. But I have some experience, so I just talk about it humorously.

45 32 CHAPTER 4: INTERVIEWS WITH MUSIC TEACHERS I interviewed active music teachers who had studied conducting with the conductor/professors interviewed for the previous chapter. However, I could not interview any former student of Professor Moriguchi. In questioning other full-time professors at Yamaguchi and Ōita Universities, no alumni are presently employed as music teachers. These interviews were held after I met with the conducting professors. Each of the music teachers answered the same questions, listed in Table 1. The answers by the music teachers are seen in Tables 2 through 5. Table 1. Questions Asked during the Music Teacher Interviews Question 1 How long have you been teaching music at school? In what situations at school do you usually conduct? (1. Chorus in Question 2 class, 2. Instrumental ensemble in class, 3. Chorus club, 4. Band club, 5. Orchestra or string club, 6. Ceremonies such as commencement, 7. Other) Question 3 What kind of trouble do you have in conducting at school? Do you think that the education you received from your conducting Question 4a professor is useful at school? (1. Yes, 2. Mostly yes, 3. Not really, 4. No) Question 4b Why, or why not? Question 5a What did you find the most beneficial during your studies of conducting at your university? Question 5b What did you find the least beneficial during your studies of conducting at your university? Question 6a Comparing yourself to other music teachers, how do you rate your abilities as a conductor? (1. Very good, 2. Good, 3. Average, 4. Poor) Question 6b Briefly describe your positive or negative response to Question 6a. Question 7 In your opinion, what is the most important thing for a music teacher to keep in mind when he/she conducts in classes and club activities?

46 33 Table 2. Interview Results with Former Students of Professor Imai Initials M.F. E.N. Sex Female Female Type of School Elementary School Elementary School Graduation Date March, 2010 March, 2010 Q1 How long have you been 3 years 3 years teaching music at school? Q2 In what situations at school do you usually conduct? Q3 What kind of trouble do you have in conducting at school? Q4a Do you think that the education you received from your conducting professor is useful at school? Q4b Why, or why not? Q5a What did you find the most beneficial during your studies of conducting at your university? Q5b What did you find the least beneficial during your studies of conducting at your university? Q6a Comparing yourself to other music teachers, how do you rate your abilities as a conductor? Q6b Briefly describe your positive or negative response to Question 6a. Q7 In your opinion, what is the most important thing for a music teacher to keep in mind when he/she conducts in classes and club activities? 1. Chorus in class 1. Chorus in class, 2. Instrumental ensemble in class N/A "It is difficult for me to bring out the kids' expression." 2. Mostly yes 1. Yes "Because I can explain how to conduct well to my students when they try to conduct 2, 3 and 4-beat patterns." "Most things I learned are beneficial." "Thanks to the education, I don't hesitate about conducting in front of people." "Basic motions such as tataki." N/A "Practices using orchestral works. Elementary teachers only conduct easy instrumental and choral pieces, so studying complicated works such as orchestral scores is not necessary." 3. Average 3. Average "I have no opportunity to compare myself with others." "To make music with the kids by thinking of what they want to express." N/A "To make everything together. 'Everything' includes the kids' awareness, breathing, eyes, and motivations."

47 34 Table 3. Interview Results with Former Students of Professor Yamada Initials E.A. S.K. M.U. A.T. Sex Female Female Female Female Type of School Elementary School Elementary School Elementary School Special School (Senior High School) Graduation Date March, 2010 March, 2010 March, 2010 March, 2010 Q1 How long have you been teaching music at school? 3 years 3 years 3 years 2 years Q2 In what situations at school do you usually conduct? Q3 What kind of trouble do you have in conducting at school? Q4a Do you think that the education you received from your conducting professor is useful at school? Q4b Why, or why not? 2. Instrumental ensemble in class, 3. Chorus club, 7. Other (practice for ceremonies) "I don't conduct very often in the class as I usually accompany my students. Therefore, students don't get used to watching a conductor and don't look at me whenever I conduct them." 2. Instrumental ensemble in class, 4. Band club "Choral conducting is difficult for me. I want to attend seminars to study it, but I'm too busy." 1. Chorus in class, 2. Instrumental ensemble in class, 6. Ceremonies such as commencement, 7. Other (practice for ceremonies, sports day, brass band outside of school) N/A 7. Other (No opportunity to conduct) N/A 3. Not really 2. Mostly yes 2. Mostly yes 2. Mostly yes "That's because I seldom conduct in the class. What I learned from my professor is useful when I instruct the chorus club." "Because Professor Yamada gave us a general knowledge of things that are necessary for music classes. However, I don't think I have solid techniques in conducting because we studied them only for a semester." "That's because I've been adopting what I learned from Professor Yamada for the situation of each student." "I have no opportunity to conduct at school, but what I learned in the conducting course is useful when I stand in front of my students and motivate them."

48 35 (Table 3 continued) Q5a What did you find the most beneficial during your studies of conducting at your university? Q5b What did you find the least beneficial during your studies of conducting at your university? Q6a Comparing yourself to other music teachers, how do you rate your abilities as a conductor? Q6b Briefly describe your positive or negative response to Question 6a. Q7 In your opinion, what is the most important thing for a music teacher to keep in mind when he/she conducts in classes and club activities? "How to express my music through conducting. I got lots of ideas by watching Professor Yamada conducting." "How to read scores. It is very useful when I teach the band club." "The method of choral teaching is the most beneficial." N/A N/A N/A N/A 3. Average 3. Average 3. Average 4. Poor "I think that how much one has conducted is more important than where he or she studied. There are many elementary teachers who did not major in music at college, but some of them are very good at conducting especially if they have experiences in chorus." "To comprehend the kids' abilities before making music. It is important to know how much a teacher may require of his or her students." N/A "To hope to gather the kids' hearts into one." "I think so because my students have been growing as well as other teachers' students." "To support each student's growth with consideration for their feelings." "How to look at students. It can be used even at a special school." "I think so because I was not able to study conducting in detail." N/A

49 36 Table 4. Interview Results with Former Students of Professor Yamamoto Initials R.S. A.N. Sex Female Male Type of School Elementary School Junior High School Graduation Date March, 2012 March, 2003; March, 2009 (Master's) Q1 How long have you been 1 year 4 years teaching music at school? Q2 In what situations at school do you usually conduct? Q3 What kind of trouble do you have in conducting at school? Q4a Do you think that the education you received from your conducting professor is useful at school? Q4b Why, or why not? Q5a What did you find the most beneficial during your studies of conducting at your university? Q5b What did you find the least beneficial during your studies of conducting at your university? Q6a Comparing yourself to other music teachers, how do you rate your abilities as a conductor? Q6b Briefly describe your positive or negative response to Question 6a. Q7 In your opinion, what is the most important thing for a music teacher to keep in mind when he/she conducts in classes and club activities? 1. Chorus in class, 2. Instrumental ensemble in class "I have no time to practice conducting. Also, I feel that I only have a little knowledge about it." 4. Band club 2. Mostly yes 2. Mostly yes "I have learned basic conducting techniques only in Professor Yamamoto's course, so I simply need to use them." "Tataki and heikin undo." N/A "I feel that my techniques in teaching ensemble are not enough." "I developed conducting techniques through Professor Yamamoto's course, but I currently do not have time to analyze music that I conduct." "The basic conducting techniques and how to read scores." N/A 3. Average 2. Good "I think that the teachers, who are good at conducting, study positively even after graduating from college." "The most important thing is that the teacher's conducting is clear to the students." "I think that my conducting techniques are better than the teachers who are not very interested in conducting." "Teachers must involve themselves in students' music making. We should not completely rely on outside instructors in teaching ensemble."

50 37 Table 5. Interview Results with Former Students of Professor Yoshida Initials A.K. M.T. H.S. Sex Female Female Male Type of School Elementary School Elementary School Junior High School Graduation Date March, 2012 March, 2011 March, 2012 Q1 How long have you been teaching 1 year 2 years 1 year music at school? Q2 In what situations at school do you usually conduct? Q3 What kind of trouble do you have in conducting at school? Q4a Do you think that the education you received from your conducting professor is useful at school? Q4b Why, or why not? Q5a What did you find the most beneficial during your studies of conducting at your university? 1. Chorus in class, 2. Instrumental ensemble in class, 3. Chorus club "I feel that my conducting simply shows beats. I want to bring out more expression from my students, but I don't know how to do so." 1. Chorus in class, 2. Instrumental ensemble in class, 4. Band club "I can't improve my conducting techniques. I doubt if self-studying is meaningful to me." 3. Not really 1. Yes 1. Yes "That's because I'm very busy for classes and school events. I don't have time to analyze pieces or practice conducting, so I just move my hands without remembering what I learned from Professor Yoshida." "Basic motions such as how to show the beatpoint." "That's because I had no conducting experience until I took Professor Yoshida's course." "To move my hands by feeling the music." 1. Chorus in class, 2. Instrumental ensemble in class, 4. Band club, 5. Orchestra or string club, 6. Ceremonies such as commencement "I have trouble conducting and teaching chorus because I chiefly studied band conducting at university." "That's because what I learned from Professor Yoshida is very useful especially for band teaching." "How to teach band."

51 38 (Table 5 continued) Q5b What did you find the least beneficial during your studies of conducting at your university? Q6a Comparing yourself to other music teachers, how do you rate your abilities as a conductor? Q6b Briefly describe your positive or negative response to Question 6a. Q7 In your opinion, what is the most important thing for a music teacher to keep in mind when he/she conducts in classes and club activities? "Nothing is useless, but I wish I could learn more about choir conducting. My professor taught us much about band and orchestral conducting, but there are more opportunities to conduct chorus at elementary school." N/A N/A 3. Average 2. Good 2. Good "No teacher seems specialized in conducting at least in my school." "To be a conductor that can bring out the kids' power of expression. Professor Yoshida taught me that it is important for a musician to fall in love with the music. I now understand what he meant. If a teacher/conductor expresses his or her music energetically, their kids will also express themselves frankly." "I think so since the conducting course I tool at university was practical." "To release the kids potentials." "I feel that many teachers don't have basic conducting techniques. Of course, some teachers are excellent conductors." "When we teach band clubs, teaching skills are more important than conducting skills. I think it is necessary for us to show patterns that are clear to the students. Also we need to explain the meaning of each conducting motion."

52 39 Through the interviews with music teachers, most former students of the four conducting specialists are satisfied with the education they received from their conducting professors. However, many of them find technical troubles in teaching/conducting classes and ensembles in their schools. For instance, a former student of Yamamoto who currently teaches at a junior high school says, I feel that my techniques in teaching ensemble are not enough. An elementary school teacher who studied conducting with Yoshida also says, I feel that my conducting simply shows beats. I want to bring out more expression from my students, but I don't know how to do so. It was also revealed that some of the music teachers do not feel confident about their choral conducting. One of the former students of Yamada teaching at an elementary school mentions, Choral conducting is difficult for me. I want to attend seminars to study it, but I'm too busy. Another former student of Yoshida who presently teaches at a junior high school states, I have trouble conducting and teaching chorus because I chiefly studied band conducting at university.

53 40 CHAPTER 5: CONCLUSION Research on the syllabi of conducting courses in music education programs at 44 national universities in Japan reveals that the time allotted to studies of conducting techniques is limited and the skills that are taught in conducting classes may be a less than optimal preparation for the educational jobs graduates will assume. Only 7.9% of professors teaching the Conducting courses have backgrounds in voice, though music teachers need to conduct and teach chorus at elementary, junior high, and senior high schools. Another serious problem is that music education majors at 66.7% of the national universities in Japan cannot study conducting with a specialist in conducting before they graduate. In the present financial situations, the number of faculty members is being reduced and many universities cannot hire professional or specifically educated conductors as full-time instructors. The five professors interviewed are all conducting specialists. However, the contents of the courses they teach vary considerably. Concerning the use of the left hand, for instance, Yamamoto teaches that the right hand must show the pulse of the music while the left hand must show expression. Yoshida never gives this advice but instead lets his students draw symmetrical patterns with both hands. Moriguchi, by contrast, thinks that it is nonsense for his students to use the left hand badly simply by moving their hands symmetrically. Nonetheless, all of the conductor/professors commonly believe that conducting techniques are less important for music teachers than many other things such as the ability to communicate with others and solid understanding of what they want to teach.

54 41 Most of the interviewed music teachers who studied with conducting specialists feel that their basic techniques are solid. However, they consider their skills to be limited for teaching ensembles. The music teacher interviews reveal that the teachers tend to attach greater importance to what the students want to express than to their own musical thoughts. For example, a former student of Imai explains that the most important thing for a music teacher to keep in mind when conducting is to make music with the kids by thinking of what they want to express. This idea differs radically from that of professional conductors. After investigating the conducting courses in Japan, the following five possible actions emerge to guide the design of music education programs and the practices of conducting instructors. First, require the students to learn a wind, brass, percussion or string instrument in their freshman year. Most students in music education programs in Japan do not have experience in orchestral/band instruments because they only play the piano and/or sing at entrance examinations. It is important for them, before studying conducting, to learn how to play an instrument, how to watch the conductor, and to experience what the players feel like in an ensemble. The students should be expected to continue playing the instrument for four years. Students who already have some experience in certain instruments may try a different instrument to widen their knowledge. Second, require the students to study the basics of music theory and music history before taking the conducting course. Conducting without knowledge is absolutely meaningless. Therefore, theory and history courses must be designed in the freshman and sophomore years, and the conducting course must not be offered in the

55 42 freshman year. For the same reason, instructors should avoid assigning complicated works in the conducting courses. The assigned works need to be fairly easy to analyze. In addition, there should be historical information readily available about the composers and their compositions in order for students to research them without difficulty. Third, require the students to conduct in the Instrumental Ensemble and Chorus courses. They will realize that conducting an actual ensemble is completely different from training with two pianos or recordings. By standing on the podium, they can learn appropriate attitudes as conductor/teachers. If the performance level in Instrumental Ensemble is not high enough, comparatively easy instruments, such as recorders, may be useful. Students cannot learn how to control intonation, articulation, and dynamics of a whole ensemble without experiencing music making from the podium. Assignments for the Instrumental Ensemble course may include transcribing from a full or condensed score to new instrumentation featuring the participating students. Fourth, encourage the students to join ensembles outside the program. Such an activity will provide the students with further opportunities to be conducted by different directors. Orchestra and band are not part of the curricula at universities in Japan. But the universities provide clubs which students may join that perform pretty well and provide a platform where music education majors may demonstrate leadership. Amateur community orchestras and bands also welcome university students. Fifth, provide the students with opportunities to study both instrumental and choral conducting. In Japan, most professional/educational conductors specialized in instrumental conducting. One of the reasons for this is that none of the universities or conservatories in the nation offers a choral conducting course at the graduate or

56 43 undergraduate level. Even though four of the five interviewed professors have mentioned that they conduct instrumental ensembles and choruses in the same way, their former students report being confused by the difference between the styles of instrumental and choral conducting. Therefore, instructors of conducting must be able to convince their students that there is no difference between the two, if they believe so. If the instructor finds differences, he or she should explain to the students what those differences are. In conclusion, the Conducting course for music education majors in Japan needs to provide students with a solid base of conducting techniques, which include basic motions and patterns, and the techniques must be applied for both instrumental and choral ensembles. Teaching difficult orchestral works is not as necessary in the beginning Conducting course because the students lack adequate skills of analysis. Nonetheless, students should have opportunities to prepare major orchestral, band or choral works in the course of their studies. At any rate, the quality of music utilized in any conducting course must be guaranteed. Each assignment has to include compositions that require students to make their own musical decisions. Even though a department cannot offer an advanced conducting course, many essential conducting skills can be covered in other courses. For example, students can learn rehearsal techniques in the Instrumental Ensemble and Chorus courses, if some amount of podium time is provided. They can develop their skills of musical analysis and score reading in Music Theory and Solfège, respectively, if the course contents are organically linked. It is important for faculty members to share a strong sense of purpose and cooperate with each other. It is also important for music education programs to periodically survey music teachers about their latest needs at school. The survey

57 44 results should be reflected in the development of programs. All faculty members must make efforts as well to update their course contents from one year to the next, to make the studies for music education majors more substantial. As a result, an ideal curriculum for music education majors in Japan might be designed as seen in Table 6. Table 6. An Ideal Curriculum for Music Education Program Year / Semester Year 1 / Semester 1 Year 1 / Semester 2 Year 2 / Semester 1 Year 2 / Semester 2 Year 3 / Semester 1 Year 3 / Semester 2 Year 4 / Semester 1 Year 4 / Semester 2 Subject 1 Subject 2 Subject 3 Subject 4 Instrument(s) 1 (Orchestral Instruments) Instrument(s) 2 (Orchestral Instruments) Instrument(s) 3 (Orchestral Instruments) Instrument(s) 4 (Piano) Instrument(s) 5 (Piano) Instrument(s) 6 (Piano) [Instrument(s) 7 (Piano or Orchestral Instruments)] [Instrument(s) 8 (Piano or Orchestral Instruments)] Music History 1 Music History 2 Music History 3 Instrumental Ensemble 1 Instrumental Ensemble 2 Instrumental Ensemble 3 [Instrumental Ensemble 4] [Instrumental Ensemble 5] Music Theory 1 Music Theory 2 Music Theory 3 Solfège 1 Solfège 2 Voice Conducting Chorus 1 Advanced Conducting 1 Chorus 2 Advanced Conducting 2 Chorus 3 Composition [Chorus 4] [Advanced Composition] [Chorus 5] In this curriculum, students do not register more than 4 music related courses each semester, so that plenty of time for the students to take non-music courses is guaranteed. Instrument(s) 7 and 8, Instrumental Ensemble 4 and 5, Advanced Composition, and

58 45 Chorus 4 and 5 are elective courses. Therefore, senior students who wish to concentrate on the employment examinations are able to do so. Ideal syllabi for Conducting and Advanced Conducting in the curriculum above might be designed as respectively presented in Tables 7 and 8. Table 7. An Ideal Syllabus for Conducting (Class Schedule) Term Schedule Second Semester, Sophomore Year Week 1: Introduction: How to choose a baton, how to hold a baton, 1 and 2-beat tataki, shakui, and heikin undo Week 2: Duple meter Week 3: Discussion on video from last class Week 4: Triple meter Week 5: Discussion on video from last class Week 6: Quadruple meter Week 7: Discussion on video from last class Week 8: Tempo and dynamics changes Week 9: Review of basic motions Week 10: Irregular meter, compound meters Week 11: Waltz tataki Week 12: Discussion on videos from last two classes Weeks 13-15: Practices for examination Week 16: Final examination (Each student chooses a choral or instrumental work from an elementary or junior high school textbook.) Table 8. An Ideal Syllabus for Advanced Conducting (Class Schedule) Term Schedule Junior Year Weeks 1-3: Score reading sessions Week 4: Selecting works for examination Weeks 5-6: Research on historical backgrounds of selected works and composers Week 7: Presentations on the historical research Weeks 8-9: Analyzing selected works Week 10: Presentations on the musical analyses Week 11: Review of Conducting Weeks 12-14: Practices for examination Weeks 15-16: Final examination (Each student chooses a classical masterwork for orchestra. Students conduct orchestral works played by two pianos.)

59 46 In the Conducting course, students thoroughly learn basic patterns and motions of conducting. The basic motions taught in this course are limited to three types from the Saito conducting method; tataki, shakui, and heikin undo; because most works of the Baroque, Classical, and Romantic eras can be conducted with these kinds of motion. For the final examination, students practice choral and instrumental works from textbooks which may be used during their student teaching sessions and beyond. By the end of the semester, students should be able to conduct relatively simple musical works without difficulty. The Advanced Conducting course provides students with opportunities to research and analyze music which they actually conduct at the final examination. Each student prepares and conducts a standard orchestral work performed by two pianos. It is financially impossible for the department to organize or hire an orchestra with an adequate level for the course. Nonetheless, it is possible for the students to conduct large ensembles in Instrumental Ensemble 4 and 5 and Chorus 4 and 5 while participating in these courses during their senior year.

60 47 APPENDIX A COLLECTION OF SYLLABI, 2012/2013 Table A1. Summary of Conducting (Hokkaidō University of Education) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Michio Sugano ( 菅野道雄 ), Professor Specialized Field Music Education of Instructor Aims/Goals 1. To study basic and applied conducting techniques practically through easy pieces. 2. To understand the role of a conductor of instrumental and vocal ensembles. 3. To become able to choose appropriate techniques through musical analysis. Schedule Weeks 1-2: Basic motions, outline of advanced techniques Weeks 3-6: Basic patterns Weeks 7-9: Practice using choral works Weeks 10-15: Practice and practical examination using orchestral works Grading Based on a written paper and practical examination. Textbooks/Scores 1. Köhler, Louis and Adolf Ruthardt, ed. Sonatinen Album. (Any edition is fine.) 2. Brahms, Johannes. Variations on a Theme of Haydn. (Any edition is fine.) References 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Rudolf, Max. The Grammar of Conducting: A Practical Study of Modern Baton Technique. New York: G. Schirmer, Notes N/A Hokkaidō University of Education, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

61 48 Table A2. Summary of Conducting 2b (Hokkaidō University of Education) Course Title Conducting 2b ( 指揮法 2b) Term Academic Year Instructor Ken ichi Watanabe ( 渡部謙一 ), Associate Professor Specialized Fields Euphonium, Conducting (Band) of Instructor Aims/Goals 1. To develop the basics learned in Conducting. 2. To become able to apply the basics to actual performances. Schedule Week 1: Introduction Weeks 2-4: Review of basic patterns Weeks 5-9: Basic lessons on practical conducting Weeks 10-14: Advanced lessons on practical conducting Week 15: Examination Grading Students will be evaluated through attitudes in each class and results of the exam. Textbooks/Scores 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Concone, Giuseppe. Fifty Lessons for the Medium Part of the Voice, op. 9. (Any edition is fine.) References N/A Notes N/A Hokkaidō University of Education, accessed December 29, 2012, Semester not specified. The specialized fields of the instructor were determined by the information found at accessed December 29, 2012.

62 49 Table A3. Summary of Conducting (Hirosaki University) Course Title Conducting ( 指揮法 ) Term Second Semester, Academic Year Instructor Mikio Wada ( 和田美亀雄 ), Professor Specialized Field Trombone of Instructor Aims/Goals 1. To develop practical conducting techniques necessary at places of education. 2. To develop abilities in communication and physical expression. Schedule Week 1: What is conducting? What is a conductor? Week 2: Learning listening ears, conducting unaccompanied mixed chorus in four parts Week 3: Posture, facial expression, vocalization, how to hold a baton, attitudes on the podium Week 4: Einsatz (cue), Auftakt (anacrusis), breathing Week 5: Tempo, rhythm, dynamics, terms of expression Week 6: Simple meters Week 7: Compound meters Week 8: Irregular meters Week 9: Mixed meters Week 10: Fermata, pauses Week 11: Musical analysis Week 12: Score reading Week 13: Transposing instruments Weeks 14-15: Sight reading Grading Based on proficiency shown in each class. Textbooks/Scores Handouts References TBA Notes N/A Hirosaki University, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

63 50 Table A4. Summary of Conducting (Iwate University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Katsushi Ushiwata ( 牛渡克之 ), Associate Professor Specialized Field Euphonium of Instructor Aims/Goals 1. To master the physical motions necessary for conducting. 2. To gain conducting abilities applicable to classroom situations. 3. To become able to conduct easy pieces for orchestra and band. Schedule N/A Grading Participation 80% Final examination 20% Textbooks/Scores N/A References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes N/A 岩手大学全学統一拡張 Web シラバス, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

64 51 Table A5. Summary of Conducting 1 (Miyagi University of Education) Course Title Conducting 1 ( 指揮法 I) Term First and Second Semesters, Academic Year Instructor Hiroyuki Hibino ( 日比野裕幸 ), Professor Specialized Field Clarinet of Instructor Aims/Goals 1. To gain leadership ability by studying basic conducting and rehearsal techniques. 2. To cultivate expression and communication skills by studying conducting methods. Schedule Week 1: Orientation: What is conducting? Weeks 2-15: Conducting works for vocal and instrumental ensembles Weeks 16-28: Conducting works for orchestra Weeks 29-30: Final examination Grading Based on technical improvement and exam results. Attitudes and participation are also important. One or two concert reports are assigned each semester. Textbooks/Scores N/A References N/A Notes N/A 宮城教育大学シラバス検索システム (2012 年度版 ), accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

65 52 Table A6. Summary of Conducting 2 (Miyagi University of Education) Course Title Conducting 2 ( 指揮法 II) Term First Semester, Academic Year Instructor Hiroyuki Hibino Specialized Field Clarinet of Instructor Aims/Goals To study and practice advanced conducting techniques after reviewing the basics learned in Conducting 1. Schedule N/A Grading Chiefly based on participation and achievement. Textbooks/Scores TBA (scores of choral works) References N/A Notes Vocal and instrumental pieces to study are chosen from educational repertoire. 宮城教育大学シラバス検索システム (2012 年度版 ), accessed December 29, 2012,

66 53 Table A7. Summary of Conducting (Akita University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Motoyuki Shitanda ( 四反田素幸 ), Professor Specialized Field Composition of Instructor Aims/Goals To gain the basic techniques necessary for instrumental and choral conducting. Schedule Week 1: Concept of conducting, roles of a conductor, what are baton techniques? Week 2: 2-beat tataki, Week 3: 3-beat tataki, Week 4: 4-beat tataki Week 5: 2-beat heikin undo, tempo change (subdivision), 4-beat heikin undo, intermediate preparatory motion Week 6: 3-beat heikin undo Week 7: Anacrusis Week 8: Beginning and ending a piece, fermata, review Week 9: Quiz, 2 and 3-beat shakui Week 10: 4-beat shakui, shunkan undo, and sen-nyu Week 11: Haneage, hikkake, very fast tempo Week 12: Etudes 1 and 2 Week 13: Etudes 3 and 4 Week 14: Compound and irregular meters Week 15: Review and examination Grading Participation and improvement 50%, Quiz 25%, Final examination 25% Textbooks/Scores Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes An ideal baton is 32 or 33 centimeters long. White colored baton is appropriate. Any manufacturer is fine. Akita University, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, and 33 centimeters are approximately 12.6 and 13 inches respectively.

67 54 Table A8. Summary of Conducting (Ibaraki University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Kōzō Moriyama ( 守山光三 ), Project Professor Specialized Field Horn of Instructor Aims/Goals N/A Schedule N/A Grading N/A Textbooks/Scores N/A References N/A Notes N/A Kōzō Moriyama, message to author, January 22, The specialized field of the instructor was determined by the information found at accessed January 22, 2013.

68 55 Table A9. Summary of Conducting (Utsunomiya University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Shōgo Takashima ( 髙島章悟 ), Assistant Professor Specialized Field Tuba of Instructor Aims/Goals N/A Schedule Week 1: Basis of tataki, loss of strength Week 2: 2, 3 and 4-time patterns, practice 1 Week 3: 1, 5 and 6-time patterns, practice 2 Week 4: Beginning and ending 1, practice 3 Week 5: Beginning and ending 2, practice 4 Week 6: Fermata 1, practice 5 Week 7: Fermata 2, practice 6 Week 8: Dynamics change 1, practice 7 Week 9: Dynamics change 2, practice 8 Week 10: Agogik 1, practice 9 Week 11: Agogik 2, practice 10 Week 12: Irregular meters, practice 11 Week 13: Practice 12, Week 14: Practice 13, Week 15: Performance Grading Understanding 40%, Participation 40%, Final performance 20% Textbooks/Scores N/A References 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Watanabe, Rikuo. Yasashii Shikihō. Tokyo: Kyōiku Geijutsusha, Notes N/A 宇都宮大学シラバスシステム : シラバス検索, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

69 56 Table A10. Summary of Conducting 1 (Gunma University) Course Title Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructor Chiho Sugō ( 菅生千穂 ), Associate Professor Specialized Field Clarinet of Instructor Aims/Goals 1. To gain ability to lead elementary ensembles by studying the bases of conducting. 2. To understand structures and instrumentations of music by studying the bases of score reading. Schedule Week 1: Introduction Weeks 2-3: Heikin undo Weeks 4-5: Tataki Week 6: Shakui Week 7: Shakui, tataki Weeks 8-9: Applied techniques Weeks 10-11: Transposing instruments Weeks 12-14: Conducting varied ensemble types Week 15: Examination Grading Based on participation and presentation. Quizzes may be assigned occasionally. Textbooks/Scores Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, References TBA Notes N/A Gunma University, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

70 57 Table A11. Summary of Conducting 2 (Gunma University) Course Title Term Instructor Specialized Field of Instructor Aims/Goals Schedule Conducting 2 ( 指揮法 II) Second Semester, Academic Year (Intensive Course) Naotsugi Nishida ( 西田直嗣 ), Associate Professor Composition 1. To understand choral, wind, and orchestral scores so as to cultivate conducting abilities. 2. To develop knowledge of score reading, transposing instruments, irregular meters, and basic conducting methods. First half: Choral conducting Second half: Conducting orchestral works arranged for two pianos Grading Examination 90%, Participation 10% Textbooks/Scores N/A References Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, Notes Conducting 1 is a prerequisite. Gunma University, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

71 58 Table A12. Summary of Conducting 1 (Saitama University) Course Title Conducting 1 ( 指揮法概説 I) Term First Semester, Academic Year Instructor Eisuke Tekezawa ( 竹澤栄祐 ), Associate Professor Specialized Field Flute of Instructor Aims/Goals To conduct easy pieces after understanding the basics of conducting theory. Schedule Week 1: Introduction: Outline of the course Week 2: What is conducting? Watching videos of Beethoven s Fifth Symphony performed by various conductors Week 3: Basic posture and motion Week 4: Breathing and tataki Week 5: Quadruple meter Week 6: Duple and triple meters Week 7: Sextuple and quintuple meters Week 8: Subdivision, irregular meters Week 9: Beginning and ending Week 10: Dynamics Week 11: Agogik Week 12-13: Practices Weeks 14-15: Review Grading Based on quizzes and participation. Textbooks/Scores Handouts References Yamada, Kazuo. Shiki no Gihō. Tokyo: Ongaku no Tomosha, Notes Bartók s Mikrokosmos is utilized for practices. No final examination is assigned. Enrolling in Conducting 2 is strongly recommended. Saitama University, accessed December 29, 2012, The specialized field of the instructor was determined by the information found at accessed December 29, 2012.

72 59 Table A13. Summary of Conducting 2 (Saitama University) Course Title Conducting 2 ( 指揮法概説 II) Term Second Semester, Academic Year Instructor Eisuke Tekezawa Specialized Field Flute of Instructor Aims/Goals 1. To understand application of conducting theory. 2. To become able to conduct choral and orchestral works. Schedule Week 1: Introduction: Outline of the course Week 2: Review of Conducting 1 Week 3: Anacrusis Week 4: Anacrusis not being on the beat Week 5: Pauses, fermata Week 6: Techniques for expression: Combination of dynamics and Agogik Week 7: Techniques for expression: Staccato and legato Week 8: Techniques for expression: Phrasing Week 9: Direction of conducting Weeks 10-11: Practices: Cantata Daichi Sanshō by Shin Satō Week 12: Conducting to stop the sound Weeks 13-15: Practices: Operetta Die Fledermaus by J. Strauss, Jr. Grading Based on quizzes and participation. Textbooks/Scores Handouts References Yamada, Kazuo. Shiki no Gihō. Tokyo: Ongaku no Tomosha, Notes Conducting 1 is a prerequisite. Saitama University, accessed December 29, 2012,

73 60 Table A14. Summary of Conducting 1 and 2 (Chiba University) Course Titles Conducting 1 ( 指揮法 1), Conducting 2 ( 指揮法 2) Term First and Second Semesters, Academic Year Instructor Junnosuke Yamamoto ( 山本純ノ介 ), Professor Specialized Field Composition of Instructor Aims/Goals 1. To acquire conducting skills that are useful in places of education. 2. To understand the technical terms of conducting and master actual motions. Schedule N/A Grading Based on participation in class and the examination at the end of Conducting 2. Textbooks/Scores Köhler, Louis and Adolf Ruthardt, ed. Sonatinen Album. Tokyo: Zen on Gakufu Shuppansha, References N/A Notes Exercises for tataki, shakui, heikin undo, sen-nyu, hikkake, and practical training with two pianos are held every class. Students have to take Conducting 1 and 2 consecutively. Grades for both courses are given at the end of the academic year. 千葉大学授業シラバス, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

74 61 Table A15. Summary of Conducting (Tokyo Gakugei University) Course Title Conducting ( 指揮法 ) Term Spring Semester, Academic Year Instructor Norihisa Yamamoto ( 山本訓久 ), Professor Specialized Fields Euphonium, Conducting of Instructor Aims/Goals To systematically learn basic conducting techniques that are useful to teach ensembles in music class. Schedule Week 1: Heikin undo Week 2: Heikin undo and shakui Week 3: Tataki Week 4: 2-beat tataki Week 5: 3-beat tataki Week 6: Various techniques Week 7: Hikkake Week 8: Anacrusis Week 9: Fermata Week 10: 6/8 meter Week 11: Mixed meters Week 12: Subdivision for ritardando Week 13: Subdivision (type A) Week 14: Subdivision (type B) Week 15: Review Grading There is an examination at the end of the semester. Active participation is highly rated. Textbooks/Scores Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, References 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Takahashi, Masamitsu. Shikihō Nyūmon. Kanpon edition. Tokyo: Ongaku no Tomosha, Komatsu, Kazuhiko. Jissenteki Shikihō. Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Yamada, Kazuo. Shiki no Gihō. Tokyo: Ongaku no Tomosha, Notes Students are expected to practice with an understanding of musical analysis. シラバス検索, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

75 62 Table A16. Summary of Conducting (Yokohama National University) Course Title Conducting ( 指揮法 ) Term Fall Semester, Academic Year Instructor Shigeki Miyamatsu ( 宮松重紀 ), Adjunct Instructor Specialized Fields Conducting (Orchestral, Choral), Music Education of Instructor Aims/Goals To learn the most fundamental conducting techniques necessary in places of education. Schedule Week 1: What is beat? Week 2: Patterns of single and duple meters Week 3: Pattern of quadruple meter Week 4: Ritardando and subdivison Week 5: Pattern of triple meter Week 6: Accelerando, omission of patterns Week 7: Duple meter in one Week 8: Triple meter in one Week 9: Crescendo and diminuendo Week 10: 6, 8 and 12 beats in a measure Week 11: Irregular meters: 5 and 7 beats in a measure Week 12: Anacrusis and fermata Week 13: Meter changes, tempo changes, etc. Weeks 14-15: Review Week 16: Examination Grading Final examination 100% Textbooks/Scores N/A References N/A Notes In class, each student conducts a hymn or a simple instrumental piece played by other students. 横浜国立大学シラバス, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, Miyamatsu does not have academic achievements in music education, but his bachelor s degree from Yokohama National University is in music education.

76 63 Table A17. Summary of Music Expression 2 (Niigata University) Course Title Music Expression 2 ( 音楽表現 II) Term First Semester, Academic Year Instructor Tetsuyuki Uno ( 宇野哲之 ), Associate Professor Specialized Field Cello of Instructor Aims/Goals To become able to conduct standard compositions. Schedule Week 1: Introduction Week 2: Tataki: 1 through 4-beat patterns Week 3: Sonatinen Album, no. 26 Week 4: Sonatinen Album, no. 29 Weeks 5-10: Burgmüller s 25 Etudes Weeks 11-12: Overture to William Tell Weeks 13-14: Overture to Barber of Seville Week 15: Examination Grading Participation 50% Examination 50% Textbooks/Scores Handouts References N/A Notes N/A シラバス検索, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

77 64 Table A18. Summary of Musical Activities in a Group Setting C (Niigata University) Course Title Musical Activities in a Group Setting C ( 集団音楽活動論 C) Term First and Second Semesters, Academic Year Instructor Tetsuyuki Uno Specialized Field Cello of Instructor Aims/Goals To become able to conduct standard compositions. Schedule Week 1: Introduction Week 2: Tataki: 1 through 4-beat patterns Week 3: Sonatinen Album, no. 26 Week 4: Sonatinen Album, no. 29 Weeks 5-10: Burgmüller s 25 Etudes Weeks 11-12: Overture to William Tell Weeks 13-14: Overture to Barber of Seville Week 15: Mid-year examination Weeks 16-20: Overture to La forza del destino Weeks 21-23: Les Dragons d'alcala from Carmen Suite no. 1 Weeks 24-29: Overture to Nabucco Week 30: Final examination Grading Participation 50% Examination 50% Textbooks/Scores Handouts References N/A Notes N/A シラバス検索, accessed December 30, 2012,

78 65 Table A19. Summary of Conducting (Jōetsu University of Education) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Masanori Hasegawa ( 長谷川正規 ), Assistant Professor Specialized Field Tuba of Instructor Aims/Goals 1. To study and practice basic conducting techniques. 2. To become able to rehearse vocal and instrumental ensembles efficiently in educational institutions. Schedule N/A Grading Based on practical skills and attendance. No examination is assigned. Textbooks/Scores 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Köhler, Louis and Adolf Ruthardt, ed. Sonatinen Album. [Publisher is not specified.] References N/A Notes Students are expected to listen to and study a variety of orchestral, band, and choral works. Last year, those who took this course practiced with a chorus of the University s Attached Junior High School. シラバス検索, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

79 66 Table A20. Summary of Conducting (Kanazawa University) Course Title Conducting Term First Semester, Academic Year Instructor Hiroyasu Kōda ( 香田裕泰 ), Adjunct Instructor Specialized Fields Voice, Conducting (Choral) of Instructor Aims/Goals 1. To cultivate abilities to understand unfamiliar music through score reading. 2. To learn basic baton techniques and enhance practical skills applicable for teaching chorus and band. Schedule N/A Grading Quiz 50% Final examination 50% Textbooks/Scores Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, References N/A Notes N/A 金沢大学 SYLLABUS, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

80 67 Table A21. Summary of Conducting (University of Fukui) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Takeo Hoshiya ( 星谷丈生 ), Associate Professor Specialized Field Composition of Instructor Aims/Goals 1. To study the bases of conducting. 2. To study and analyze choral works. Schedule Week 1: Introduction Weeks 2-7: Various patterns Week 8-10: Study and analysis of choral works Weeks 11-15: Practical training Grading Based on participation and final examination. Textbooks/Scores Handouts References N/A Notes N/A 福井大学 SYLLABUS, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

81 68 Table A22. Summary of Conducting 1 (University of Yamanashi) Course Title Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructor Minoru Tezuka ( 手塚実 ), Professor Specialized Fields Clarinet, Music Education of Instructor Aims/Goals To study choral and instrumental conducting techniques required in places of education. Schedule Week 1: Orientation: Test of current abilities Week 2: Non espressivo patterns Week 3: Molto espressivo patterns Week 4: Staccato patterns Week 5: Rhythmic music Week 6: Legato music Week 7: Music including dynamics changes Week 8: Music including tempo changes Week 9: Choral works and canons Week 10: Music with anacrusis Week 11: Sudden changes of dynamics and articulations Week 12: Irregular and compound meters Week 13: Sudden tempo changes Week 14: Practice Week 15: Review and evaluation Grading Participation 20% Presentation 30% Midterm examination 20% Final examination 30% Textbooks/Scores References Notes N/A 1. Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Takahashi, Masamitsu. Shikihō Nyūmon. Kanpon edition. Tokyo: Ongaku no Tomosha, N/A 山梨大学電子シラバス, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

82 69 Table A23. Summary of Conducting 2 (University of Yamanashi) Course Title Conducting 2 ( 指揮法 II) Term Second Semester, Academic Year Instructor Minoru Tezuka Specialized Fields Clarinet, Music Education of Instructor Aims/Goals To read orchestral and band scores, based on techniques learned in Conducting 1. Schedule Week 1: Introduction (review) Weeks 2-3: Simple meters Weeks 4-6: Compound meters Weeks 7-9: Mixed meters Weeks 10-12: Irregular meters Week 13: Cues, tempo indications Week 14: Phrasing, controlling balance Week 15: Review and evaluation Grading Participation 20% Presentation 30% Midterm examination 20% Final examination 30% Textbooks/Scores N/A References Saint-Saëns, Camille. The Carnival of the Animals. Tokyo: Zen on Gakufu Shuppansha, Notes N/A 山梨大学電子シラバス, accessed December 30, 2012,

83 70 Table A24. Summary of Basic Conducting (Shinshū University) Course Title Basic Conducting ( 指揮法基礎 ) Term First Semester, Academic Year Instructor Haruto Yoshida ( 吉田治人 ), Associate Professor Specialized Fields Trumpet, Conducting (Orchestral) of Instructor Aims/Goals 1. To gain basic conducting and teaching techniques applicable for choral and instrumental ensembles of elementary and junior high schools. 2. To feel beats and understand basic patterns. 3. To consider how to connect hand motions to music that each student feels. Schedule Week 1: Concept of conducting Week 2: Beat-points Week 3: 2, 3, 4-beat patterns and irregular meters Week 4: 4-beat pattern: Beginning on beats 1, 2, 3 and 4 Week 5: Beginning to show the tempo and dynamics Week 6: Sforzando, keeping count Week 7: Fermata, accelerando, ritardando, tempo changes Week 8: Dynamics changes, character changes, syncopations Week 9: Music in triple meter, using elementary and junior high school textbooks Week 10: Music in quadruple meter, using elementary and junior high school textbooks Week 11: Music in fast tempo: Mozart s piano sonatas (analysis) Week 12: Mozart s piano sonatas (showing nuances) Week 13: Music in slow tempo: Beethoven s Sonata Pathétique, mvt. 2 (analysis) Week 14: Sonata Pathétique, mvt. 2 (showing nuances) Week 15: Review Week 16: Practice of assigned works Week 17: Examination Grading Interests, motivation, attitudes 30% Skills 30% Examination 40% Textbooks/Scores Handouts References TBA Notes N/A シラバス検索, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at and accessed December 30, 2012.

84 71 Table A25. Summary of Practical Conducting (Shinshū University) Course Title Practical Conducting ( 指揮法演習 ) Term Second Semester, Academic Year Instructor Haruto Yoshida Specialized Fields Trumpet, Conducting (Orchestral) of Instructor Aims/Goals To reach deeper musical expressions by conducting Beethoven s Symphony no. 1, etc. Schedule Week 1: Review of Basic Conducting Week 2: Beethoven s Sonata Pathétique: 2 nd mvt. (legato) Week 3: Beethoven s Symphony no.1: Introduction, mvt. 1 (analysis) Week 4: Symphony no.1: Introduction, mvt. 1 (subdivided 4/4 pattern) Week 5: Symphony no.1: Introduction, mvt. 1 (showing nuances) Week 6: Symphony no.1: Exposition, mvt. 1 (analysis) Week 7: Symphony no.1: Exposition, mvt. 1 (2/2 pattern) Week 8: Symphony no.1: Exposition, mvt. 1 (showing nuances) Week 9: Beethoven s Symphony no.3: Exposition, mvt. 1 (analysis) Week 10: Symphony no.3: Exposition, mvt. 1 (2/2 pattern) Week 11: Symphony no.3: Exposition, mvt. 1 (showing nuances) Week 12: Instrumental works from elementary and junior high school textbooks Week 13: Choral works from elementary and junior high school textbooks Week 14: Romanesque by Swearingen (analysis) Week 15: Romanesque (showing nuances) Week 16: Practice of assigned works Week 17: Examination Grading Interests, motivation, attitudes 30% Skills 30% Examination 40% Textbooks/Scores Handouts References Notes TBA Students videotape themselves to analyze their conducting skills objectively. The ensemble consists of attending students who have taken Wind Instruments ( 管楽奏法 ). シラバス検索, accessed December 30, 2012,

85 72 Table A26. Summary of Conducting (Gifu University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Takeshi Asada ( 朝田健 ), Professor Specialized Field Clarinet of Instructor Aims/Goals To study conducting and investigate roles of an educational conductor. Schedule Week 1: Introduction to conducting Week 2: Basic techniques (preparatory beat, breathing, beat, frompoint motion) Week 3: Basic techniques (marches, orchestral and choral works, dynamics, expression) Week 4: Quadruple meter (grandioso, adagio, largo, maestoso) Week 5: Quadruple meter (allegro, allegretto, moderato, andante) Week 6: Triple meter (in three) Week 7: Triple meter (in one, waltz) Week 8: Sextuple meter (in six and two), Hamabe no Uta, The Moldau, teaching vocalization, teaching how to hold instruments Week 9: Conducting piano(s), teaching instrumental and vocal ensembles, harmony, balance, progression Week 10: Conducting piano(s), conductor as a trainer, conductor as an educator Week 11: Conducting piano(s) Week 12: Choral conducting, analysis Weeks 13-14: Choral conducting Week 15: Review Grading Based on practices and examination. Textbooks/Scores Redel, Kurt. Taktschlagen oder Dirigieren. Translated by Naoki Sugiyama. Tokyo: Ongaku no Tomosha, References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes An ideal baton is 32 or 33 centimeters long. White colored baton is appropriate. Any manufacturer is fine. 岐阜大学 WEB シラバス, accessed January 27, 2013, The specialized field of the instructor was determined by the information found at accessed January 27, and 33 centimeters are approximately 12.6 and 13 inches respectively.

86 73 Table A27. Summary of Conducting (Shizuoka University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year (Intensive Course) Instructors Atsuyasu Kitayama ( 北山敦康 ), Hideki Hōfuku ( 宝福英樹 ), Nobuyoshi Yanagisawa ( 柳沢信芳 ), Professors Specialized Fields Saxophone, Music Education (Kitayama); Voice (Hōfuku); Piano of Instructors (Yanagisawa) Aims/Goals To acquire conducting skills necessary for music teachers of compulsory education. Schedule [Prof. Kitayama] Lesson 1: The basis of band conducting Lesson 2: Band score reading Lessons 3-5: Conducting actual pieces [Prof. Hōfuku] Lesson 6: Basic conducting, using choral works from elementary and junior high school textbooks Lesson 7: Applied conducting, using choral works from elementary and junior high school textbooks Lessons 8-10: Conducting Handel s Messiah [Prof. Yanagisawa] Lesson 11: String ensemble: Basic training of score reading, using Serenade for Strings Lesson 12: String ensemble: Applied training of score reading, using Serenade for Strings Lessons 13-15: General training in score reading, using Messiah Grading Based on participation and the practical examination. Textbooks/Scores N/A References N/A Notes An ideal baton is between 35 and 40 centimeters long. シラバス検索, accessed December 30, 2012, The specialized fields of the instructors were determined by the information found at t.php&menukey=car&rnu001= &sel=sgk and accessed December 30, and 40 centimeters are approximately 13.8 and 15.7 inches respectively.

87 74 Table A28. Summary of Conducting (Aichi University of Education) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Gō Hashimoto ( 橋本剛 ), Associate Professor Specialized Field Composition of Instructor Aims/Goals 1. To gain understandable and presentable conducting techniques. 2. To increase skills in analysis and conducting through studying efficient teaching methods. Schedule Weeks 1-3: Basic motions Weeks 4-5: Practical conducting Weeks 6-8: Instrumental conducting Week 9: Workshop on bodily expression Weeks 10-13: Choral conducting Week 14: Review Week 15: Examination Week 16: Summary Grading Achievement 70% [Examination may be included.] Participation 20% Attitudes 10% Textbooks/Scores N/A References N/A Notes Students do not use batons in this course. Syllabus, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

88 75 Table A29. Summary of Conducting Seminar 1 (Mie University) Course Title Conducting Seminar 1 ( 指揮法演習 1) Term First Semester, Academic Year Instructor Shirō Usui ( 碓井士郎 ), Adjunct Instructor Specialized Field Voice of Instructor Aims/Goals 1. To gain skills of score reading and basic motions of conducting that are necessary in educational institutions. 2. To become able to properly understand, teach, and conduct instrumental and choral music. 3. To cultivate communication abilities. Schedule Week 1: Introduction Week 2: Conductors tasks Week 3: Basic patterns Week 4: Posture and basic motions (simple meters) Week 5: Basic motions: Heikin undo Week 6: Basic motions: Tataki Week 7: Basic motions: Hikkake Week 8: Compound meters Week 9: Mixed meters Week 10: Fermata Week 11: Subdivision Week 12: Review of basic conducting techniques Weeks 13-15: Teaching from the podium Week 16: Summary Grading Practical examination 50% Expression skills 25% Participation 25% Textbooks/Scores Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, References N/A Notes N/A 三重大学ウェブシラバス, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

89 76 Table A30. Summary of Conducting Seminar 2 (Mie University) Course Title Conducting Seminar 2 ( 指揮法演習 2) Term Second Semester, Academic Year Instructor Naofumi Kaneshige ( 兼重直文 ), Professor Specialized Field Piano of Instructor Aims/Goals To improve abilities to understand and conduct music. Schedule Week 1: What is conducting? Weeks 2-3: Orchestral score reading Weeks 4-8: Practical conducting with two pianos Week 9: Review Weeks 10-14: Conducting orchestral works with two pianos Week 15: Summary Grading Practical examination 70% Attitudes 30% Textbooks/Scores Handouts References N/A Notes N/A 三重大学ウェブシラバス, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

90 77 Table A31. Summary of Conducting (Shiga University) Course Title Conducting ( 指揮法 ) Term Spring Semester, Academic Year Instructor Hitoshi Hatano ( 波多野均 ), Adjunct Instructor Specialized Fields Voice, Conducting (Choral) of Instructor Aims/Goals 1. To gain basic conducting techniques that are necessary for choral and instrumental ensembles. 2. To study how to convey meanings of markings and messages on score to players. Schedule Lesson 1: History of conducting, necessity of conductors Lesson 2: Preparation for conducting, circular motion, tataki Lesson 3: Tataki Lesson 4: Heikin undo Lesson 5: Shakui Lesson 6: Sextuple and irregular meters Lesson 7: Shunkan undo Lesson 8: Sen-nyu Lesson 9: Haneage and hikkake Lesson 10: Expression with left hand Lesson 11: Practice Grading Based on participation and the final examination. Textbooks/Scores Watanabe, Rikuo. Yasashii Shikihō. Tokyo: Kyōiku Geijutsusha, References 1. Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes N/A 滋賀大学キャンパス教育支援システム, accessed December 30, 2012, No conducting course was held at Shiga University during 2012/2013. The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

91 78 Table A32. Summary of Conducting 1 and 2 (Kyoto University of Education) Course Title Term Instructor Specialized Fields of Instructor Aims/Goals Schedule Grading Textbooks/Scores References Notes Conducting 1, Conducting 2 ( 指揮法 I, 指揮法 II) First Semester, Academic Year (Intensive Course) Masahiko Kurano ( 藏野雅彦 ), Adjunct Instructor Trumpet, Conducting (Orchestral) 1. To learn basic conducting motions, patterns, and posture. 2. To investigate roles and possibilities of both hands. 3. To study conducting techniques that are useful in educational institutions. Week 1: Orientation Weeks 2-5: Basic motions Weeks 6-9: Conducting choral works Weeks 10-12: Conducting orchestral works Week 13: Rehearsals, stage manner Weeks 14-15: Presentations and practical examination Based on practices, presentations, [and examination.] TBA N/A Students must purchase 350 through 400 millimeter-long wooden batons. Batons manufactured by Muramatsu are recommended. 平成 24 年度教育学部時間割 ( シラバス ) 検索, accessed January 7, 2013, Conducting 1 and Conducting 2 are the identical course with two different titles. The specialized fields of the instructor were determined by the information found at and accessed January 7, and 400 millimeters are approximately 13.8 and 15.7 inches respectively.

92 79 Table A33. Summary of Conducting (Osaka Kyōiku University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Yannick Paget ( ヤニック パジェ ), Adjunct Instructor Specialized Fields Conducting, Percussion of Instructor Aims/Goals N/A Schedule N/A Grading N/A Textbooks/Scores N/A References N/A Notes N/A 大教 UNIPA - 大阪教育大学, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, Table A34. Summary of Ensemble Conducting (Osaka Kyōiku University) Course Title Ensemble Conducting ( アンサンブル指揮法 ) Term First Semester, Academic Year Instructor Toshirō Saruya ( 猿谷紀郎 ), Associate Professor Specialized Field Composition of Instructor Aims/Goals N/A Schedule N/A Grading N/A Textbooks/Scores N/A References N/A Notes N/A 大教 UNIPA - 大阪教育大学, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

93 80 Table A35. Summary of Conducting (Hyōgo University of Teacher Education) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Masakazu Imanishi ( 今西正和 ), Adjunct Instructor Specialized Fields Conducting (Orchestral, Band), Economics of Instructor Aims/Goals To learn basic techniques of conducting and methods of musical expression that can be used in music classes and club activities. Schedule Week 1: Introduction Week 2: Roles of a conductor, concept of basic motions Weeks 3-9: Basic techniques; meters, patterns, track [of the baton]; showing beats; conducting techniques vary with rhythm; tempo, accelerando, ritardando; dynamics, crescendo, decrescendo; beginning, ending, long pauses; articulations; phrasal analysis useful for conductors; 2, 3, 4, 5, and 6-beat patterns, conducting practice with actual works Week 10: Subdivision and combination, breathing and phrasing, use of left hand Week 11: Review Weeks 12-14: Conducting small ensemble Weeks 15: Summary and examination Grading Attitudes 10% Participation 90% Textbooks/Scores Textbooks for elementary and junior high schools, etc. References N/A Notes If not owning a baton yet, students should purchase one after attending the first class. Jirō Kusano, Professor of Composition at Hyōgo University of Teacher Education, sent a copy of the syllabus to author via mail on January 13, The specialized fields of the instructor were determined by the information found at accessed December 30, Imanishi earned his bachelor s degree in economics from Kyoto Sangyō University before studying conducting at Kiev Conservatory.

94 81 Table A36. Summary of Conducting 1 (Nara University of Education) Course Title Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructor Mikayo Hōjō ( 北條美香代 ), Associate Professor Specialized Field of Composition Instructor Aims/Goals 1. To learn basic conducting techniques and score reading methods that are useful for any musical works. 2. To become able to read alto and tenor clefs. 3. To become able to objectively evaluate their own conducting skills by watching videos. Schedule Week 1: Introduction, history of conducting, basic conducting training, score reading (a choral by J. S. Bach) Week 2: Basic training (tataki), score reading (from The Marriage of Figaro by Mozart) Week 3: Basic training (heikin undo), score reading (from Unfinished Symphony by Schubert) Week 4: Basic training (sen-nyu), score reading (Symphony no. 4 by Mendelssohn) Week 5: Basic training (haneage, hikkake), score reading (a horn concerto by Mozart) Week 6: Basic training (tempo changes, subdivision), score reading (Symphony no. 2 by Brahms) Week 7: Etude 1 (explanation), score reading (After a Dream by Fauré) Week 8: Etude 1 (practice), score reading (Cello Concerto by Dvořák) Week 9: Etude 1 (practice), score reading (Symphony no. 4 by Tchaikovsky) Week 10: Etude 2 (explanation), score reading (Symphony no. 3 by Brahms) Week 11: Etude 2 (practice), score reading (trios by Beethoven) Week 12: Etude 2 (practice), score reading (duos by Beethoven) Week 13: Etude 3 (explanation), score reading (Carmen by Bizet) Weeks 14-15: Etude 3 (practice) Week 16: Examination (etudes, score reading, paper) Grading Examination (conducting) 40% Examination (score reading) 40% Efforts 10% Paper on DVD of student s own conducting 10% Textbooks/Scores TBA References 1. Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes N/A 科目の検索, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012

95 82 Table A37. Summary of Conducting 2 (Nara University of Education) Course Title Conducting 2 ( 指揮法 II) Term Second Semester, Academic Year Instructor Mikayo Hōjō Specialized Field Composition of Instructor Aims/Goals 1. To learn basic conducting techniques and score reading methods that are useful for any musical work. 2. To become able to conduct while looking at an orchestra score including irregular meters. 3. To become able to read soprano and mezzo-soprano clefs. 4. To become able to objectively evaluate one s own conducting skills by watching videos. Schedule Week 1: Introduction, etude 4 (explanation) Weeks 2-3: Etude 4 (practice), score reading (soprano clef) Week 4: Etude 5 (explanation), score reading (soprano clef) Weeks 5-6: Etude 5 (practice), score reading (transposing instruments in A) Weeks 7-8: Etude 5 (practice), score reading (mezzo-soprano clef) Week 9: Etude 7 (explanation), score reading (transposing instruments in F) Week 10: Score reading (transposing instruments in F) Week 11: Score reading (String Quartet no. 77 by Haydn) Week 12: Irregular meters, score reading (Symphony no. 1 by Beethoven) Weeks 13-15: Irregular meters Week 16: Examination (etudes, score reading, paper) Grading Examination (conducting) 40% Examination (score reading) 40% Efforts 10% Paper on DVD of student s own conducting 10% Textbooks/Scores References Notes TBA 1. Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, N/A 科目の検索, accessed December 30, 2012,

96 83 Table A38. Summary of Conducting (Wakayama University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Jin Yamana ( 山名仁 ), Professor Specialized Field Piano of Instructor Aims/Goals To become able to demonstrate basic beat patterns and convey music with expression to players. Schedule Week 1: Significance of conducting Week 2: History of conducting Weeks 3-6: Basic training Weeks 7-10: Conducting short pieces Weeks 11-13: Conducting standard works Weeks 14-15: Conducting operas and choral works Grading Active participation is important. Practical examination is assigned. Textbooks/Scores Handouts References TBA Notes Attending students must be able to play Burgmüller s etudes. シラバス検索, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

97 84 Table A39. Summary of Conducting (Shimane University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Nobuhisa Nagami ( 永見信久 ), Professor Specialized Field Violin of Instructor Aims/Goals 1. To understand the history and importance of conducting. 2. To become able to conduct various beats appropriately. 3. To learn vocal and instrumental performance methods in order to become able to listen to players objectively. 4. To express in music the intention of the composer. Schedule Week 1: History of music and conducting Week 2: Importance of conducting, conductor s senses for music Week 3: Tataki and tempo Week 4: Tataki and rhythm Week 5: Prediction of the tataki point, quiz Week 6: 1 and 4-beat patterns Week 7: 2 and 3-beat patterns Week 8: Mixed meters, quiz Week 9: Heikin undo and shakui Week 10: Heikin undo and shakui, quiz Week 11: Shunkan undo and sen-nyu Week 12: Shunkan undo and sen-nyu, quiz Weeks 13-15: Practices Week 16: Practical examination Grading Based on quizzes, examination, and participation. Textbooks/Scores Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, References N/A Notes Video is utilized during weeks 1 through 12. Each student conducts piano(s) during weeks 13 through 15. Shimane Univ. Syllabus, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

98 85 Table A40. Summary of Conducting (Okayama University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Takeshi Saitō ( 齋藤武 ), Professor Specialized Field Composition of Instructor Aims/Goals 1. To become able to demonstrate basic conducting motions. 2. To acquire musical expressiveness and skills. Schedule Week 1: Overview of conducting Week 2: Tataki Weeks 3-4: Heikin undo Week 5: Shakui Week 6: Application of tataki, heikin undo, and shakui Weeks 7-8: Sen-nyu Week 9: Haneage Weeks 10-15: Applied practices Week 16: Final examination Grading Based on participation and the final examination. Textbooks/Scores Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, References TBA Notes Students are expected to practice tataki daily. 平成 24 年度教育学部シラバス, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

99 86 Table A41. Summary of Conducting 1 (Hiroshima University) Course Title Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructors Akitoku Nakai ( 中井章徳 ), Adjunct Instructor; Kenji Takahata ( 髙旗健次 ), Associate Professor Specialized Fields Conducting (Orchestral, Band) (Nakai), Violin (Takahata) of Instructors Aims/Goals To study not only accurate baton techniques for teaching, but also skills of analyzing and easy score reading. Schedule Week 1: Introduction: Categories of meters and motions Week 2: 2-beat tataki, introduction to orchestra Week 3: 3-beat tataki, introduction to orchestra Week 4: 4-beat tataki, introduction to orchestra Week 5: Compound meters, orchestration Week 6: Mixed meter (quintuple), orchestration Week 7: Mixed meter (septuple), orchestration Weeks 8-9: Subdivision, summary of tataki, orchestration Week 10: Fermata, orchestration Week 11: Fermata Weeks 12-13: Practices Week 14: Review Week 15: Practical examination Grading Based on efforts in class and the practical examination. Textbooks/Scores Scherchen, Hermann. Handbook of Conducting. Translated by Tatsuo Fukuda. Tokyo: Shunjūsha, References Notes N/A Students are expected to be conscious of the movement of arms and how to use muscles when practicing. 広島大学シラバス, accessed December 30, 2012, The specialized fields of the instructors were determined by the information found at and accessed December 30, Nakai s only academic degree is a bachelor s degree in conducting received from Kurashiki Sakuyō University.

100 87 Table A42. Summary of Conducting 2 (Hiroshima University) Course Title Conducting 2 ( 指揮法 II) Term Second Semester, Academic Year Instructors Akitoku Nakai, Kenji Takahata Specialized Fields Conducting (Orchestral, Band) (Nakai), Violin (Takahata) of Instructors Aims/Goals 1. To study how to read scores and analyze compositions that may be performed by school bands and choruses. 2. To make efforts to gain practical conducting techniques. 3. To come in contact the human spirit of musical works. Schedule Week 1: Introduction: Application of conducting Weeks 2-3: Practices, score reading sessions Week 4: Practice, review Weeks 5-6: Practices, score reading sessions Week 7: Practice, review Weeks 8-12: Practices Weeks 13-14: Review Week 15: Practical examination Grading Based on efforts in class, the practical examination, and a paper. Textbooks/Scores Scherchen, Hermann. Handbook of Conducting. Translated by Tatsuo Fukuda. Tokyo: Shunjūsha, References N/A Notes Students are expected to do basic training everyday and to play pieces on piano before conducting them. 広島大学シラバス, accessed December 30, 2012,

101 88 Table A43. Summary of Practical Conducting (Yamaguchi University) Course Title Practical Conducting ( 指揮法実習 ) Term First Semester, Academic Year (Intensive Course) Instructor Shinji Moriguchi ( 森口真司 ), Adjunct Instructor (Associate Professor at Ōita Prefectural College of Arts and Culture) Specialized Fields Conducting (Orchestral, Choral), Literature of Instructor Aims/Goals 1. To learn basic conducting motions, accurate patterns, techniques for dynamics, fermata, ritardando, and accelerando. 2. To study how to analyze and interpret music, rehearse, and speak to players. Schedule Lesson 1: Meanings of conducting, roles of a conductor Lesson 2: 1-beat tataki Lesson 3: 2-beat tataki Lesson 4: 3-beat tataki Lesson 5: 4-beat tataki Lesson 6: Shakui and heikin undo, summary of basic techniques Lesson 7: Quiz, 6-beat pattern Lesson 8: Beginning and ending of work Lesson 9: Dynamics, crescendo, diminuendo, use of left hand Lesson 10: Accelerando, ritardando, fermata, subdivision Lesson 11: Quiz on fermata, 3-beat in one, 6/8 meter Lesson 12: Topics other than techniques Lesson 13-15: Practices for examination Lesson 16: Examination Grading Final examination 60% Quizzes 30% Participation and attitudes 10% Textbooks/Scores N/A References N/A Notes N/A 山口大学修学支援システム, accessed January 18, 2013, The specialized fields of the instructor were determined by the information found at accessed January 18, Moriguchi studied literature for four years at Kyoto University before attending Tokyo National University of Fine Arts and Music (now Tokyo University of the Arts) to pursue bachelor and master s degrees in conducting.

102 89 Table A44. Summary of Conducting (Naruto University of Education) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Hiroaki Yamada ( 山田啓明 ), Associate Professor Specialized Fields Musicology, Conducting (Orchestral) of Instructor Aims/Goals To learn a wide range of conducting skills and knowledge. Schedule Week 1: Skills and knowledge necessary for conductors Week 2: Posture, how to hold a baton, 1-beat tataki Week 3: 2-beat tataki Week 4: 4-beat tataki, anacrusis and fermata Week 5: 2-beat shakui Week 6: 3-beat shakui, anacrusis Week 7: Fermata Week 8: 4-beat shakui Week 9: 6-beat shakui Weeks 10-11: Application of basic patterns, dynamics, Agogik Week 12: Waltz tataki Week 13: Issues and measures concerning 6/8 meter Week 14: Review Week 15: Practical examination Grading Based on the practical examination, participation, and efforts in class. Textbooks/Scores 1. Dandelot, Georges. Manual práctico. Mexico: Musical Iberoamericana, Shotōka Ongaku Kyōiku Kenkyūkai, ed. Saishin Shotōka Ongaku Kyōikuhō. Tokyo: Ongaku no Tomosha, References 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Takahashi, Masamitsu. Shikihō Nyūmon. Kanpon edition. Tokyo: Ongaku no Tomosha, Notes Score reading focusing on C clef is assigned every week. シラバス検索, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

103 90 Table A45. Summary of Conducting 1 (Naruto University of Education) Course Title Conducting 1 ( 指揮 I) Term First Semester, Academic Year Instructor Hiroaki Yamada Specialized Fields Musicology, Conducting (Orchestral) of Instructor Aims/Goals To cultivate skills and knowledge necessary for conductors that include baton techniques for various genres, singing with selfaccompaniment on piano, score reading, etc. Schedule Topics include baton techniques, singing with self-accompaniment on piano, score reading, musical analysis and interpretation, rehearsal techniques, and history of Western music (from the Baroque era). Grading Based on participation and efforts in class. Textbooks/Scores Watanabe, Takanosuke, et al. Ha-on Kigō ni Yoru Shinkyoku Shishō. Tokyo: KMP, References TBA Notes Students attending this course are expected to have taken Conducting beforehand. シラバス検索, accessed December 30, 2012,

104 91 Table A46. Summary of Conducting 2 (Naruto University of Education) Course Title Conducting 2 ( 指揮 II) Term Second Semester, Academic Year Instructor Hiroaki Yamada Specialized Fields Musicology, Conducting (Orchestral) of Instructor Aims/Goals To cultivate skills and knowledge necessary for conductors that include baton techniques for various genres, singing with selfaccompaniment on piano, score reading, etc. Schedule Topics include baton techniques for various situations, singing with self-accompaniment on piano, solfège (sight playing, dictation), music theory, and history of Western music (Medieval and Renaissance eras). Grading Based on participation and efforts in class. Textbooks/Scores TBA References N/A Notes Conducting and Conducting 1 are not prerequisite, but are expected to have been taken. シラバス検索, accessed December 30, 2012,

105 92 Table A47. Summary of Conducting (Kagawa University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructors Kenji Wakai ( 若井健司 ), Professor; Yuka Aoyama ( 青山夕夏 ), Professor Specialized Fields Voice (Wakai), Flute (Aoyama) of Instructors Aims/Goals Schedule Grading Textbooks/Scores References Notes 1. To learn basic theory and techniques of conducting. 2. To become able to understand and interpret easy musical works. 3. To become able to conduct choral works. Week 1: Orientation Week 2: History of conducting Week 3: Tataki Week 4: 1 and 2-beat tataki Week 5: 3 and 4-beat tataki Week 6: Heikin undo Week 7: Shakui Week 8: Review Weeks 9-14: Practical study of choral conducting Week 15: Presentation and summary Based on participation, assignments, improvement, understanding of music theory, papers, and final examination. 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Kyōin Yōsei Daigaku Ongaku Kyōiku Kenkyūkai. Ongakuka Kyōikuhō. Shinpen edition. Tokyo: Ongaku no Tomosha, TBA N/A 香川大学教務システム, accessed January 5, 2013, The specialized fields of the instructors were determined by the information found at orktype=detail&primarykey= &kyoinid=&gyosekinendo=null and orktype=detail&primarykey= &kyoinid=&gyosekinendo=null, accessed January 5, 2013.

106 93 Table A48. Summary of Conducting (Ehime University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Yōichi Inoue ( 井上洋一 ), Associate Professor Specialized Field of Music Education Instructor Aims/Goals 1. To understand the conducting method and basic techniques. 2. To become able to explain the roles of a conductor and purposes of each technique. 3. To become able to conduct with both hands and the whole body. Schedule Week 1: Orientation: Roles of a conductor, the bases of conducting Week 2: 1 and 2-beat tataki Week 3: 4-beat shakui, heikin undo, choice of techniques Week 4: Rhythms in 4-beat pattern Week 5: Beginning and ending Week 6: Dynamics and tempo changes Week 7: Triple pattern Week 8: Sextuple pattern Week 9: Waltz tataki Week 10: Shunkan undo and sen-nyu Week 11: Score reading, quintuple meter Week 12: Score reading, irregular meter Week 13: Conducting and teaching choral and instrumental ensembles Week 14: Practical examination Week 15: Review Grading Participation and improvement 50% Quiz 25% Final examination 25% Textbooks/Scores Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, References 1. Yamamoto, Norihisa. Manabō Shikihō, Step by Step. Tokyo: Artes Publishing, Komatsu, Kazuhiko. Jissenteki Shikihō. Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Ameya, Yoshitoshi. Jissenteki Shikihō Nyūmon. Tokyo: Geijutsu Gendaisha, Takahashi, Masamitsu. Shikihō Nyūmon. Kanpon edition. Tokyo: Ongaku no Tomosha, Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Notes Video is utilized every class. Wearing a dark shirt is appropriate to make the baton easy to see. 愛媛大学修学支援システム, accessed December 30, 2012, The specialized field of the instructor was determined by the information found at accessed December 30, 2012.

107 94 Table A49. Summary of Basic Conducting and Conducting I (Kōchi University) Course Titles Basic Conducting ( 指揮法基礎 ), Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructors Sōichi Wakioka ( 脇岡宗一 ), Professor; Jōji Obara ( 小原浄二 ), Professor Specialized Fields Oboe (Wakioka), Voice (Obara), of Instructors Aims/Goals 1. To become able to use basic conducting pattern for each meter. 2. To become able to conduct music with expression. Schedule [Prof. Wakioka] Week 1: Orientation, practical conducting (instrumental music) Weeks 2-7: Practical conducting (instrumental music) Week 8: Midterm examination (instrumental music) [Prof. Obara] Weeks 9-15: Practical conducting (choral music) Week 16: Final examination (excerpt from Handel s Messiah) Grading Based on attendance, participation, and examinations. Textbooks/Scores Handouts References N/A Notes N/A 高知大学教務情報システム, accessed January 27, 2013, These two titles are for one identical course. Conducting 2 has not been held at least since The specialized fields of the instructors were determined by the information found at and accessed January 27, 2013.

108 95 Table A50. Summary of Conducting (Fukuoka University of Education) Course Title Conducting ( 指揮法 ) Term Second Semester, Academic Year Instructor Taishi Harada ( 原田大志 ), Associate Professor Specialized Field Violin of Instructor Aims/Goals To understand the role of conductors and learn the bases of conducting by studying the Saito method. Schedule Week 1: Introduction, tataki Week 2: 2, 3 and 4 -beat tataki Week 3: Heikin undo, shunkan undo, haneage, sextuple and quintuple meters Week 4: Shakui, sen-nyu, score reading Week 5: Study 1 (from The Saito Conducting Method), score reading Week 6: Study 2, score reading Week 7: Study 3, score reading Week 8: Study 3, conducting an ensemble Week 9: Study 4, score reading Weeks 10-11: Study 5, score reading Week 12: Mixed and irregular meters, use of left hand Week 13: Study 6 Weeks 14-15: Practices for the examination Week 16: Examination Grading Based on accomplishment in class and the examination. Textbooks/Scores Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, References Saida, Yoshio. Hajimete no Shikihō. Tokyo: Ongaku no Tomosha, Notes Non-music students may attend this course only if able to read music. 福岡教育大学シラバス, accessed January 20, 2013, The specialized field of the instructor was determined by the information found at accessed January 20, 2013.

109 96 Table A51. Summary of Conducting 1 (Saga University) Course Title Conducting 1 ( 指揮法 I) Term First Semester, Academic Year Instructor Haruto Imai ( 今井治人 ), Associate Professor Specialized Fields String bass, Conducting (Orchestral, Choral) of Instructor Aims/Goals 1. To learn conducting techniques that are useful in class and activities at school. 2. To gain techniques and expressiveness that can convey the conductor s ideas to players. Schedule Week 1: Introduction Week 2: Duple meter (Schumann s Kinderszenen, #3) Week 3: Duple meter (Schumann s Kinderszenen, #4) Week 4: Triple meter (Schumann s Kinderszenen, #6) Week 5: Triple meter (Schumann s Kinderszenen, #2) Weeks 6-7: Quadruple meter (Beethoven s Piano Sonata, op. 2-3, mvt. 1) Week 8: Sextuple and irregular meters (Mussorgsky s Pictures at an Exhibition Promenade ) Weeks 9-10: Triple meter (Delibes s Coppélia Waltz ) Weeks 11-15: Review (Debussy s Petite Suite, mvt 4) Grading Participation 20% Efforts in class 50% Final examination 30% Textbooks/Scores N/A References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes N/A シラバス検索, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

110 97 Table A52. Summary of Conducting 2 (Saga University) Course Title Conducting 2 ( 指揮法 II) Term Second Semester, Academic Year Instructor Haruto Imai Specialized Fields String bass, Conducting (Orchestral, Choral) of Instructor Aims/Goals 1. To apply techniques and knowledge learned in Conducting 1 to various styles of music. 2. To master the conducting method and apply it not only to school education, but also to any music activity in the community. Schedule Weeks 1-2: Variations on a Theme by Haydn by Brahms (theme, var. 6) Weeks 3-4: Variations on a Theme by Haydn (var. 7) Week 5-15: Overture to Die Fledermaus by J. Strauss, Jr. Grading Participation 20% Efforts in class 50% Final examination 30% Textbooks/Scores References Notes N/A 1. Brahms, Johannes. Variations on a Theme by Haydn. Tokyo: Zen on Gakufu Shuppansha, Brahms, Johannes. Die Fledermaus Overture. Tokyo: Zen on Gakufu Shuppansha, Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, N/A シラバス検索, accessed December 30, 2012,

111 98 Table A53. Summary of Conducting (Nagasaki University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year Instructor Akiko Kanō ( 加納暁子 ), Associate Professor Specialized Fields Violin, Music Education of Instructor Aims/Goals To understand the bases of conducting and become able to use basic conducting techniques. Schedule Week 1: Anacrusis, tataki, dynamics Week 2: 2-beat pattern (fast) Week 3: 2-beat pattern (slow) Week 4: 3-beat pattern (Symphony no. 1, mvt. 2 by Beethoven) Week 5: 4-beat pattern (Impromptu by Schubert) Week 6: 4-beat pattern ( Nessun dorma from Turandot by Puccini) Week 7: 5-beat pattern (Serenade for Strings, mvt. 2 by Tchaikovsky) Week 8: 6-beat pattern (Sonatina by Kuhlau) Week 9: 1-beat pattern (Ballad by Burgmüller) Week 10: Irregular meters (Mikrokosmos by Bartók) Weeks 11-12: Conducting Un bel dì vedremo from Madama Butterfly by Puccini Weeks 13-14: Conducting The Blue Danube by J. Strauss, Jr. Week 15: Watching a DVD Week 16: Final examination, review Grading Efforts in class 50% Final examination 50% Textbooks/Scores 1. Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Redel, Kurt. Taktschlagen oder Dirigieren. Translated by Naoki Sugiyama. Tokyo: Ongaku no Tomosha, References N/A Notes N/A シラバス検索, accessed December 30, 2012, The specialized fields of the instructor were determined by the information found at accessed December 30, 2012.

112 99 Table A54. Summary of Conducting 1 (Kumamoto University) Course Title Conducting 1 ( 指揮法 I) Term Academic Year (Intensive Course) Instructor Haruto Imai, Adjunct Instructor (Associate Professor at Saga University) Specialized Fields String bass, Conducting (Orchestral, Choral) of Instructor Aims/Goals To understand the bases of conducting and gain techniques useful for practical sessions with vocal and instrumental ensembles. Schedule Lesson 1: Introduction Lesson 2: Duple meter (Schumann s Kinderszenen, #3) Lesson 3: Triple meter (Schumann s Kinderszenen, #6) Lesson 4: Duple meter (Schumann s Kinderszenen, #1) Lesson 5: Triple meter (Schumann s Kinderszenen, #2) Lessons 6-7: Quadruple meter (Beethoven s Piano Sonata, op. 2-3, mvt. 1) Lesson 8: Quadruple meter ( The Death of Åse from Peer Gynt Suite no. 1 by Grieg) Lesson 9: Quadruple meter ( In the Hall of the Mountain King from Peer Gynt Suite no. 1) Lessons 10-11: 6/8 meter ( Morning Mood from Peer Gynt Suite no. 1) Lessons 12-13: Triple meter ( Waltz from Coppélia by Delibes) Lesson 14: Compound meters ( Promenade from Pictures at an Exhibition by Mussorgsky) Lesson 15: Compound meters ( Sacrificial Dance from The Rite of Spring by Stravinsky) Lesson 16: Final examination Grading Efforts in class 50% Final examination 50% Textbooks/Scores Scores of assigned works References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes N/A 熊本大学シラバス, accessed December 30, 2012, Semester not specified.

113 100 Table A55. Summary of Conducting 2 (Kumamoto University) Course Title Conducting 2 ( 指揮法 II) Term Second Semester, Academic Year Instructors Seigo Yoshinaga ( 吉永誠吾 ), Professor; Kyōko Mori ( 森恭子 ), Associate Professor Specialized Fields of Instructors Violin, Music Education (Yoshinaga); Voice, Music Education (Mori) Aims/Goals To make the students own conducting techniques more definite through conducting actual ensembles. Schedule N/A Grading Based on attitudes in class and conducting abilities. Textbooks/Scores N/A References N/A Notes N/A 熊本大学シラバス, accessed December 30, 2012, The specialized fields of the instructors were determined by the information found at accessed January 27, 2013.

114 101 Table A56. Summary of Practical Conducting (Ōita University) Course Title Practical Conducting ( 指揮法実習 ) Term Second Semester, Academic Year Instructor Shinji Moriguchi, Adjunct Instructor Specialized Fields Conducting (Orchestral, Choral), Literature of Instructor Aims/Goals 1. To learn basic conducting techniques necessary for large instrumental and vocal ensembles. 2. To study expression and teaching methods. 3. To understand the importance of conductors through video documents. 4. To gain a sense of accurate tempo and techniques to express it. 5. To learn accurate conducting patterns, various techniques including crescendo, ritardando, and fermata. 6. To understand efficient rehearsal techniques. Schedule Week 1: Introduction: What is conducting? Week 2: Requirements for a conductor Week 3: Tataki Week 4: Patterns Week 5: Shakui and heikin undo Week 6: Dynamics changes Week 7: Tempo changes Week 8: Fermata Week 9: Irregular meters Week 10: Historical insights into the roles of conductors Week 11: Biographies of great modern conductors Week 12: Rehearsal techniques Week 13-14: Advanced techniques Week 15: Review Grading Final examination 60% Participation and quizzes 40% Textbooks/Scores TBA References TBA Notes N/A Course Description 2012, accessed December 30, 2012,

115 102 Table A57. Summary of Conducting (University of Miyazaki) Course Title Conducting ( 指揮法 ) Term Second Semester, Academic Year Instructor Yūichi Ura ( 浦雄一 ), Assistant Professor Specialized Fields Composition, Conducting (Orchestral, Band) of Instructor Aims/Goals 1. To learn basic conducting techniques. 2. To become able to use an appropriate conducting technique in each situation. 3. To investigate the roles of a teacher/conductor. 4. To become able to teach conducting to others in future through interaction with each other in the class. Schedule Week 1: Introduction: How to choose a baton, how to hold a baton, 1 and 2-beat tataki and heikin undo Week 2: Duple meter Week 3: Discussion on video from last class Week 4: Triple meter Week 5: Discussion on video from last class Week 6: Quadruple meter Week 7: Discussion on video from last class Week 8: Tempo and dynamics changes Week 9: Review of basic motions Week 10: Irregular meter, compound meters Week 11: Waltz tataki Week 12: Discussion on videos from last two classes Weeks 13-15: Practices for examination Week 16: Final examination (Each student chooses one of the following works: excerpts from Symphony no. 104, mvt. 1 by Haydn; Symphony no. 1, mvt. 1 by Beethoven; and The Blue Danube by J. Strauss, Jr.) Grading Attendance 20% Efforts, attitudes, improvement, concert report 50% Final examination 30% Textbooks/Scores Handouts References Saitō, Hideo. Shikihō Kyōtei (The Saito Conducting Method). Kaitei shinpan edition. Tokyo: Ongaku no Tomosha, Notes Students are desired to be aware of tempi and rhythms of music heard in their daily lives. Printed syllabi were distributed to students in his conducting class on October 4, The specialized fields of the instructor were determined by the information found at accessed January 21, 2013.

116 103 Table A58. Summary of Conducting (Kagoshima University) Course Title Conducting ( 指揮法 ) Term First Semester, Academic Year (Intensive Course) Instructor Tatsuya Shimono ( 下野竜也 ), Adjunct Instructor (Professor at Ueno Gakuen University, Resident Conductor of the Yomiuri Nippon Symphony Orchestra) Specialized Fields Conducting (Orchestral, Band), Music Education of Instructor Aims/Goals 1. To study conducting techniques that would be useful in many kinds of educational situations such as regular classes and club activities. 2. To learn how to conduct and rehearse, being aware of the actual process towards a performance. Schedule Lesson 1: Introduction: The bases of conducting Lesson 2: Beethoven s Sonata Pathétique (analysis) Lessons 3-5: Sonata Pathétique (expression, performance) Lesson 6: Ave verum corpus (analysis) Lesson 7: Ave verum corpus (rehearsal, performance) Lesson 8: Saburō Takata s Mizu no Inochi for mixed chorus, mvt. 2 (rehearsal, performance) Lesson 9: Mizu no Inochi, mvt. 5 (rehearsal, performance) Lesson 10: Summary of choral conducting, mid-session examination Lesson 11: Bin Kaneda s Passacaglia for symphonic band (score reading focusing on transposing instruments) Lessons 12-14: Passacaglia (rehearsal, performance) Lesson 15: Final examination Grading Based on participation, mid-session and final examinations. Textbooks/Scores N/A References N/A Notes Students are expected to read books about musical analysis and harmony before the session begins. 教育学系シラバスシステム, accessed December 30, 2012, Conducting course was not held at Kagoshima University during the academic year The specialized fields of the instructor were determined by the information found at accessed December 30, Shimono does not have academic achievements in music education, but his bachelor s degree from Kagoshima University is in music education.

117 104 Table A59. Summary of Conducting A (University of the Ryukyus) Course Title Conducting A ( 指揮法 A) Term First Semester, Academic Year Instructor Takehiro Itokazu ( 糸数武博 ), Professor Specialized Field Bassoon of Instructor Aims/Goals 1. To gain practical conducting skills through understanding basic techniques. 2. To understand methods of orchestration and characteristics of each type of ensemble. Schedule Week 1: Concept of conducting, roles of a conductor, what is baton technique? Weeks 2-4: Quadruple meter, heikin undo, tataki Weeks 5-7: Triple meter, sen-nyu Weeks 8-10: Duple meter, waltz tataki Weeks 11-12: Waltz tataki with orchestra Weeks 13-14: Transposing instruments, analyses of band works Week 15: Final examination with orchestra or band Grading Based on the final examination. Textbooks/Scores N/A References N/A Notes N/A 琉球大学教務情報システム, accessed January 27, 2013, The specialized field of the instructor was determined by the information found at accessed January 27, 2013.

118 105 Table A60. Summary of Conducting B (University of the Ryukyus) Course Title Conducting B ( 指揮法 B) Term Second Semester, Academic Year Instructor Keitoku Izumi ( 泉惠得 ), Professor Specialized Field Voice of Instructor Aims/Goals 1. To study the bases of choral conducting and gain basic baton techniques. 2. To become able to express the musical imagination existing in the conductor. Schedule Basic conducting techniques are lectured in week 1. Students conduct the following pieces from week 2: Donna Donna, Fuyu no Seiza, Hana, Natsu no Omoide, Kōjō no Tsuki, Momiji, My Grandfather s Clock, Daichi Sanshō, and Ave verum corpus. Grading Based on daily attitudes, understanding, achievement, papers, etc. Textbooks/Scores Scores are provided. References N/A Notes N/A 琉球大学教務情報システム, accessed January 27, 2013, The specialized field of the instructor was determined by the information found at accessed January 27, 2013.

119 106 Interviewed by Yuichi Ura Conducted February 14, 2013 Saga University in Saga, Japan APPENDIX B HARUTO IMAI INTERVIEW YU: How long have you been teaching at Saga University? HI: It s been seven years. YU: You teach Conducting 1 and Conducting 2 every year, right? HI: Yes. Conducting 1 is held in the First Semester and 2 is in the Second Semester. I also teach two conducting courses for graduate students. YU: Among those, Conducting 1 corresponds to Conducting outlined in the Educational Personnel Certification Law, right? HI: That s right. YU: Have you changed the course content since your first year at Saga? HI: Well I should say that the materials have changed rather than the content. YU: You mean the music you use has changed. HI: Yes, I think I ve been making improvements in the order of pieces I assign. YU: You re a specialist not only in conducting, but also in string bass. Do you have students majoring in bass? HI: No, I don t. YU: Do you teach string ensemble in the course Instrumental Ensemble? HI: Yes, I teach strings during the First Semester in the course Instruments. There are usually a few students good at violin in the class every year, so I let them teach beginners while I teach cello to the others. At the end of the semester, they can play very easy ensemble pieces. In the Second Semester they play recorders. 22 YU: That sounds substantial. 22 Recorders have been utilized at places of education in Japan since 1959, according to the website of Yamaha.

120 107 HI: At first I taught strings in the Second Semester as well, but I began wondering if knowledge on strings would be useful for the students after their graduation. If they all taught near Tokyo, it would mean something as there are many youth orchestras there, but most of my students would stay in Kyūshū, so What is the instrument for schools? Recorder, right? So I started it. I had no experience, though. I dug up various recorders from old lockers in the hallway. Bass recorders, tenors, altos There were about eight students in the class, so I divided them into two quartets. We began practicing in a blind way. I practiced with them, too (laughing) But we all became pretty good around the end of the semester. We performed an ensemble piece. I think learning recorder is good for students because I can make them pay attention to pitches and harmonies. They take dictation of triads in the solfège class, but its educational effect is not so much. But I can try to teach basic things about pitch, harmony, and the figure of sound. At least I can raise these musical issues. YU: Listening carefully to the sounds of the recorder is indeed different from taking dictation of chords on piano. HI: Right. Students who have learned only piano haven t had any experience in which a sound stops when they stop breathing. Therefore they can t play the recorder naturally. It s just weird YU: Since they play in a quartet, a sense of the responsibility of each student must be increased. HI: Yeah but it s not very easy for them to boost their motivation. But anyway they enjoy playing recorder. There are lots of beautiful pieces for recorders from the Baroque era, but those are not to the students taste So they play arrangements. YU: Do you look for such pieces? HI: Yes, I do. I can t spend much time on looking for pieces for them, though But I find good ones every year and renew the repertoire. Recently I found a pretty good album of arrangements. YU: Do you make your students conduct such ensembles? HI: Oh, no. I don t do that. Looking at other professors syllabi, I see some professors linking Conducting to an instrumental ensemble course. Well, here s the thing I worried about at first. In my conducting classes, teaching assistants play two pianos. It was not clear if they were playing by looking at the conductor, or they were just playing as they desired. The conducting students didn t understand if the music was being created by their conducting. So I said to the TAs, If I play by watching the conductor, the music is going to be like this, and played. My tempo was obviously slower than the TAs. Because I m a conductor, I never play until the beat-point is shown. But the TAs played however the conductor s baton was moving. Even if the conductor s hand was shaking, the music sounded smooth. I made a shaking sound, instead. Then I realized

121 108 that students couldn t gain conducting skills unless the players became able to play as the conductor conducted. So I always say to the TAs, Do it appropriately. YU: You sound as if you are busy teaching both the conductor and pianists (laughing) HI: Yeah...but they begin accompanying brilliantly once they get the knack of it. Conversely, when the conducting student moves her hand freely and the pianos play exactly together with it, she understands that her motion is making accelerando or ritardando. If I carelessly say, This spot should be ritardando, the pianists will make ritardando automatically and the conducting students won t make progress. But I do say something if the two pianists are not playing together. What I have learned from Tōhō professors is that it s the conductor s fault when players aren t together. It happens when the conductor s Einsatz is unclear. YU: What do you say to the pianists to tell them how to play with the right timing? HI: It depends on how they play. I often stop and correct them in the first two or three classes. It s obvious that the conducting student is not good or the pianists have a problem. What do I say to the pianists? I explain the concepts of acceleration and deceleration from the book The Saito Conducting Method. YU: To understand the concepts simplifies matters. HI: Indeed. If they really want to improve, they need to be able to feel the simple change of their arms up and down tighten and loosen As if they re nerds But they have to reach the core once. YU: And they grow up a lot when passing through the core. HI: Right. However, a few students can feel the core naturally. They are impressive. YU: You studied The Saito Conducting Method, but there is no special term such as tataki or heikin undo in your syllabus. Why didn t you write the terms? HI: Well I don t think the students need to know the terms. What they must do first is to begin a piece and show tempo changes Once the piece starts, the ensemble will keep going, you know? So beginning is the most important. Being able to draw patterns smoothly is also important. Also they must be able to conduct hard, softly, and somehow between. But anyway, their bodies rather reflect the sound, and they conduct bouncily if the music is rhythmical. And then I say to them, That motion is called tataki. Well, actually, I teach only tataki at first. Names of other techniques like sen-nyu are not necessary. Doing sen-nyu at school is ridiculous, you know? (laughing) YU: Absolutely.

122 109 HI: Sen-nyu is extremely unique Neither hikkake nor haneage have to be taught, either; everyone uses them without my instruction. So what I want my students to learn are patterns and motions suitable for the patterns. Probably anyone can conduct softly. You don t have to train yourself to do it. Conducting hard is more difficult, so training is necessary. No one can use tataki at first, you know? So I teach hard tataki first. Then I teach soft tataki. I think the students can understand the motions between hard tataki and soft tataki through feeling the music. Reading other professors syllabi, some use The Saito Conducting Method from the beginning YU: Many do so. HI: Really. But is sen-nyu usable at school like for a choral piece? It s nonsense to use the technique if the players don t know the meaning of it. So I don t think I need to teach it. If a student comes to me and asks a question, I will answer, but otherwise If hikkake is necessary somewhere in a piece, I may say, It will be clear if you move like this to show the rest on the downbeat. This is called hikkake. I never explain by saying, Hikkake is YU: You orally explain tataki, though. Do you have your students to practice tataki every class as a warming-up exercise? HI: I don t do that. They practice tataki only at the beginning of the semester and while studying actual works like the second piece from Schumann s Scenes from Childhood. I have the students draw three-beat patterns and say, Let s use tataki because the rhythm is accented. Figure B1. Excerpt from the second piece from Schumann s Scenes from Childhood Source: Kinderszenen, Op.15 (Schumann, Robert), IMSLP, accessed April 14, 2013, Op015Brt6016.pdf.

123 110 YU: What was the reason why you selected each piece? HI: It was just because of the time signature of the piece. I teach details whenever I find them. YU: So you don t choose a piece in order to have your students learn a certain way of expression. HI: Ah. Do other professors do so? YU: Not so many professors have written down the titles of the works they use HI: Maybe they say, Let s study heikin undo this week, or something like this and begin a class? YU: I guess so. The topics on their syllabi are varied; those are times, names of motions such as tataki and heikin undo, and so on. At any rate, using an actual piece beginning in the second week of the semester like you do is very rare, but I think it s quite practical. HI: Students will be bored if I say, Keep doing tataki for two hours, you know? Even if I subsequently say, Practice two-beat patterns, it s not meaningful for students unless they understand how the motion and the time are related. I wasn t sure if I was enjoying studying The Saito Conducting Method. After finishing the book, I studied using works for piano for a while, but it was so boring I hardly went to lessons (laughing) Then my teacher eventually said, Okay. Let s do something else, and he assigned me the Unfinished Symphony or something and I started going to his lessons again. YU: Was he Mr. Okabe? 23 HI: Yes, he was (laughing) YU: Even though you have had such an experience, you ve chosen piano works for your students. HI: Right. That s because it s not easy for them to read orchestral scores yet. The conducting class won t proceed unless the music is easy and short enough. Every student needs a certain amount of podium time, you know? YU: There is an additional conducting course ( Conducting 2 ) at Saga, but you d like more time HI: (pointing at a syllabus the author is looking at.) What is that? YU: It s the syllabus for your Conducting Morihiro Okabe ( ) was a Professor at Tōhō Gakuen School of Music. He was a student of Hideo Saito and was on the editorial board of The Saito Conducting Method.

124 111 HI: Ah, (Johann Strauss, Junior s) Die Fledermaus is on it, right? That operetta is pretty good. It includes tempo changes, meter changes, waltzes, accelerando, ritardando, fermata, etc. It took so much time to make my students master all of them. They read the orchestral score, so I explained orchestration a little bit as well. YU: Don t you teach an individual course of score reading? HI: No. I only teach it in Conducting 2. YU: You teach a solfège course, don t you? HI: Yes, I do. I teach Solfège to freshmen, Solfège and Instruments to sophomores, Conducting 1 and Instrumental Ensemble to juniors during the first semester. They take Conducting 2 at last during the second semester of the junior year. Around the end of the solfège course, I make the students practice reading C-clefs and transposing instruments. So I feel as if these courses are all part of the process leading towards Conducting 2. To read orchestral scores, they must be able to read clarinets in A or Horns in F, right? Conducting 2 contains various elements. YU: That s what conducting is all about, I think. HI: That s true. YU: You were originally a string player. You ve said that you utilize strings and recorders in the course Instruments. However, music teachers instruct bands more often than orchestras in general in Japan. Do you have your students play band instruments in Instrumental Ensemble? HI: Instrumental Ensemble is the most annoying course to me I guess other professors might think so, too. There is a huge gap in abilities among students in the course. In the First Semester this year, we arranged George Gershwin s An American in Paris. We transcribed it from a short arrangement for band. The instruments we used were recorders, pianicas, percussion instruments, and accordions. It took time to get everyone motivated, though. But we came up with various ideas to make our arrangement. YU: You all arranged the work together? HI: Yes, we tried to. They listened to a recording a little bit, made new parts by transcribing from a condensed score We bought music calligraphy pens just for this. In the last class of the semester we ran through the piece. Instrumental Ensemble is quite difficult to teach Before the Gershwin, we arranged Tchaikovsky s The Nutcracker Suite every year for three years. It was done pretty well, but I became bored (laughing) because they only picked similar notes

125 112 YU: I see. Let us return to the topic of Conducting 1. Don t you have the participating students be conducted as pianists or other instrumentalists? HI: I did at first. However, their performance abilities were too low to be used in the conducting class. So I stopped. I thought their conducting skills wouldn t be refined even if they conducted such pianists. I teach an intensive course at Kumamoto University. There is no TA for the course at Kumamoto, so I had the students play once, but they weren t good enough So I began playing for them last year. And I realized that it was hard to watch the conductor while playing piano YU: Did you learn a lot from your experience in watching conductors as a string bass player? HI: Of course, I did. But the number of notes for the piano is different from those for the bass (laughing) Bass players can look down upon the conductor and orchestra, but pianists cannot do the same YU: At Kumamoto University, you only teach an intensive course equivalent to Saga s Conducting 1. Two other professors jointly teach a course equivalent for Conducting 2. How differently do you teach the basic conducting courses at Kumamoto and Saga? HI: I feel sorry for my students at Saga, but I probably explain things better at Kumamoto (laughing) I might be feeling pressed because I was there only for five days YU: Also you wouldn t be able to make a correction later. HI: That s true, too. YU: The repertoire for Kumamoto is slightly different from the one for Saga. Do you still select the works in order to have your students learn the patterns? HI: Yes. Regarding details of expression, I won t say anything if the student is showing them nicely. If they are not expressing anything, I will give them advice, though. I dislike telling them how I feel about the music from the beginning. If they are showing their feelings appropriately, I will say nothing. YU: Even though their interpretations are different from yours? HI: No. As long as the expression is suitable for the piece, I would say, That s good enough. If it were way too inappropriate, I would say something. I moved like this, therefore I got this sound, and It sounded like that because I moved like that, are completely opposed, you know? I don t want to say anything like, If you conduct the phrase like this, it will sound like this. I would feel as if I were denying the student s character or power of thinking.

126 113 YU: That s the difference between education and training. By the way, you were professionally educated, but now are educating future music teachers. Do you teach anything special because your current students are music education majors? HI: Ah, that question Well, I consider both professional and educational conducting styles but there are two other types of conducting: clear conducting and unclear conducting, right? When I felt that most strongly, I was conducting a musical. There, my baton was the only device to connect the songs on the stage to the orchestra in the pit, so it had to be extremely clear. And both singers and players asked me questions like, What was that? or Did you want to retard there or not? Since they asked me if I wanted to retard, it meant my conducting had not delivered the message that I wanted to do so. At such a professional place, to conduct clearly is very important. YU: I see. HI: Whenever I watch choir competitions or any interschool music competitions as a judge or on TV, I wonder if the kids are singing by looking at the conductor or only as a result of daily practice. In most cases, it is the result of practice. If so, what is the role of the teacher in front of them as they play or sing? YU: A tour guide? HI: That may be true (laughing) But anyway, I do think that those kids are trained very well and that they sing well. I suspect the teachers are good at boosting the kids motivation to study. However, are they singing with the expression that their teacher s hand shows at the time? My answer is no. The imprinted music is much stronger than the conductor, isn t it? If so, the teacher s conducting is not making sense. But conducting is what needs to be understood. We must hope it is understood. YU: It is important for music teachers to develop the students abilities to read conducting. For this purpose, the teachers must be able to show clear conducting. HI: Right. Another thing I often say to my students is, All sound is a reflection of your conducting. We should never say that the players are bad. It leads only to an endless argument, you know? It s meaningless. In the class, whatever the pianists play is because of the conducting. They must think like this. But when I say so, the pianists feel tense and play well (laughing) YU: That sounds psychological HI: Well yes. But my mentor taught this way, too. He said, You look frustrated, but your conducting is not clear. You probably think that the pianists are not following you, but that s because your baton is not leading them. We must fix these details one by one. Otherwise we never grow up.

127 114 YU: We ve been talking about clear conducting. In your opinion, what will create clarity of conducting? HI: Techniques. These include techniques to express the structure of a work, which is ability in analysis. YU: On the contrary, what would be the reason for unclear conducting? HI: That s ambiguity of timing, nuance, etc. A certain conductor said that his mentor had said, Conduct as if all the notes are stuck on your hand. I understand what he meant. When I move my arm, all the notes are following it By looking at the motion between beat points, players comprehend the speed of the flow of music and the distance to the next beat. And this comprehension is repeated every beat. The Saito Conducting Method explains this system through the principle of acceleration and deceleration. After all, what conductors need to do is to appropriately distribute the time between beats to acceleration and deceleration. When Maestro Kazushi Ono was still in Japan, I was an assistant to him. 24 He sometimes vibrated his right arm when conducting. I realized that he was showing some vibration within a moving beat. He once asked me, What sort of sound does the conducting style of Tōhō demand? 25 But it may be true that tataki does not clearly demand a certain sound. So we must make the music flow like Carlos Kleiber ( ) did. We must show the flow. Some conductors sensuously did so. Some of the others, including Prof. Hideo Saito, analyzed the mechanism of conducting. We are possibly making a detour, but thanks to him, we comprehend what the principle of conducting is like. We can rationally refine our conducting through a little bit of intellectual work. But tataki is useful when you want the ensemble to retard. They never make sound until you show the beat-point. When you use tataki, your hand stays above the beat-point for a long time. So it s easy for the ensemble to play at the same time. When it works, I scream in my mind, Tataki is great! It feels awesome, you know? So what we need to know is how and when we should use it. YU: But I think it s difficult for students to objectively understand how they are conducting at the time. HI: If a student were confused, I would stand next to her and conduct together. We often use the phrase make it flow, but students don t know the meaning of it. So I conduct with her and say, Follow me, follow me. On the contrary, if the student s hand was flowing where using tataki is appropriate, I would say, Look, your hand s already reached the beat-point. But we re conducting in the same tempo, right? Our tempi are 24 Kazushi Ono (b. 1960) is a Japanese conductor. He studied at the Tokyo National University of Fine Arts and Music and has been the Principal Conductor at Opéra National de Lyon since The Saito method is taught at the Tōhō Gakuen School of Music where Hideo Saito was a professor. Notable alumni of Tōhō include Seiji Ozawa (b. 1935) and Kazuyoshi Akiyama (b. 1941).

128 115 the same, but the hangtimes are different, which means the distributed times for acceleration and deceleration are different. YU: Don t you videotape your classes for the students? HI: That may be a good idea. YU: Not so many professors utilize video recordings, though. HI: I see. But I bet it takes the professors a lot of time and trouble. I haven t thought about it seriously. I didn t like watching myself, honestly (laughing) But I record the final exam for my students. They don t come to my office though I tell them to watch the video. YU: It s sad that students stop being motivated after the final exam By the way, unlike many professors teaching conducting at other universities, you have a strong background in conducting. What is the biggest advantage for your students in studying conducting with you? HI: Let me see Though I teach various courses such as Solfège and Instruments, my students probably recognize that I am a conducting person. I feel that they most enjoy the conducting courses. And I do, too. What I talk about in class is based on my experimental rule. So if I say, That s not clear, it means I couldn t play if I were in the orchestra. It s simple, you know? YU: I imagine your students will conduct both instrumental and choral ensembles in the future. You are actually active in the fields of orchestra and chorus. Do you explain the difference between those ensembles to your students? HI: Well, I conduct both ensembles without regard to the difference. Both play music right? Also, I think the most important issue when we play music is phrasing, which is the flow. Flow is breathing, I think. Singers breathing is very natural. Wind players as well. They always consider breathing lengths, decide tempo settings, and practice, you know? As for string players, our right hands move back and forth, and our phrases are chopped. So string players must be more seriously aware of phrasings than others. Otherwise, the music will be boring. YU: In the sense of singing, you mean orchestras, bands, and choruses are the same. HI: I think so. In other words, it would be nice if I could conduct them in the same way. YU: In general, it is argued that the conducting style of the Saito method is mechanical. As long as the conductor makes appropriate accelerations and decelerations, he/she can show clear patterns and phrases. However, breathing is important in actual situations. How do you explain this in classes?

129 116 HI: The preparatory motion is the most symbolic. There, the motion of the conductor s arm and players breaths can never be together. Even if I say, Breathe when my arm goes up, the players cannot start breathing simultaneously at the moment when my arm starts going up. They see that my arm starts going up, and they breathe in. This means our timings of Einsatz are slightly different, you know? In order to react to my rising arm right away, the players need to breathe in and wait. Singers never do so. Wind and brass players do in some cases. YU: You believe that conductors can conduct in the same way regardless the type of ensemble. Players will look at us and make sound at their individual discretion. HI: Right. YU: How do you make your students try to do singable conducting? Do you say, Your conducting is not singable, or something like this? HI: Well Not singable Not clear I probably say, Not clear. (laughing) In a certain case, the beginning is not clear. In another case, the timing of the start of accelerando is not clear. YU: Some students may have rich spirits for singing. But if their conducting skills were poor, the players wouldn t be able to sing. HI: That case happened at Kumamoto University. It was a boy. He beat the conductor s stand and broke a baton, which was mine (laughing) It was a carbon fiber baton, so I was surprised YU: Did you give him special instructions? HI: Of course I gave him advice, but I thought he was just fine as a conductor not as a student of the method His enthusiastic expression was much stronger than our mechanical techniques. Thanks to it, what he wanted to do was clear. So I said to him, People who can understand you will understand you. YU: He overthrew the definition of clear conducting, didn t he?...(laughing) It sounds if he has a supernatural power HI: Well, actually, he does. Some students can express the music right away. Some cannot because they are shy. We must teach how to talk to these shy students. Mechanical techniques are necessary for them. YU: Professional conductors use not only such mechanical techniques, but also various other ways of expression in order to convey their music to the players. My students were curious that a conductor and a professional orchestra didn t seem to play beats simultaneously. If you were asked a question about it, how would you explain it?

130 117 HI: Professors at my university ask that question to me, too (laughing) A professor asked me, Did you watch Simon Rattle with the Berlin Philharmonic on TV? Were they together with the conductor? I answered, Yes, they were. But they seemed to play completely differently, he said. And I said, For his conducting, the Berlin Philharmonic has selected that timing. I can t help it. I think that s because of the characteristics of Rattle s motions his accelerations and decelerations Because his arm goes up quickly, a small time-gap is created anyway. YU: That explanation is very comprehensible. My students also asked me, Do we have to make a time-gap, too? HI: That s a silly question. Amateur players sometimes ask me, When do you want us to play? I answer, What? When I beat. According to them, a certain conductor said, When the baton reaches the top. I interpret that he had to say so because his conducting and the orchestra couldn t be together at all YU: It might be his excuse. HI: Basically, the moment to play sound is when my hand bounces. Accelerating like this and rising... It depends how I show the bounce, though. YU: In short, it s the moment when the deceleration begins. HI. Yes. It s the beginning of deceleration. I imagine that the conductor we were talking about a little while ago only showed extremely quick decelerations. If so, it would be natural that the players made sound when his baton was at the top. YU: At any rate, the timing you want sound is right after the beat-point. HI: Right after? No. When it rises (laughing) It s when my baton starts rising. YU: Okay. I will tell my students that you say so (laughing) Thank you today for your time and valuable conversation. HI: Oh, no. Sorry if it was only a chat. YU: I like chatting. Thank you very much for the valuable chat.

131 118 APPENDIX C HIROAKI YAMADA INTERVIEW Interviewed by Yuichi Ura Conducted February 15, 2013 Naruto University of Education in Naruto, Tokushima, Japan YU: Most universities of education in Japan offer only one conducting course for a semester or as an intensive course. Naruto Univerity of Education offers Conducting 1 and Conducting 2 in addition to Conducting, which is stipulated by the Educational Personnel Certification Law. Thorough these courses you teach topics that are not covered by a normal conducting course such as singing with self-accompaniment on piano, music history, etc. HY: Right. But strictly speaking, doing that shouldn t be my job. There is no musicology professor here for a couple of reasons including the budget. I was a musicology major at the Tokyo National University of Fine Arts and Music though I didn t specialize in music history. But I had knowledge of music history and was interested in it, so I thought it was okay for me to teach it here. However, I could not teach more courses, so I began teaching music history in one of my conducting courses. First, I started teaching the history of Medieval and Renaissance music, because I thought it was impossible for students to study that by themselves. Recently it s become very easy for us to find rare recordings on the Internet, but it was not at that time... YU: The syllabi of Conducting 1 and Conducting 2 show a wide variety of topics. HY: In Conducting 1, I teach baton techniques by using songs from textbooks for elementary and junior high schools. The students also sing these songs with selfaccompaniment. I wrote score reading in the syllabus, but I only teach the basics of it like how to read C-clefs. YU: What other courses do you teach? HY: I teach Solfège and Instrumental and Vocal Ensembles in addition to Conducting, Conducting 1 and Conducting 2. The contents of these courses are somehow linked. YU: That sounds great. What s the instrumentation like for the instrumental ensemble class? HY: It s a so-called reed orchestra, consisting of pianicas, accordions, marimba, piano, etc. These instruments are typically used at school, and a certain publisher releases arrangements for such an ensemble like Paul Dukas s The Sorcerer s Apprentice. So I edit such pieces and have the students play and conduct them. They aren t familiar with

132 119 many masterworks, so I want them to experience such classical works even though they can only play arrangements. In the vocal ensemble class, I have the students sing and conduct choral pieces that are typically sung at junior high school. The students learn rehearsal techniques through conducting a choir. So they actually don t do conducting in Conducting 1 and Conducting 2. Instead, they do other things that are necessary in order to conduct music. YU: Even so, I think it s good as long as all the things they must learn are covered. HY: I m trying to make my students develop their total powers at least within my fields. YU: At the University of Miyazaki, I teach Instrumental Ensemble, and a voice professor teaches Chorus. Because our conducting styles are distinct, the students seem to understand that my conducting style is for instrumental ensembles and hers is for choirs. As you teach both at Naruto, how do your students see the difference between instrumental and choir conducting? HY: It isn t an issue I mean, the students have few chances to see me conducting. I sometimes show my conducting, but they never get confused because I conduct both ensembles. Anyway, I don t mention the difference at undergrad level. YU: Do you have your students conduct instrumental and vocal ensembles in the same way? HY: Well, the major part of choir conducting is vocal coaching. Choir conductors move their bodies and arms in order to produce voices. So for choir conducting, I think special techniques other than the pure conducting skills are absolutely necessary. YU: I understand that you teach those pure conducting techniques in Conducting. How many students are there in the course? HY: Six through eight students take the course each year. I strictly follow the syllabus. In the first class, I talk about the roles of a conductor and the skills and knowledge necessary for us. From the second class, I teach basic conducting, using songs from elementary textbooks. For example, I use Katatsumuri (Snails) for 2-beat tataki. I actually pick different pieces each year, but I ve used Mushi no Koe (Chirping of Bugs) for 2-beat shakui. Sen-nyu can be used in this song...like in measures 5 and 6. YU: Certainly, students can learn the basic patterns through such easy pieces. HY: Right. They conduct Happy Birthday to You for fermata in week 7 and Edelweiss for waltz tataki in week 12. Then I use Silent Night to discuss issues and measures concerning the 6/8 meter. There are so many possible tempi for the song, you know?

133 Figure C1. Excerpt from Katatsumuri Source: Shotōka Ongaku Kyōiku Kenkyūkai, ed., Saishin Shotōka Ongaku Kyōikuhō (Tokyo: Ongaku no Tomosha, 2011),

134 121 Figure C2. Excerpt from Mushi no Koe Source: Shotōka Ongaku Kyōiku Kenkyūkai, 147. YU: What issues and measures do you particularly consider? HY: As you know, 6/8 is not very easy to conduct in two. If the conductor were not aware of the right tempo all the time, the music would get slower and slower. So I teach this fact at first. Also, students tend to emphasize the third and sixth beats, but the tempo can t be clear in that way, right? So I teach practical techniques like sen-nyu then. YU: Don t you teach how to conduct irregular meters? HY: No, I don t even in Conducting 1 or Conducting 2. They will have to conduct complicated works for band in the future in club activities, but I only teach what they will use in regular classes. YU: What do you assign for the exam of Conducting?

135 122 HY: I assign singing with self-accompaniment on piano. I select a song from the repertoire the students practiced in class. YU: That s very interesting. HY: Singing with self-accompaniment is most important I think so maybe because I was in Vienna. Coaching opera and conducting is the same thing in my mind. YU: Don t you assign anything else? HY: Radio Calisthenics no I have all the students conduct it. YU: That sounds like a good idea. There are many tempo changes HY: Tempo changes and type B subdivision can be used in the introduction. Other course materials are all songs, so I teach some instrumental conducting techniques through this piece. Everyone knows the piece and has memorized the tempo changes. So it s very convenient, and if they can play the piece on piano, they re going to be popular at school (laughing) Don t you think so? YU: I agree with you, and understand that your students develop a solid base of conducting in your course Conducting. The pieces you assign are all popular and simple, aren t they? HY: Yes. I know conducting is a case study. Even if a student learns shakui, tataki, and other techniques, it doesn t mean she can conduct any composition. The number of the colors on her palette increases as she learns a variety of music, you know? When I began teaching the course many years ago, I tried to have the students conduct masterworks. However, they didn t know the music. I thought it was meaningless to discuss dynamics and Agogik of an unknown piece. So I began using pieces that all Japanese people must know. 26 Radio Calisthenics ( ラジオ体操 ) are a kind of rhythmic exercise popular in Japan. The piano music to Radio Calisthenics no. 1, composed by Tadashi Hattori, and no. 2, by Ikuma Dan, is broadcast on NHK radio every morning.

136 Figure C3. Excerpt from the music to Radio Calisthenics no. 1 Source: The sheet music is provided by NHK for free. 123

137 124 YU: On your syllabus of Conducting, I find the terms tataki and shakui, but no other term such as heikin undo or hikkake appears. Do you only teach tataki and shakui? HY: Yes. Tataki, shakui and subdivisions type A and type B. That s all. I don t think I need to teach sen-nyu or haneage because they can do it naturally. Whenever active music teachers come to my seminar, they all conduct with haneage. Students who were in high school bands have been affected by their teachers conducting, so they try to do haneage. I say, Haneage is prohibited here. From-point motion moves together with the players, but it doesn t lead or control the ensemble. Into-point motion is difficult, but it s the basics of conducting, I believe. YU: Almost all of those who instruct conducting based on the Saito method teach heikin undo, but you don t teach it. HY: Heikin undo Where can we use it? We can t use such a thing efficiently unless the players are professional. At any rate, I don t believe in conducting, to be honest. I don t believe that human beings have the ability to synchronize their motion with anything moving in the air. A flight of birds or a shoal of fish suddenly changes directions, right? Fish have lateral lines and feel hydraulic pressure there when switching their motions. Birds don t use their eyes, either, in such cases. Excuse me for being personal, but when I accompany my wife, certain parts of my body automatically react to her breath, and the sound is already there. We act in such a way as, Ready, and, you know? That wouldn t be musical. I ask my students, When you drive, do you put on the brakes after thinking, Now, I should brake.? The answer is no, right? So, we shouldn t be conscious. Ensemble has to be done by unconsciousness. But it takes a long time for us to actually be able to play music unconsciously. I m afraid to say this because you re young, but abilities in playing in an ensemble become more and more refined as the player gets older and older. YU: I look forward to it (laughing) HY: Anyway, the real pleasure of ensemble music is unconsciousness. Therefore, the conductor s role is to take everyone to the condition of unconsciousness. So I don t give my students specific instructions in conducting. In fact, conducting methods are not necessary for elementary and junior high school classes. The most important thing is how much the teacher can increase his or her students motivation. If the singing of elementary kids is not lively, that s because their teacher s motivation is way too low, you know? YU: You don t believe that conducting techniques are very important in places of education. HY: In my opinion, the importance of the degree of such techniques is not very high.

138 125 YU: I see. By the way, what do you teach about how to read conducting? A certain student of mine asked me if players should make sound on the beat for educational conducting and after the beat for professional conducting HY: I tell my students to play after the beat, basically. Otherwise, it s impossible to play together or it s impossible for the conductor to control the players. Whenever I conduct an opera, I truly think that the conducting does not require sound on its beat-point, but as if it s saying, You may make sound now, so it s like YU: Permission? HY: Yes! Permission (laughing) It s like, Not yet, not yet, not yet now! And everyone plays. YU: You think conducting should be like a traffic light. HY: Yes. YU: Do you think so maybe because of your experience in conducting operas and working as a Korrepetitor? HY: I guess so. Well, actually, I think conducting exists for operas. Is conducting necessary for symphonies? YU: That s a bold remark (laughing) HY: Well, it might be an extreme argument. But an opera doesn t start without a conductor. YU: That s true. HY: After all, whether the players create a good ensemble depends on how much they are motivated. In other words, they can never play together unless they listen to each other. The worst thing is that each player reacts to the conductor differently. Some play on the beat-point, some play after the beat-point, some play by prediction and it will be impossible for them to be together. So they shouldn t watch the conductor (laughing) YU: Do you say, Don t look at the conductor, to your students?! HY: Oh, no, I don t say it in the class. I mean, the level of that request is too high for the students. In the class, I only say, Let s unite our hearts. But actually, it s the most important thing. Whenever an ensemble is not doing well, the players are saying like, Why aren t we together? or Let s look at the conductor carefully, and so on right? So I tell my students not to try to play at the same time when being in an ensemble. YU: You hope they play as if they are singing, instead.

139 126 HY: Right. I say to them, Let s concentrate with the sense of singing. Even though the players practice during a rehearsal, they will never get better. They can get worse, though. Even if the rehearsal goes well, nobody knows if the performance will be the same So I m not very serious about teaching conducting. YU: Okay Now, what s the most important thing that you d like your students learn through the course Conducting? HY: I teach conducting, but I m sure it s not the most important. I think the ability to communicate with others is much more important. Looking into others eyes and other such actions are so significant. But actually, I hope my students do develop their conducting skills to some extent I don t want them to be embarrassed when they say, I studied conducting. But I don t require anything else of my students besides the basics. To be honest, I don t want them to become interested in conducting while they re undergraduates. They have lots of other things to do, don t they? I assign a very wide range of things to my students through Conducting, Conducting 1, and Conducting 2. A half of the reason why I do so is to frighten them and let them know that studying conducting is hard. It s ridiculous if an alumnus with a degree in music education says, I can conduct! But I can t play the piano! YU: That person can t pass the employment test, either. HY: They can study applied conducting techniques as much as they want after becoming music teachers and start teaching bands, you know? Also, it s true that many music teachers are so much better than professional conductors at increasing kids motivation. They have such amazing powers YU: That s another reason why you don t think your students should study applied conducting now, isn t it? HY: My role is to make their dream come true. I must make them become music teachers. What can I do for this purpose? I can help them to develop their abilities in dictation, singing with self-accompaniment on piano, playing recorder, etc. The syllabi for Conducting 1 and Conducting 2 especially contain my hope for their dreams. I want them to become teachers. YU: There are so many things you can teach, so I think your students are feeling confident thanks to you. HY: If so, that s just because my fields are a little bit varied YU: I hope you keep sending capable music teachers into the world of education. Thank you very much today. HY: Not at all.

140 127 APPENDIX D NORIHISA YAMAMOTO INTERVIEW Interviewed by Yuichi Ura Conducted February 16, 2013 Tokyo Gakugei University in Koganei, Tokyo, Japan YU: I brought your textbook with me. Would you autograph it for me? NY: Ah, thank you for purchasing it. (writing his autograph) How s this? YU: Thank you very much! NY: Well, I researched a lot on conducting textbooks so as to write my book. YU: I guessed so. Did you research chiefly on the books introduced in the bibliography on p. 194 of your book? NY: Yes. However, there was another source. I originally studied conducting with Mr. Shigenobu Yamaoka. 27 It was my first year to teach at the current university, and I had trouble teaching conducting in a huge class setting. So I asked Mr. Yamaoka what he was doing at Nihon University where he was teaching. He kindly let me observe his class several times. Before observing his class, I was teaching with somewhat like the Saito method, but I wasn t sure if it was the most suitable for actual places of education. I was looking for something else. Mr. Yamaoka provided me with handouts that he had made. I referred a lot to his handouts to write my book. YU: Why did you think that the Saito method was not suitable for places of education? NY: That method is to train professionals, you know? Even if I have my students practice a certain technique like tataki for a month I don t think it is necessary. It is too much for music education majors. Of course I teach tataki, but I just say, This is called tataki. I only spend one hour on it regardless of achievement. Have you ever studied the Saito method? YU: Yes. My first conducting mentor Mr. Yukio Kitahara is a Tōhō alumnus, so his lessons were based on the Saito method. NY: I see. I studied the Saito method, too, for a couple of years under Mr. Masamitsu Takahashi. 28 Most of his students wanted to be professional conductors. There were some school music teachers as well in his class, but I started thinking that the contents of 27 Shigenobu Yamaoka (b. 1931) is a Japanese conductor. He was a student of Hideo Saito and taught at Nihon University. 28 Masamitsu Takahashi (b. 1925) is a Japanese conductor. He was a student of Hideo Saito.

141 128 lessons for future professional conductors and conducting courses in music education programs should be different. YU: You believe that the conducting method necessary for places of education is different from the one for professional situations, correct? NY: Yes, I think they are different but should be the same in the end. The processes are different, I think. The basic idea of the Saito method is that techniques are necessary for conducting. As Seiji Ozawa mentions, techniques to convey the musical grammar are necessary. However, at places of education, after teachers have learned basic conducting techniques, their musical leadership skills will be much more important. They can have many rehearsals in classes and club activities. On the other hand, the number of rehearsals is limited in professional situations, so conductors should have a variety of techniques. Regardless of the place, however, a conductor s own music is shown directly though his motions. Techniques of the Saito method, such as tataki, heikin undo, and shakui, were set up in order to express the music inside conductors, I think. YU: Those special terms are used in your book as well. I m interested why you changed the order. The first three techniques in The Saito Conducting Method are tataki, heikin undo, and shakui in order, but in your book heikin undo comes first, then shakui, tataki NY: That s because heikin undo is the easiest. Heikin undo is not technically difficult, so anyone can do it after learning the patterns. Shakui is suitable for songs. In history, songs existed before instrumental works, right? Also at school they teach songs first. So I think teachers must be able to conduct songs. But tataki is If I said, Now, do tataki, in the first class, they would do it in a thousand ways. Some students would strain to beat or might not be able to beat YU: Some would bear down on the beat or do somewhat like haneage. NY: Right. When I came to this university and started teaching conducting, I first taught tataki. But I realized that the meaning of tataki was difficult for the students to comprehend. So now I explain that tataki is a bounce. The word tataki originally means to beat or strike, so when my students try to do tataki, they tend to strike like tatakidome. Many students cannot release the tension after the beat-point. Tataki is especially useful when we want the ensemble to begin a phrase together, right? This is why we use tataki often when conducting an instrumental ensemble. Anyway, I decided the order of techniques with careful consideration. YU: How many students are there in your conducting class? NY: There are 55 students this year. I have every student conduct on the podium in rotation, so no one gets much podium time around the beginning of the semester. However, once it starts going smoothly, about twenty students can conduct within a ninety-minute period.

142 129 YU: Because of the huge number of students, isn t it difficult for you to have them look at fellow conductors and play music? NY: I have them sing together. YU: So you basically have them conduct only choir pieces. NY: That s right. They only conduct a chorus around the beginning of the semester. Most songs are sung a cappella. In the class there are several students that can play instruments, so sometimes I ask them to make ensembles and have other students conduct them. The pieces are all chosen from my textbook. In the first class, I use the song Furusato. I don t say anything specific. I just say, Furusato is easy, so you guys can conduct it, can t you? But they can t, you know? For instance, a certain student shows three beats as preparatory beats. Then I ask, How many beats are necessary, at least? My conducting course starts like this. Figure D1. Excerpt from Furusato Source: Shotōka Ongaku Kyōiku Kenkyūkai, 195.

143 130 YU: You make your students think at the beginning. NY: Right. I want them to think all the time. YU: Another interesting thing about your book is that you don t use the terms acceleration and deceleration. NY: I seldom mention the speed of the baton. I believe that analyzing is the most significant point for conductors, so I spend much time on it. Phrasal analysis, harmonic analysis YU: To quote from the book, those are the tasks to be done before standing on the podium. Do you also teach those things in the class? NY: Yes, I do. For example, in Inquiétude from Johann Burgmüller s 25 Études faciles et progressives, op. 100, the first two measures and the next two measures are exactly the same. Should the second time be softer? Or louder? I often say, Do differently from the previous person, and they try distinctive ways. Then I say, Omit those you don t like. The rest is your interpretation. Figure D2. Excerpt from Inquiétude Source: Norihisa Yamamoto, Manabō Shikihō, Step by Step (Tokyo: Artes Publishing, 2008), 48. A slur is missing in m. 3 in the source.

144 131 YU: Is it possible for you to cover all the contents of the book within a semester? NY: It s impossible. So I only choose representative pieces from the book. I basically teach just as the syllabus shows. For instance, I pick Furusato for heikin undo, a certain song for shakui, and so on. YU: What piece do you assign for the final exam? NY: I usually assign Promenade from Modest Mussorgsky s Pictures at an Exhibition. It takes about two minutes for each student, so I spend two classes on the exam. I used to have students play the piece on piano, but now each student plays whatever instrument they can. But I have them make their own parts for the particular instruments by transcribing from the score. I believe that students learn a lot though conducting a real instrumental ensemble. The number of players is about twenty at maximum. YU: Concerning grading, you ve written, There is an examination at the end of the semester. Active participation is highly rated, on your syllabus. Does this mean the result of the exam doesn t affect the final grade that much? NY: Well, it s about fifty percent, I think. Because the class is in the morning, lazy students skip classes or come in late YU: Ah, that s why you ve written like that. I see. By the way, you begin the semester with songs because you believe that songs are the basics of music. On the other hand, you mainly conduct orchestras and bands outside of the university. Do you conduct differently depending on the type of ensemble? NY: Basically, It s the same. However, the reactions to my conducting are different depending on whether the ensemble is an orchestra, band, or choir. YU: In your conducting class, do you mention the different reactions? NY: I think that s what students should learn by themselves. Soft atmosphere of choir music and hard atmosphere of band music are different, but no one can understand the difference unless they feel it. First, they must become aware of the difference. Then they must learn how to react to those different reactions. YU: You hope your students learn by activity outside of the classroom. NY: There are two kinds of things in the world: things I can teach and things I cannot teach, you know? YU: Among those things you can teach, what do you especially regard as important? NY: Well the importance of analysis the ability to take control of people I can t teach it, can I? (laughing) But anyway, what I say most often is, Choose words

145 132 carefully at rehearsals. For example, what do they say when beginning Furusato in the first class? They say whatever they want to say. A certain student tries to start conducting without saying anything. No one sings. I say to her, Think why they didn t sing. Because my conducting wasn t good, she answers. But that s not the matter. Then I ask her, Did you divide them into parts? It s one of our roles, too, because conductors have authority. YU: I see. Let me ask you about your book again. This book contains a variety of pieces for practicing. The Saito Conducting Method also contains eight Studies. In Saito s book, the specific technique to be used for each beat, such as tataki or soft shakui, is strictly instructed. On the other hand, you instruct which techniques are to be used very generally. NY: Each student should choose techniques, depending on his or her characteristics. I don t think those should be specifically decided by a third party. I m guessing that the pieces in The Saito Conducting Method were selected to let the students use certain techniques. Mr. Saito s book is like an analysis report through which students can learn the relationships between the techniques and music. YU: I personally think that we don t have to use sen-nyu in all the indicated places in The Saito Conducting Method NY: Ah, that sen-nyu For instance, I don t think I should begin the second movement of Beethoven s First Symphony with sen-nyu. 29 That s a song-like melody, you know? I use shakui there. The actual music is cantabile, right? I guess Mr. Saito considered that spot as a rhythmic accent and utilized it as an assignment. YU: In fact, the term sen-nyu doesn t appear on your syllabus. NY: I don t teach it. YU: I think it s more important for students to look for places to use sen-nyu than to become able to make such a motion naturally when it s necessary. NY: That s very true. Some students are highly motivated and sometimes use sen-nyulike techniques though I haven t taught sen-nyu. In such cases I teach proper sen-nyu to them. YU: What your book and The Saito Conducting Method have in common is that neither mentions the use of the left hand very much. Do you allow your students to use the left hand? NY: I think that the right hand shows the rhythm or the pulse of the music. The left hand shows expression and other contents of the music. But the left hand sometimes 29 The second movement of Beethoven s Symphony no. 1, in C major, op. 21 is on The Saito Conducting Method as Study no. 5.

146 133 obstructs the right hand s music, you know? So I don t direct or say, Use the left hand this way, because it should depend on the individual. If a certain student were using his left hand nicely, I wouldn t say anything. But if it were bad, I d say, That s obstructing, or something. On the contrary, to those who always only use the right hand, I say, You may mirror the motion of the right hand, especially when conducting a choir. But if you do so constantly, the choir would be bored. I also mention the use of the left hand as a cue whenever necessary. YU: Let me ask you this question. Among many things you teach, what do you want your students to remember for years after graduating? NY: What I want my students to remember is that conductors cannot make sound. We must beg the players to make sound. This sort of attitude is very important. I may not say such a thing in the class, but I feel that way all the time. In a music room, the music teacher as an educator has an absolute power over the students, right? If a person were not good, a professional organization would never hire him again. But at school, the teacher reigns over his students until he transfers to another place. So I d like to say to the future music teachers in my class, Know yourselves. YU: Even though you don t say that in word, your thoughts must be conveyed to your students through your education. NY: Well, I might clearly say, Know yourselves, to my students (laughing) It s shameful, isn t it? But conductors cannot make sound anyway. Until the players make sound, we are not conductors. Therefore, we must know who we are. YU: Those are impressive words. I will remember them. Thank you so much today.

147 134 Interviewed by Yuichi Ura Conducted February 19, 2013 Shinshū University in Nagano, Japan APPENDIX E HARUTO YOSHIDA INTERVIEW YU: Though many professors teaching conducting in Japan use the terms of the Saito method, such as tataki and shakui, there are no such terms on your syllabi. What kind of method are your conducting courses based on? HY: Those are based on nothing. I haven t studied the Saito conducting method. YU: Certainly, you began studying conducting in Germany. HY: Yes. One of my two conducting mentors is a Japanese. He had studied the Saito conducting method, but in my lessons, he told me about both the positive and negative things concerning the method. YU: What do yourself think about the Saito method? HY: I don t reject the method outright but I feel that the Saito method requires us to apply the techniques to music. But in general, conducting is not easy to teach, you know? Hideo Saito systematized conducting, gave a name to each technique, and had his students master a limited number of motions. That is just fine. However, I don t know if it s the best for music education majors because what they need to learn is not limited to basic patterns or motions. Students studying the Saito method tend only to be aware of how to move their hands. But I hope my students will feel the music first. In the end, I hope their hands will move automatically, naturally, and unconsciously. In my classes, a few students know the Saito method terms and say, That technique is shakui, or something, but I tell them that we don t use those terms in my class. I am not an anti-saito method person, of course. I just don t want my students to think in anyway like, Ah, I can use that technique here. YU: You also studied with Maestro Carl-August Bünte. 30 HY: Yes. When I first visited Mr. Bünte s place, he stood up and asked me, Can you do this? 31 And he said, If you can do it, you can be a conductor. He checked if my body could feel the beat-point. It made sense to me... It s good if you can feel the sense of beat by doing that motion when nothing is there. All of the other techniques are 30 Carl-August Bünte (b. 1925) is a German conductor. He was the first conductor of the Berliner Symphoniker and taught at the Hochschule der Künste Berlin. 31 He held both hands at the sides and suddenly pushed them down towards the ground.

148 135 variations. The number of the variations is not limited, but is infinite, I think. I want to tell my students how they can shift the sense of beat as they wish. I want them to understand at least the logic of this idea YU: I thought Mr. Bünte s approach was very interesting. HY: I learned from him that the most important thing is to know the music, rather than how to conduct. Every conductor has to know the whole picture of the music he conducts. Counting beats can be done by anyone, right? If the conductor doesn t know the music or doesn t know how he feels about it, appropriate motions of the baton will never appear. YU: You ve said that you don t use the terms such as tataki and shakui. How do you verbally explain the various motions when your students practice patterns? HY: When I have them practice 4-beat patterns, for instance, I shout something like, Hard! Soft! Light! or Heavy! How each student feels and shifts their images and motions by hearing those words is important. So I never say anything like, Use this technique! I want them to feel something through the adjectives I use. YU: Hard, soft, light, and heavy Do you use any other adjectives? HY: What else? I don t remember anything else (laughing) YU: Okay (laughing) You utilize a video camera in your conducting classes. What do you think about the effectiveness of the use of videos? HY: When I was a student, video cameras were not yet popular. So my teacher often told me to look at myself in the mirror. But I began looking at my face, and so it was difficult for me to keep watching the motion of my hand. Many years later, when I videotaped conducting, I was surprised because it was very different from what I d been imagining. So, for my students, watching themselves conducting on video is the easiest way for them to comprehend how they are conducting, I think. YU: On a national basis, there are more professors not using video cameras than the others. HY: That s interesting One of the reasons might be that they don t have time to show the recordings. We have an online learning system at Shinshū University, so I can upload videos there and have my students watch them. But if not YU: So you don t play the videos during the class hours? HY: No, I don t. The students watch them only for self-review. YU: What kind of ensemble do you have your students conduct?

149 136 HY: I know it s dull, but I have them conduct with CDs, except for pieces for piano. I tell them that what we do is not real, but I can t help it because of the number of students YU: How many students took the courses this year? HY: There were 21 students in Basic Conducting and 15 students in Practical Conducting. YU: Basic Conducting corresponds to Conducting as listed in the Educational Personnel Certification Law, doesn t it? HY: Yes, it s a required subject. YU: (watching the video of Professor Yoshida s class) There, I just saw a student holding a baton in her left hand. Do you allow your students to conduct with the left hand? HY: What do you think about Penderecki? 32 I ve actually played under his baton before, but there was no problem. I think using either right hand or left hand is acceptable as long as he or she conducts well. YU: You are right handed, aren t you? HY: Yes, I am. YU: Some people argue that conducting with the left hand is not good because the patterns are opposed to the normal style. They believe that it is unclear to the players. HY: I know they say clear conducting or unclear conducting. However, what I think after playing under many different conductors is that so-called clear conducting does not affect anything. Specialists of conducting on the street seem to worry about clear beat-points and such things, but those don t matter to the players. I want to say, That s not the biggest issue. Show me what your music is like! I m speaking only for myself, but there is no difference among most Japanese conductors. They all conduct very beautifully and methodically as if they re making air shots. I want to say to them, So, what? YU: As you were the principal trumpet player of the Osaka Philharmonic, you played many times under the direction of Maestro Takashi Asahina. 33 What did you think about him? 32 The Polish composer Krzysztof Penderecki (b. 1933) conducts with left hand. 33 Takashi Asahina ( ) was a Japanese conductor. He founded the Osaka Philharmonic Orchestra in 1947 and was the Music Director of the orchestra until his death.

150 137 HY: As he himself said, he was unskilled. YU: Do you mean his conducting was unclear? HY: Oh, no, it was not unclear. Well, sometimes it was. But it was always possible for us to follow. YU: Will you tell me your impression of Maestro Eiji Oue? 34 HY: What he wanted to do musically was very comprehensible. However, I also thought that he didn t have to conduct with all the energy he did. But I recognized it as his individuality. We never deny anyone that. But I think that old master conductors like Karajan were just great. YU: How was he great? HY: Everything was clear through his motions. It was extremely clear how he was feeling YU: In general, clear conducting means that beat-points and patterns are clear. But for the players, you think that it is important as well that what sort of music the conductor wants is clear. HY: That s right. Whenever I conduct, I try to show what I think I want to see...if I were in the orchestra. I m not sure if it s been working or not, though YU: Isn t it difficult for you to explain what you do as a conductor in the class? HY: First, I show them how I conduct. Then I have two students stand next to me and conduct together with a CD. The other students watch the three of us, then I ask them if there is any difference. And I tell them about the importance of human nature. All the things other than musicality such as how to come to a rehearsal, how to speak, and how to proceed with the rehearsal are very important for every conductor. YU: Are you attempting to create a fusion of human nature, musicality, and techniques in each of your students? HY: Yeah but I don t think we can really achieve that goal. YU: Why not? Because you don t have enough time? HY: Right. They have to do so many things like study piano, voice, composition and complete assignments for lots of other subjects if he or she is pursuing a teacher s license 34 Eiji Oue (b. 1957) is a Japanese conductor. After being the Music Director of the Minnesota Orchestra between 1995 and 2002, he was appointed the Music Director of the Osaka Philharmonic in 2003.

151 138 for elementary school If I were one of the students, it would be impossible to keep doing such things. So I always say to them, You re admirable! YU: You had been playing the trumpet professionally before you started conducting. Do you believe that good conductors have to be good players as well? HY: Conducting is an action that does not make sound, so it may feel strange for my students to try to capture the essential features of conducting and playing instruments or singing in the same way. They may feel worried if they consider conducting to be an act of moving hands. But I say to them voice students, for example, Sing with your hand, instead of singing with your voice. You don t have to move your hand. Just let it sing. The heart feeling music should be always the same even if the terminal acts might change, you know? What were we talking about? YU: I asked you if good conductors had to be good players HY: Ah (laughing) Anyway, if the conductor is already a good player or singer, it is certainly easy for him or her to move the singing heart to their hand. It doesn t matter if the conductor is a first-class player or not. The most important is that what the person feels is first-class. YU: You said that you use the phrase sing with your hand. Do you think that the basics of conducting are the same regardless of the type of ensemble such as choir, band, or orchestra? HY: They are all the same. So we don t need to change how we conduct. YU: My students told me that they recognized my conducting was for instrumental ensemble and the voice professor s was for choir, so HY: That difference must be the difference between the characteristics of music and ensembles. My students also say such things to me. For example, a certain student has told me that she changes her singing depending on whether she sings a solo piece or a part in the choir. It probably changes as a result. However, she should know that the characteristics of music are different. By the way, she changes her act and her act changes are different. The former is what she unwillingly or forcibly does, but the latter is what needs to be done naturally. So, doing is not good, but becoming is. Because conductors try doing, it becomes weird or unclear. What is the purpose of performing music? I think it is to explain how I feel the music, not by words but through sound or motions if the performer is a conductor. Therefore, if the person is not feeling music, nothing begins. YU: Do you say something like, Feel! to your students? HY: I don t say so, but I do say, You can t play well if you don t feel.

152 139 YU: Does each of your students have opportunities to watch their fellow conductors as a player? HY: Not in the conducting courses, but they have such opportunities in a course named Instrumental Teaching Methods. I have them conduct an easy and short piece like an arrangement of the sixteen-measure song Furusato at the end of the course. Students taking this course attend Basic Conducting during the same semester. YU: Let me ask about the topics of Basic Conducting. You talk about the concept of conducting to your students in the first class. What specifically do you talk about? HY: Most of the students have no idea about conducting. So, first, I beckon a student sitting in the back of the classroom to the front. When he or she is walking around the room half way to the front, I show the flat of my hand, and the student stops walking. Then I say to everyone, This is a kind of conducting. I tell them that conducting is not to explain something by words or to make sound, but is to convey the idea of what the music is going to be like. YU: The second class is titled Beat-points. Do you talk about what beat-points are for ninety minutes? HY: I talk about not only beat-points, but also what Mr. Bünte told me and that conducting must be based on such natural providence. I also say, Let s play rock-paperscissors. Okay? Scissors! Why did you react so slowly? Let s try once again, rockpaper-scissors! Through this game, the students understand the importance of preparatory beats. YU: I think that the third class of Basic Conducting is unique, as you teach how to conduct many patterns including 2-beat, 3-beat, 4-beat patterns and irregular meters within a class hour. Most other professors spend one class hour on one pattern. HY: What I do is to draw big patterns on the whiteboard and have my students imitate those patterns in their notebooks. So they can learn all the patterns within a class hour, as if they are taking a Japanese calligraphy class. YU: How do you teach the use of the left hand? HY: I never say anything like, Count beats with the right hand and show the expressions with the left hand. You will probably be surprised, but I ask my students, Don t you look unbalanced if you conduct only with your right hand? and let them develop a habit of using the left hand. At first, it s okay for them to draw symmetrical patterns with both hands. YU: I see. By the way, do you teach anything special in the courses Basic Conducting and Practical Conducting because your current students are future music teachers?

153 140 HY: Unlike conservatory students, my students are not willing to become professional. But even if a student came to me and said that he wanted to become a professional conductor, I would tell him the same things in the same way. We use the term music education, right? A famous professor of music education said, A thing called music education doesn t exist. Only music exists. Music education certainly exists, but what he meant is that there s no music for music education, or there s no education for music education. There s only music. So what we must convey to our students is music. What do we need to do in order to convey music? This is my personal opinion, but I think that we all need to pursue music, regardless of the occupation such as a teacher or a performer. If someone were pursuing music education, I would ask, Where s your musicality? YU: So the ideal future image of each of your students is not an educator of music or a player of music, but a musician. HY: Yes. Not a player or an educator but a musician. That s the true ideal. For example, not a trumpeter, but a musician with a trumpet not a conductor, but a musician with a baton YU: Among many things you teach in your conducting courses, what is the most important, do you think? HY: I m not sure if my classes are going this way but I want my students to feel that conducting is fun. They say, Conducting is difficult at first, but it s natural. Do you think we ll be able to conduct any music with no difficulty? I don t think so. So conducting is difficult but it s fun Unless feeling the latter always, we probably cannot do anything wonderful. Actually, I m having fun (laughing) YU: Having fun teaching music? HY: Yes. YU: Having fun conducting? HY: Oh, yes. It is super fun! Around the end of every performance, I feel something like, I don t want to let it finish! Please, no!! YU: That s great...but let us finish our interview now (laughing) Thank you so much today. HY: Not at all. Thank you very much.

154 141 APPENDIX F SHINJI MORIGUCHI INTERVIEW Interviewed by Yuichi Ura Conducted March 5, 2013 Ōita Prefectural College of Arts and Culture in Ōita, Japan YU: You teach full-time at this college, 35 but you also teach as an adjunct instructor at two national universities: Ōita University and Yamaguchi University. Do you teach at Ōita every week? SM: Yes. I teach fifteen classes in the Second Semester at Ōita. However, it s impossible for me to go to Yamaguchi every week. So I go there five times within a semester and teach three class hours each time. All the contents of fifteen normal classes are covered, I think. YU: How many students take your conducting course at each university? SM: There are twelve students at Ōita and seven or eight at Yamaguchi. YU: At both universities, the first class of the course is an introduction. What do you talk about then? SM: I talk about the importance of historical comprehension because current students do not have knowledge of music history even briefly. They have to know the order of the birthdates of Haydn, Mozart, and Beethoven at least. They only know the present style of orchestra, so I also talk about the histories of orchestra, conductor, and repertoire. Also, I chat with the students to get to know more about them and let them get to know more about me. YU: Do you talk about those topics during the introduction because you believe that knowledge of music history is as important as conducting techniques? SM: Of course my courses are not music history classes, but I often refer to historical facts. Even if the students crammed techniques without understanding the background of the music it would be meaningless. It shouldn t happen that they don t know anything when they teach their students in the future. We always need to be aware of the totality of things. (leafing through the book The Saito Conducting Method) This is an awesome book isn t it? I ve never read to the end of it, though (laughing) But these pieces like Studies nos. 1 and 2 can be used in the class. As may be expected of the choices of Mr. Hideo Saito, these are pretty good as class materials. YU: Do you use different class materials at each university? 35 Ōita Prefectural College of Arts and Culture in Ōita, Japan.

155 142 SM: No, I use the same stuff. For the practice of tataki, I randomly choose pieces from Czerny s Études (100 Progressive Studies), op The album contains pieces of different time signatures, you know? Because I have to play the piano anyway, I select simple pieces. YU: Do you play the piano for your students? SM: Yes. YU: You re so kind SM: Well, the universities don t hire pianists, so YU: Many other conducting professors have their students play for their classmates. SM: That may be a good idea. But I have my students practice tataki altogether around the beginning of the semester, so if I asked one of the students play the piano, he or she could not practice We could probably do so by rotation, but that would be troublesome YU: You ve said that you play the piano while your students are practicing tataki. Does this mean that you play for a certain particular student, or you vaguely make sound for all the students? SM: I do the latter, but I cannot help it However, if I did so all the time, they would develop the bad habit of conducting to the sound. This is the biggest issue about teaching conducting to a group of students So the purpose of this activity is to solidify the motions of the basic patterns. YU: When do you start using the etudes from The Saito Conducting Method? SM: At Yamaguchi, I use them in lesson 6, when shakui and heikin undo come up. Around this time, I also start having my students become aware of the essence of conducting. I tell them that what they want to do and how they feel are more important than how well they conduct patterns. YU: According to the syllabus of your course at Yamaguchi University, you spend four lessons on tataki, out of fifteen lessons. It sounds very long SM: I teach tataki quite thoroughly. But to be honest I ve been wondering Tataki is We don t use tataki in actual music, do we? We certainly use tataki for marches, but otherwise For example, when we conduct choir music, tataki is annoying to the singers. For them, shakui is appropriate. I just follow Saito s book and begin my course with tataki, but I don t think that music teachers always use tataki at school, either. But

156 143 my students become pretty good at using tataki by the end of the semester. I also introduce exercise to produce a feeling of relaxation. YU: In your syllabi, I only find three terms of the Saito method: tataki, shakui, and heikin undo. Don t you teach any other techniques? SM: Well, I teach other techniques when necessary. For instance, the beginning of pattern with tataki is actually haneage, right? Throughout the semester, I make sure that the students keep developing their tataki. YU: I think that there are spots for sen-nyu in Study no. 2 from The Saito Conducting Method SM: Ah, I skip all of the detailed instructions. I just borrow pieces from the book. YU: I see. You teach the use of left hand in lesson 9 at Yamaguchi. SM: The use of left hand is difficult to teach At this college, 36 way to many students take my conducting course, so we have no time to spend on the left hand. I declare and say to the students, Let s conduct only with the right hand for now. It s nonsense for them to use the left hand badly and move their hands symmetrically, you know? Even at Ōita University and Yamaguchi University, I can talk about the use of left hand only briefly. YU: You ve said that you use Czerny s 100 Études for tataki and Studies 1 and 2 from The Saito Conducting Method. What else do you use? SM: I use Hamabe no Uta for the 6/8 pattern and the piano accompaniment part of Radio Calisthenics no. 2 so as to explain how to change tempi. YU: Do you play Radio Calisthenics no. 2 on piano as well? SM: Yeah It may be okay for me to let them play but a few students cannot play the piano at all, so YU: What do you assign for the final exam? SM: I assign Radio Calisthenics no. 2 as an instrumental work. I also assign a song as a choral work. 36 Ōita Prefectural College of Arts and Culture.

157 Figure F1. Excerpt from the music to Radio Calisthenics no. 2 Source: The sheet music is provided by NHK for free. 144