Gestural Codification of Wind Band Baton Technique Through the Use of Motion Capture

Technology
Objective: The purpose of this project is to create a systemized library of gestural syntax in order to
aid the progression of undergraduate baton technique.
Context: The field of instrumental conducting as it is known today, let alone a pedagogically sound
method of teaching it, is a relatively new concept in the history of music. Conducting was developed
out of necessity to maintain a level of synchronization between large groups of musicians. A prime of
example of this primordial conducting can be found in the 17th century composer, Jean Baptiste
Lully. Lully’s method of conducting consisted primarily of wielding a large staff and pounding it to
the ground. (Gorce 2017). The focus of the conductor during this day was to literally beat time. In the
modern day however, the conductor’s role has evolved far from simple time keeping. Modern
conductors now act an interpreter of a piece of music, dictating various levels of expression and
musicianship. Using facial expressions, body language, sheer force of musical will, conductors can
provoke the musicians to assimilate his/her musical interpretation (Walter 1961, 65-80). However,
one of the most recognizable methods a conductor has at their disposal, in terms of interaction with
the musicians, is the use of physical baton gesture. The importance of gesture has only come about
relatively recently, with the first substantial book on the subject only coming out in 1950. Later
books have attempted to create a categorized system of gestures (such as the Saito method of
conducting), however these books are largely based on an author’s assumption and interpretation of
their own technique. Similarly, the pioneer of the modern dance movement, Rudolf Laban, created
similar categorize for the general movement of the human body (Freeman 2014, 34). However, this
too falls to the same problem of an individual’s perception of their own reality. The purpose of this
project is to eliminate the ambiguity of gesture and focus on a scientific breakdown/analysis and
systemization of baton technique. Through this, I hope to contribute to the education of
undergraduate conductors.
Methodology: Throughout the course of this research project, the various gestures used in baton
technique will be broken down and analyzed through the use of motion capture technology. Via a
collaboration with the Sports Technology Research Lab at the University of Calgary, participants
will subject to various criteria. Due to the project’s goal being that of benefitting the pedagogical
approach to undergraduate conducting, only band conductors will be tested. Due to the nature of
band music being rooted in education (one needs only recall their own experience in elementary band
classes to recognize this fact), I feel that conductors of this ilk would produce the most ideal results
for this project.
The process will begin with the selection of 3 professional band conductors: Jeremy Brown (Calgary
Wind Symphony), Dr. Robert Taylor (University of British Columbia), and Jerry Junkin (Dallas
Wind Symphony). The participants will be hooked up to specialized motion tracking machine which
will capture their movements in real time as they conduct an ensemble through Aaron Copland’s An
Outdoor Overture. Their movements will then be analyzed, interpreted and sorted into a variety of
categories that are representative of their movements. By doing this, we can get a clear and distinct
representation of how gestures effect the psychology and musical interpretation of musicians which,
in turn, can be used to benefit the education of undergraduate students.
 Reference List
Gorce, Jerome de la. 2017. Lully. Grove Music Online. Oxford University Press.
Walter, Bruno. 1961. Of Music and Music-Making. W.W. Norton & Company Inc. New York.
Freeman, Wendy Jo. 2014. Gestural Kinthesis and Conducting: New Methods and Approaches
to Teaching and Evaluating Gesture. University of Calgary.