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Conducting Gestures. Institutional and Educational Construction Of View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto CONDUCTING GESTURES Institutional and Educational Construction of Conductorship in Finland, 1973–1993 by Anu Konttinen ACADEMIC DISSERTATION To be presented with the assent of the Faculty of Arts, University of Helsinki for public examination in Auditorium XII, University Main Building On January 26th, 2008 at 10 a.m. Helsinki 2008 © Anu Konttinen ISBN 978-952-10-4417-5 (PDF) ISBN 978-952-92-3089-1 (paperback) Cover design: Liisa Holm Cover photograph: Marja Kantola-Panula Cityoffset Tampere 2007 2 Contents Acknowledgements…5 INTRODUCTION 1. ‘Great conductors’: subject matter and starting point…8 1.1 Terminology and conductor studies as a field of study…16 1.2 Materials and structure of the study…21 1.3 Research problems…25 The structure of the study I THEORY AND APPLICATIONS 1. On the sociology of conducting…28 1.1 Art world theories and the study of conducting…31 Danto and Dickie considered – Becker and Art World – Gross and Marginality 1.2 Core activity – core skill…44 1.3 Identities…48 1.4 Conclusion: marginal or fringe?...53 2. Gestures and conducting…59 2.1 Conventions…62 2.2 On a theory of musical gestures…68 Conducting gestures 2.2.1 Defining musical gestures…72 2.2.2 Gestural types…76 Musical gesture – Technical gesture – Expressive gesture – Classifying gestures 2.3 Two semiotic modes of gestural communication…85 Score- conductor-orchestra – Conductor-orchestra-audience 2.4 Conducting gestures meet sociology: Modes of being…91 The View from the podium – A sociological point of view 2.5 Social gestures of being and working…100 II ON PRACTICE OF CONDUCTING 1. Introduction: Educating Finnish conductors…103 1.1 Education of conductors before Panula…106 1.2 Panula’s class…110 1.3 Speaking hands – a philosophy of teaching…116 1.4 Orchestra and video…119 First impressions 1.5 Educating with gestures…129 Conducting course 1.6 From conducting class to professional life…133 Invited guests – The musically versatile generation of Korvat auki, Avanti!, and Toimii! – Memorandum 1.7 “Then and now”…149 2. Educational continuum…159 2.1 Passing on the culture in practice…163 3 2.2 Positioning: In the context of Central European and American traditions…166 Case study: The Tanglewood connection 2.3 Conductor types…173 Case study: von Karajan and the sociology of modern conductor types III ANALYSIS 1. From theory to practice…183 1.1 Evolution of conducting gestures…186 Baton or no baton? – Towards batonless conducting 1.2 The physique of conducting gestures…196 1.3 Communicating with the body and dealing with physical limitations…197 Physical limitations 2. Conducting gestures: Analysis…203 Interpretation/realisation 2.1 Theoretical tools: conductor analysis and decoding of gestures…207 Decoding gestures 2.2 Case study: John Storgårds at work with the Helsinki Philharmonic…213 Uuno Klami: Kalevala Suite Op. 23 2.3 Musical gestures: Transitions from score to sound…217 2.4 From technical to expressive gestures…222 Baton and technical/expressive gestures – Size and shape in technical and expressive gestures 2.5 Repertoire of gestures and hierarchies of conducting…228 Hierarchies 2.6 Educational and working gestures in analysis…232 CONCLUSIONS 1. Starting point, theory and results…234 1.1 Gestural types reconsidered…237 Hierarchical repertoire 1.2 Social gestures in practice…242 2. Educational continuity and the sociological effects of Panula’s class…243 2.1 Emerging tradition…244 Effects of types considered 2.2 From conducting class to work communities…248 APPENDIX 1…251 APPENDIX 2…254 APPENDIX 3…256 References and Bibliography…257 4 ACKNOWLEDGEMENTS My thanks go first to all conductors, both those who are not present on the pages of this thesis, and even more, to those who have been part of it. Especially warm thanks to those conductors whom I have been privileged to interview and observe during the last ten years. Without Professor Jorma Panula I would not have had such a magnificent subject matter for my thesis. He has kindly answered all my questions and shared his great wisdom about music and life. I also want to thank Marja Kantola-Panula, who has helped me with Professor Panula’s schedules and provided photographs from the family archive as well as taking some of them herself. I wish to thank the Finnish Cultural Foundation, the Ella and Georg Ehrnrooth Foundation, and the VEST doctoral program (the Doctoral Study Program of the Performing Arts) for making this project possible financially. The Institute for Art Research, to which my own department of Musicology belongs, has provided working space and the opportunity to attend not one but two doctoral seminars. Professor Eero Tarasti and Docent Alfonso Padilla have guided me through years of intensive study and work. I want to thank Professors Pirkko Koski, Yrjö Juhani Renwall, Hanna Suutela, Erkki Huovinen, and Robert Hatten for reading my texts and giving me valuable advice. Professor Harri Veivo has helped me enormously with the theory of this thesis. I also thank all the professors and colleagues at VEST. My opponent, Professor Matti Huttunen, has also been a very thorough and wise examiner of my work. I also thank Professor Jean-Marie Jacono for giving his opinion on my work, and kindly suggesting corrections for the text. Professor Hannu K. Riikonen kindly agreed to act as a representative of the faculty. 5 I would also very much like to thank Liisa Holm, who wanted to take part in this ‘family project’ by designing the wonderful cover of this book. There are a number of people in my daily life, without whom it would not have been possible to finish this thesis. Jaakko Tuohiniemi has not only helped me to find and obtain the latest research books and articles and given all the help one could ever need in the library, but also has been the best of friends and provided the best laughs ever. As my colleague, friend, and a sister in the academy, Liisamaija Hautsalo knows exactly what I have been through during these years. She has stood by me and been a great help in many ways. Kai Lassfolk has been my next-door neighbour at Vironkatu for many years, rescued me from more than one computer-related crisis, and shared with me the challenges of daily research work. Esa Lilja has been the third member of our ‘studio team’ and given helpful advice on numerous occasions. Both Kai and Esa have also taken part in my work projects and I thank them for all their patience and knowledge. I also wish to thank Susanna Välimäki, Juha Torvinen, Petri Tuovinen, Mikko Ojanen, and Paul Forsell for their support and friendship, as well as Irma Vierimaa, Erja Hannula, Markus Mantere, Rita Honti, and Markus Lång for their kind advice. Warm thanks to Kirsti Nymark, Susanna Aaltonen, Renja Suominen-Kokkonen, and Riitta Nikula, as well as Juha-Heikki Tihinen and Harri Kalha for inspiring discussions. Petja Hovinheimo has been a great help during the research process. I also warmly thank everyone working in or with the Finnish Radio Symphony Orchestra. Hannele Markkula in Avanti!, and everyone at the Helsinki Philharmonic Orchestra have been very kind and helped me greatly. I would also like to thank my immediate superiors at the Finnish Broadcasting Company, YLE, for their encouragement, and everyone at work for their support – those who are my colleagues at the music programmes on TV and radio, as well as those who otherweise have a special role in my life. 6 I realise that my family and friends have had a lot to put up with while I have been writing this doctoral thesis. Even so, they have never failed to encourage me in everything I do. My friends Ilkka, Sini, Miikka, Juha, and Paola have been involved on the sidelines from the very beginning. Little Elias keeps ‘Auntie Anu’ inspired and smiling with his lovely enthusiasm for everything new and exiting. Thank you, Heikki and Liisa, for the amazing weekends watching films and discussing everything from art to more earthly matters, and Olli for taking part in making this thesis a real book. Finally, I would like to express my greatest and most sincere gratitude to my parents, Riitta and Timo. They have supported and helped me in every way and given me a realistic, yet inspiring idea of academic and artistic work from the very beginning, as well as sheltered and fed me during the most intensive phases of thesis writing. This has been our project, and in turn I hope I can make you proud. Lauttasaari, October 2007 Anu Konttinen 7 INTRODUCTION 1. ‘Great conductors’: subject matter and starting point This study concentrates on those Finnish conductors who have paticipated in Professor Jorma Panula’s conducting class at the Sibelius Academy during the years 1973–1993. The main focus is on praxis: the current educational and working practices that are the result of the system introduced by Professor Panula during his professorship and carried on by his former students. On a more general level, conducting is studied as a practical and sociological activity. On a specific level, the focus is on gestures of a conductor as communication. The relationship between a conductor and an orchestra in rehearsals and concerts is examined as well as the communicational space when an audience is present. The rapidly increasing study of the performing arts could be seen as the general context to which this work belongs. The present endeavour has been to find different theoretical aspects for defining and discussing the concept of a conducting gesture of which there has been no previous study.
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