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Curricular Unit: Theory and Technique of Orchestral Conducting II
Code: LPI017
Cientific area: Performance Practices

Learning outcomes

Control the corporal posture.
Dominate the structure of the master gesture (the right arm) as well as the distribution of your set (arm, forearm, wrist, hand, baton) in bars 2, 3 and 4.
Develop coordination, independence and functionality in the use of the left hand.
Acquire skills of orientation space in gestural communication.
Be able to communicate through the gesture the breaths with simplicity and objectively.
Acquire skills of manage and maintenance of tempo as well as pulse control.
Develop communication quality of organic musical elements such as dynamics and articulations. Develop the inner listening capacity of the score by acquiring tools for reading, understanding and assimilating the musical discourse.


The syllabus consists of the study of the orchestra repertoire with predominance in the composers of the 18th and 19th centuries.

Teaching methodologies

The teaching methodology of the curricular unit is structured by monthly cycles.
Classes take place in the first three weeks and aim to prepare the repertoire for its practical realization within the framework of the Orchestra Conducting curricular unit, during the third and fourth weeks of each cycle.
The two structuring aspects of the curricular unit are:
1) Improving the reading and understanding of the orchestral scores.
2) The communication of musical discourse through gestural communication.
Regarding the first point, the knowledge acquired by the student in the field of musical training, harmony, musical analysis and orchestration is requested and extended.
Regarding the second point, techniques for restoring the perfection of the inner singing are applied and developed.
Classes take place without audio or sound support, so the student must independently develop his own sound conception of the work, in its maximum awareness and integrity.
In classes, the student must also present elements considered relevant to the perception of the score under study and which relate to the contextualization of its composition.


Colson, J. F. (2012) Conducting and rehearsing the instrumental music ensemble. Ed. The Scarecrow Press Inc.
Delcroix, R. (2006) Le language du geste. La direction d’orchestre. Guide et réflexion. Ed. Fuzeauclassique.
Furtwangler, W. (1979) Musique et Verbe. Ed. Pluriel.
Green, E. A., Gibson, M. (1961) The modern Conductor. Ed. Prentice Hall.
Jordan, J. (2008) Workshop on the Anatomy of Conducting. Conducting as rehearsal Technique. GIA Publication, inc Chicago..
Labuta, J. A., Matthews, W. K., Basic Conducting Techniques. Ed. Seventh Edition.
Liebert, G. (1988) L’Art du Chef d’Orchestre. Ed. Pluriel.
Mauceri, J., (2018) Maestros and Their music: The Art and Alchemy of Conducting. Kindle Editions.
Meier, G. (2009) The Score, the Orchestra, and the Conductor. Ed. Oxford University Press.
Scherchen, H. (1986) La Direction d’Orchestre. Ed. Actessud.
Wigglesworth, M. (2018) The Silent Musician: why conducting matters. Ed. The University of Chicago Press.
Whitwell, D. (2011) The Art of musical Conducting. Ed. Craig Dabelstein.

Teaching Staff
Jean-Marc Burfin