ACTIVE AND PASSIVE HAND MOVEMENTS IN CONDUCTING
DOI:
https://doi.org/10.55640/Keywords:
conducting techniques, active hand movement, passive hand movement, musical gesture, nonverbal communication, performance expression, orchestral direction.Abstract
This paper explores the functional and expressive significance of active and passive hand movements in orchestral conducting. Conducting is a multidimensional art form that integrates physical gesture, musical interpretation, and nonverbal communication. Active hand movements, typically executed by the dominant hand, are responsible for maintaining tempo, signaling rhythmic precision, and directing ensemble cohesion. In contrast, passive hand movements, often performed by the non-dominant hand, convey expressive nuances such as phrasing, dynamics, and emotional intent. Drawing on principles from gesture theory, music pedagogy, and performance psychology, this study analyzes how conductors employ both movement types to enhance musical expression and performance clarity. Through observational analysis of professional conductors and pedagogical sources, the research demonstrates that a balanced and purposeful integration of both active and passive gestures is essential for effective communication between the conductor and the ensemble.
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References
1.Green, E. A. H., & Gibson, M. (2004). The Modern Conductor (7th ed.). Pearson Prentice Hall.
2.Labuta, J. A., & Matthews, W. K. (2010). Basic Conducting Techniques (6th ed.). Pearson.
3.Boyes Braem, P., & Sutton-Spence, R. (Eds.). (2001). The Hands Are the Head of the Mouth: The Gesture Theory of Language Origins. Signum-Verlag.
4.McElheran, B. (1989). Conducting Technique for Beginners and Professionals. Oxford University Press.
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