3. “Of our initial questions about score preparation, only its general importance seems unanimously agreed upon.
Is there any consensus regarding what constitutes satisfactory preparation? A thematic survey of conducting
texts from Wagner (1869) and Coward (1915) to Halsey (2011) gives a number of commonly accepted maxims,
1
listed loosely in order of process:
Table 1-1: thematic analysis of score preparation advice in conducting texts
2
a) Start with a silent, visual scan of the score, i.e. not with a recording or at the piano
b) Recordings are a useful way of surveying performance practice but should not be a substitute for rigorous
3
personal study and development of personal opinions and interpretation (listen to ten recordings once
4
each rather than one recording ten times )
5
c) Sing horizontally through each part
6
d) Sing vertically up and down the score
7
e) Acquire a detailed aural concept of the work
8
f) Play the score at the piano to the extent of your capabilities, although it should be noted that the ability
9
to ‘inner hear’ the score is considered far more important and indeed at least a few successful
10
conductors have practically no keyboard skills
11
g) Mark the score as necessary but recognise that this is for the purpose of learning the score rather than
12
as a primary method of remembering things in performance (cf. Hans von Bülow’s aphorism “It is better
13
to have the score in one’s head, than one’s head in the score” )
1
Criteria for inclusion were that each theme was either a) mentioned by multiple sources, or b) not
incompatible with other sources. The given ranking of processes is very general; the literature agrees on the
order of study far less than on the individual processes.
2
Boult (1951 [1920]); Green (1981); Halsey (2011); Grosbayne (1973); Lumley and Springthorpe (1989); Rudolf
(1980)
3
Halsey (2011); Lumley and Springthorpe (1989)
4 rd
Brashier, J. retrieved 23 April 2012 [http://www.windrep.org/Articles:Score_Study]
5
Coward (1951 [1915]); Green (1981); Grosbayne (1973); Jordan (2008); Lumley and Springthorpe (1989)
6
Green (1981); Grosbayne (1973)
7
Boult (1951 [1915]); Brewer (1997); Green (1981); Grosbayne (1973); Halsey (2011); Jordan (2008);
Rudolf (1980); Scherchen (1989 [1933]); Wagner (1869 [1940])
8
Brewer (1997); Coward (1951 [1915]); Green (1981); Grosbayne (1973); Hill, Parfitt and Ash (1995); Lumley
and Springthorpe (1989); Rudolf (1980); Wagner (1869 [1940])
9
Green (1981); Grosbayne (1973); Halsey (2011); Scherchen (1989 [1933])
10 th
Halsey, S. Workshop delivered 19 January 2012

4. h) Research the historical and musical background of the work; i.e. the composer’s oeuvre, the work’s place
14
in its genre and what was composed contemporaneously
i) Analyse the structure, from the large-scale structures to phrasing and motivic play; understand the
15
essential rhythmic, melodic and tonal relations within the work
16
j) Determine tempos
17
k) Practise conducting the work, e.g. in front of a mirror or with a rehearsal pianist
18
l) Develop a sense of the work’s dramatic and emotional journey
In the case of vocal music, text adds another dimension to the process of score preparation. Text often
19
influences character and emotional affect and can be a large-scale organisational principle as well as typically
20
informing the phrase structure .
These approaches can be divided into four categories:
Application of analytical schemes (a, g, h, i and j)
Acquisition of an aural concept (b, c, d, e and f)
Gestural practice, i.e. physical conducting “technique” (k)
Development of personal interpretation (l)”
11
Barber (2003); Boult (1951 [1920]); Brewer (1997); Coward (1951 [1915]); Davis (1991); Green (1981);
Grosbayne (1973); Halsey (2011); Hill, Parfitt and Ash (1995); Holst (1990 [1973]); Jordan (2008); Lumley and
Springthorpe (1989); McElheran (1989); Rudolf (1980); Woodgate (1949)
12
Rudolf (1980)
13
Walker, A. (2010) Hans von Bülow: A Life and Times. New York: Oxford University Press; p. 282
14
Grosbayne (1973); Halsey (2011); Lumley and Springthorpe (1989); Scherchen (1989 [1933])
15
Coward (1951 [1915]); Green (1981); Grosbayne (1973); Halsey (2011); Jordan (2008); Lumley and
Springthorpe (1989); Rudolf (1980)
16
Grosbayne (1973); Halsey (2011); Hill, Parfitt and Ash (1995); Jordan (2008); Lumley and Springthorpe (1989);
Rudolf (1980); Wagner (1940 [1869])
17
Green (1981); Grosbayne (1973); Halsey (2011); Jordan (2008); Lumley and Springthorpe (1989); Scherchen
(1989 [1933])
18
Boult (1951 [1920]); Brewer (1997); Green (1981); Grosbayne (1973); Halsey (2011); Jordan (2008); Lumley
and Springthorpe (1989)
19
Ferris, N. (2012) Personal communication: email; see also Toft, R. (2000) Heart to heart: expressive singing in
England 1780-1830. Oxford: Oxford University Press; p. 16. Singers have been advised to speak text aloud in
th
order to find the meaning and emphases since at least the 18 century.
20
Halsey (2011) p. 86