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allows action footage of conductors and conducting concepts, allowing

conducting students to build visual images of total gestures, as opposed to
textbooks, which use photographic snapshots or written descriptions of
movements. For this reason, it is curious that there are not more conducting
instructional materials to make use of the DVD or video formats.
According to McMurray, the study of instrumental conducting is the study of
movement to communicate music. This DVD employs a strongly kinaesthetic
approach throughout, aided by excellent modeling by McMurray and effective
use of imagery.
Although this DVD is aimed at experienced conductors, it could also be used
effectively by less experienced conductors. It contains an introduction and
thirteen chapters in which McMurray demonstrates concepts in front of the
camera and also works with other conductors in a masterclass situation.
McMurray states at the outset that good conducting begins with an awareness of
the body, so he starts with an exploration of conducting hinges, such as the
shoulder, elbow, wrist and fingers, the focus being on developing a kinaesthetic
feel for the gestures, as conducting, according to McMurray, is based on leading
through gesture (McMurray 2003). McMurray links the quality of sound gained
by the conductor to the use of the conductor’s hinges.
Preparatory gestures are introduced early and effectively in Chapter One,
McMurray emphasising the importance of the three elements of a beat, the
preparation, ictus, and rebound, and demonstrating how facial gesture and even
eyes can deliver these. The baton is introduced as another hinge, which through
the correct angle of the baton visibly communicates the energy of gestures at the
tip. The baton is used in combination with face and eyes, McMurray insisting
that the field of beating be placed below the level of eye contact to avoid
disruption of this line of communication (in a similar manner to Garofalo and
Battisti). Eye contact is covered in Chapter Three, McMurray making effective
use of the DVD medium to demonstrate how eye contact engages the musicians,
enhancing communication.
McMurray encourages conductors to get away from beat pattern conducting as
soon as possible to communicate the music, defining a conductor’s role as ‘to
look like the music’ (McMurray 2003). As earlier stated, he regards the control
of the left hand as one of the most subjective aspects of conducting, but through
visual demonstration and imagery manages to create a tangible left hand