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Young scored similar firsts when she became head of the Hamburg State Opera and Philharmoniker Hamburg in ; she is also the first woman conductor to record the Ring Cycle of Richard Wagner. The Guardian called conducting "one of the last glass ceilings in the music industry". While Mexico has produced several major international conductors, Alondra de la Parra has become the first Mexican-born woman to attain distinction in the profession.

Similarly, Asian origin has become unremarkable, because of the international successes of conductors from the Far East such as Seiji Ozawa , who was the Boston Symphony Orchestra 's music director from until after holding similar posts in San Francisco and Toronto, and Myung-Whun Chung , who has held major posts in Germany and France and now is bringing the Seoul Philharmonic Orchestra to international attention.

There is still under-representation of artists of black origin in the conducting profession, but there have been notable exceptions, such as Henry Lewis , Dean Dixon , James DePreist , Paul Freeman , and Michael Morgan. For more information on black conductors, see Black conductors. According to a article in The Guardian , "black conductors are rare in the classical music world and even in symphony orchestras it is unusual to see more than one or two black musicians.

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Conducting is a means of communicating artistic directions to performers during a performance. Although there are many formal rules on how to conduct correctly, others are subjective, and a wide variety of different conducting styles exist depending upon the training and sophistication of the conductor.

The primary responsibilities of the conductor are to unify performers, set the tempo, execute clear preparations and beats, listen critically and shape the sound of the ensemble, and to control the interpretation and pacing of the music. Communication is non-verbal during a performance, however in rehearsal frequent interruptions allow directions as to how the music should be played.


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During rehearsals, the conductor may stop the playing of a piece to request changes in the phrasing or request a change in the timbre of a certain section. In amateur orchestras, the rehearsals are often stopped to draw the musicians' attentions to performance errors or transposition mistakes. Conducting requires an understanding of the elements of musical expression tempo , dynamics , articulation and the ability to communicate them effectively to an ensemble. The ability to communicate nuances of phrasing and expression through gestures is also beneficial.

Conducting gestures are preferably prepared beforehand by the conductor while studying the score , but may sometimes be spontaneous. A distinction is sometimes made between orchestral conducting and choral conducting. Typically, orchestral conductors use a baton more often than choral conductors. The grip of the baton varies from conductor to conductor. At the beginning of a piece of music, the conductor raises his hands or hand if he only uses a single hand to indicate that the piece is about to begin. This is a signal for the orchestra members to ready their instruments to be played or for the choristers to be ready and watching.

The conductor then looks at the different sections of the orchestra winds, strings, etc. In some choral works, the conductor may signal to a pianist or organist to play a note or chord so that the choir members can determine their starting notes. Then the conductor gives one or more preparatory beats to commence the music. The preparatory beat before the orchestra or choir begins is the upbeat. The beat of the music is typically indicated with the conductor's right hand, with or without a baton.

The hand traces a shape in the air in every bar measure depending on the time signature , indicating each beat with a change from downward to upward motion. The downbeat indicates the first beat of the bar, and the upbeat indicates the beat before the first note of the piece and the last beat of the bar. In some instances, "ictus" is also used to refer to a horizontal plane in which all the ictuses are physically located, such as the top of a music stand where a baton is tapped at each ictus.

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The gesture leading up to the ictus is called the "preparation", and the continuous flow of steady beats is called the " takt " the German word for bar, measure and beat. If the tempo is slow or slowing, or if the time signature is compound , a conductor will sometimes indicate "subdivisions" of the beats. The conductor can do this by adding a smaller movement in the same direction as the movement for the beat that it belongs to.

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Changes to the tempo are indicated by changing the speed of the beat. To carry out and to control a rallentando slowing down the pace of the music , a conductor may introduce beat subdivisions. While some conductors use both hands to indicate the beat, with the left hand mirroring the right, formal education discourages such an approach. The second hand can be used for cueing the entrances of individual players or sections, and to aid indications of dynamics, phrasing, expression, and other elements.

During an instrumental solo section or, in an opera orchestra during a vocalist's unaccompanied solo , some conductors stop counting out all the subdivisions and simply tap the baton down once per bar, to aid performers who are counting bars of rests. There is a difference between the "textbook" definition of where the ictus of a downbeat occurs and the actual performance practice in professional orchestras. With an abrupt, loud sforzando chord, a professional orchestra will often play slightly after the striking of the ictus point of the baton stroke. Dynamics are indicated in various ways.


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The dynamic may be communicated by the size of the conducting movements, larger shapes representing louder sounds. Changes in dynamic may be signalled with the hand that is not being used to indicate the beat: an upward motion usually palm-up indicates a crescendo ; a downward motion usually palm-down indicates a diminuendo. Changing the size of conducting movements frequently results in changes in the character of the music depending upon the circumstances.

Dynamics can be fine-tuned using various gestures: showing one's palm to the performers or leaning away from them may demonstrate a decrease in volume. To adjust the overall balance of the various instruments or voices, these signals can be combined or directed toward a particular section or performer.

The indication of entries, when a performer or section should begin playing perhaps after a long period of rests , is called "cueing". A cue must forecast with certainty the exact moment of the coming ictus, so that all the players or singers affected by the cue can begin playing simultaneously. Cueing is most important for cases where a performer or section has not been playing for a lengthy time. Cueing is also helpful in the case of a pedal point with string players, when a section has been playing the pedal point for a lengthy period; a cue is important to indicate when they should change to a new note.

Cueing is achieved by "engaging" the players before their entry by looking at them and executing a clear preparation gesture, often directed toward the specific players. An inhalation, which may or may not be a semi-audible "sniff" from the conductor, is a common element in the cueing technique of some conductors. Mere eye contact or a look in the general direction of the players may be sufficient in many instances, as when more than one section of the ensemble enters at the same time.

Larger musical events may warrant the use of a larger or more emphatic cue designed to encourage emotion and energy. Articulation may be indicated by the character of the ictus, ranging from short and sharp for staccato , to long and fluid for legato. Many conductors change the tension of the hands: strained muscles and rigid movements may correspond to marcato, while relaxed hands and soft movements may correspond to legato or espressivo.

Phrasing may be indicated by wide overhead arcs or by a smooth hand motion either forwards or side-to-side. A held note is often indicated by a hand held flat with palm up. The end of a note, called a "cutoff" or "release", may be indicated by a circular motion, the closing of the palm, or the pinching of finger and thumb. A release is usually preceded by a preparation and concluded with a complete stillness.

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