Copyright MCMXIX
By Oliver Ditson Company
International Copyright Secured

To the Memory of
ROBERT C. BEDFORD
for many years
Secretary of the Board of Trustees
of
TUSKEGEE INSTITUTE

CONTENTS

Page
[Chapter I—Introduction][1]
[Chapter II—Personal Traits Necessary in Conducting][8]
[Chapter III—The Technique of the Baton][20]
[Chapter IV—Interpretation in Conducting—Introductory][36]
[Chapter V—Interpretation in Conducting—Tempo][46]
[Chapter VI—Interpretation in Conducting—Dynamics][57]
[Chapter VII—Interpretation in Conducting—Timbre, Phrasing, etc.][64]
[Chapter VIII—The Supervisor of Music as Conductor][76]
[Chapter IX—The Community Chorus Conductor][85]
[Chapter X—The Orchestral Conductor][93]
[Chapter XI—Directing the Church Choir][108]
[Chapter XII—The Boy Choir and its Problems][118]
[Chapter XIII—The Conductor as Voice Trainer][131]
[Chapter XIV—The Art of Program Making][140]
[Chapter XV—Conductor and Accompanist][147]
[Chapter XVI—Efficiency in the Rehearsal][152]
[Appendix A—Reference List][164]
[Appendix B—Score of second movement of Haydn's Symphony, No. 3][166]
[Index][181]

PREFACE

In putting out this little book, the author is well aware of the fact that many musicians feel that conductors, like poets and teachers, are "born and not made"; but his experience in training supervisors of music has led him to feel that, although only the elementary phases of conducting can be taught, such instruction is nevertheless quite worth while, and is often surprisingly effective in its results. He has also come to believe that even the musical genius may profit by the experience of others and may thus be enabled to do effective work as a conductor more quickly than if he relied wholly upon his native ability.