User:Cadenrchase/Conducting

Middle Ages to 18th century[edit]

The beginnings of conducting as a form of beat-keeping can be traced back to ancient times in the Egyptian, Greek, and Roman societies. Through examining historical records- notably hieroglyphics, there is evidence that points to many early societies utilizing visual and aural cuing to maintain a sense of beat, rhythm, and shape. The earliest documented forms of conducting arose out of a variety of different musical needs in varying regions around the world.

An early example of utilizing gesture to influence a performance was cheironomy. Documented as early as the 11th century, the practice entailed a designated leader using subtle motions of their fingers and/or hands to dictate melodic shape and contour. Typically a theme in vocal music, the practice predated many notated forms of rhythm and therefore acted as a way for performers to visually understand when to move together, although it was also used to memorize music.

As notated rhythm and beat as well as more complex rhythmic figures became more prominent in the early baroque era, performers relied on other indications to be able to understand the intent behind their parts. Beginning in the sixteenth century, the role of the Kapellmeister in Germany represented someone who audibly tapped the beat on a hard surface using a staff, rolled sheet of paper, or other object and took many other forms throughout Europe. Having an audible source of beat allowed ensemble members to maintain consistency and execute rhythms with precision before the invention of the metronome many years later.

In instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use their bow, or a keyboard player (often harpsichordist) using their hands, and would direct the tempo/rhythm of the music in patterns similar to those we are familiar with today. Although effective in smaller ensembles, the increasing size of instrumental ensembles in opera and symphonic performances meant the players were increasingly less able to follow along. Solutions to this issue were temporarily addressed by the use of two conductors, with the keyboard player in charge of the singers while the principal violinist or leader was in charge of the orchestra, however this did not prove to be a sustainable effort in the long run. Moving out of the eighteenth century, it was clear that music was growing too complicated and performances too refined, to rely purely on aural skills to stay in time.