The Ohio State University School of Music

MUSIC 2262.11: Instrumental Conducting 2

Conducting Practicum 4 Evaluation Form

Conductor Name ______________________________________

Mikey Blaha Date ___________________________
3/27/2020

Evaluator Name ______________________________

---------- Excerpt Stuart - Three Ayres from Gloucester, mvt. 1

Physical Leadership
Set-Up 4 The elbows, wrist, baton embouchure, and ictus table collectively communicate ideal posture.
3 The elbows, wrist, baton embouchure, and ictus table communicate mostly ideal posture.
2 Issues with the elbows, wrist, baton embouchure, or ictus table collectively or individually impede the
ability of the conductor to clearly communicate ideal posture.
1 Severe issues with elbows, wrist, baton embouchure, or ictus table collectively or individually impede the
ability of the conductor to clearly communicate ideal posture.

Preparatory 4 The preparatory beat reflects the desired tempo, clearly delineates the ictus table, and travels in a
Beat perpendicular line to the ictus table
3 The preparatory beat mostly reflects the desired tempo, somewhat clearly delineates the ictus table, and/or
my first conducted beat was rough travels mostly in a perpendicular line to the ictus table
Id give that a 3- 2 The preparatory beat is somewhat ineffective because of issues with its tempo, lack of delineation of the
ictus table, and/or its path from the ictus table.
1 The preparatory beat is substantially ineffective because of issues with its tempo, lack of delineation of the
ictus table, and/or its path from the ictus table.

Left Hand 4 The left hand, when employed, communicates clearly the desired change/effect in the music.
Gestural 3 The left hand, when employed, communicates somewhat clearly the desired change/effect in the music.
Clarity 2 The left hand, when employed, rarely communicates with clarity.
1 The left hand mirrors the right hand extensively and/or often moves in ways that are unclear/unnecessary.

Stylistic Leadership
Introduction (meas. 1-8)
Preparatory 4 The spirit of the opening moments of the composition is clearly communicated through facial expression
Posture and posture.
3 The spirit of the opening moments of the composition is somewhat evident through the facial expression
and/or posture of the conductor.
2 The spirit of the opening moments of the composition is barely evident through the facial expression and/or
posture of the conductor.
1 The spirit of the opening moments of the composition is not evident through the facial expression and/or
posture of the conductor.

Dynamic 4 The ictus table location and beat pattern size accurately reflect the dynamics indicated in the score.
Leadership 3 The ictus table location and beat pattern size mostly reflect the dynamics indicated in the score.
2 The ictus table location and beat pattern size somewhat reflect the dynamics indicated in the score.
1 The ictus table location and beat pattern size rarely reflect the dynamics indicated in the score.

A Section (meas. 9-24)

Dynamic 4 The ictus table location and beat pattern size accurately reflect dynamic changes indicated in the score.
Change 3 The ictus table location and beat pattern size mostly reflect dynamic changes indicated in the score.
Leadership 2 The ictus table location and beat pattern size somewhat reflect dynamic changes indicated in the score.
1 The ictus table location and beat pattern size rarely reflect dynamic changes indicated in the score.
B Section (meas. 25-42)
Bass Voice 4 The counterpoint is attended to effectively and clearly.
Countermelody 3 The counterpoint is mostly attended to with effectiveness and clarity.
Cues 2 The counterpoint is somewhat attended to with effectiveness and clarity.
(mm. 26, 30, 38) 1 The counterpoint is poorly attended to by the conductor.

Dynamic 4 The ictus table location and beat pattern size accurately reflect dynamic changes indicated in the score.
Change 3 The ictus table location and beat pattern size mostly reflect dynamic changes indicated in the score.
Leadership 2 The ictus table location and beat pattern size somewhat reflect dynamic changes indicated in the score.
1 The ictus table location and beat pattern size rarely reflect dynamic changes indicated in the score.

A Section (meas. 43-58)

Dynamic 4 The ictus table location and beat pattern size accurately reflect dynamic changes indicated in the score.
Change 3 The ictus table location and beat pattern size mostly reflect dynamic changes indicated in the score.
Leadership 2 The ictus table location and beat pattern size somewhat reflect dynamic changes indicated in the score.
1 The ictus table location and beat pattern size rarely reflect dynamic changes indicated in the score.

Rallentando 4 The rallentando is prepared and executed clearly.

Gesture 3 The rallentando is somewhat prepared and/or executed.
(meas. 58) 2 The rallentando is poorly prepared and/or executed.
1 The rallentando is not prepared nor executed.

Codetta (meas. 59-66)

Rallentando 4 The rallentando is prepared and executed clearly.
Gesture 3 The rallentando is somewhat prepared and/or executed.
(meas. 63-66) 2 The rallentando is poorly prepared and/or executed.
1 The rallentando is not prepared nor executed.

Dynamic 4 The ictus table location and beat pattern size accurately reflect dynamic changes indicated in the score.
Change 3 The ictus table location and beat pattern size mostly reflect dynamic changes indicated in the score.
Leadership 2 The ictus table location and beat pattern size somewhat reflect dynamic changes indicated in the score.
1 The ictus table location and beat pattern size rarely reflect dynamic changes indicated in the score.

Release and 4 The release and first moments of silence are clearly indicative of the style of the closing section.
Retention of 3 The release and first moments of silence are somewhat indicative of the style of the closing section.
Closing Style 2 The release and first moments of silence are barely indicative of the style of the closing section.
1 No regard for the style of the closing section and/or first moments of silence is apparent.

Psychological Leadership
Greeting 4 The greeting is confident, professional, and completely helpful in focusing the musicians to the musical
task at hand.
3 The greeting is mostly confident, professional, and/or helpful in focusing the musicians to the musical
task at hand.
2 While the greeting is somewhat effective, issues with its delivery served to distract the musicians from
the musical task at hand.
0 No Greeting
1 The greeting served lacked significantly in the areas of confidence, professionalism, and/or focus.
0 No greeting
Eye 4 Eye contact is effective and remains consistent throughout the excerpt.
Contact 3 Eye contact is mostly effective and is mostly consistent throughout the excerpt.
2 Eye contact is somewhat effective and somewhat consistent throughout the excerpt.
1 Eye contact is not effective and not consistent throughout the excerpt.

Overall 4 The face is engaged with the musical performance, consistently reacting and responding to the music.
Facial 3 The face is mostly engaged with the musical performance.
Engagement 2 The face is somewhat engaged with the musical performance.
1 The face is rarely engaged with the musical performance.
Physical 4 The overall physical presence of the conductor is commanding, confident, and positively impacts the music
Presence making of the ensemble.
3 The overall physical presence of the conductor is mostly commanding, confident, and positively impacts
the music making of the ensemble.
2 The overall physical presence of the conductor is somewhat commanding, confident, and does not impact
the music making of the ensemble.
1 The overall physical presence of the conductor is not commanding, confident, and negatively impacts the
music making of the ensemble.

EXTRA CREDIT - Critical Listening from the Podium

4 The exact error was correctly identified with NO additional playing by the ensemble.
3 The exact error was correctly identified following ONE additional hearing.
2 The exact error was correctly identified following TWO additional hearings.
1 The exact error was correctly identified following THREE additional hearings.
0 The exact error was not correctly identified after a third hearing or within the 60 second time limit.

Conducting Practicum Evaluation Summary

Physical Leadership _____ / 12
Stylistic Leadership _____ / 40
Psychological Leadership _____ / 16
Critical Listening EXTRA CREDIT +_____ / 4

Total _____ / 68