The Conductor's Visual Language and Nonverbal Communication
“When this happens – when one hundred men [sic] share his feelings, exactly, simultaneously, responding as one to each rise and fall of music...
then there is human identity of feeling that has no equal elsewhere.”
Leonard Bernstein
“If the essence of music is nonverbal, the essence of conducting also should be nonverbal"
Professor Robert Grechesky
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In the European symphonic orchestral tradition, conductors have developed a universal conducting language that is common to all conductors. In this way, any conductor can make themselves understood anywhere in the world, despite the fact that all conductors seem to have their own way of 'performing' this language.  This 'language', or to put it another way, nonverbal communication, consists of everything that is perceived as communication (or non-communication) expressed by a conductor at a given moment, conveyed from the conductor's podium to musicians doing their best to interpret and respond adequately and in accordance with the conductor's musical intention and will.
The structure or skeleton in this communication is, among other things, the time signature patterns, which, in principle, are the same from one country to another, from one tradition to another. There are, however, variations within different 'schools of conducting', but this does not prevent conductors from travelling from one orchestra one week to another orchestra in a completely different country the following week, in order to be able to practice the same performance of the same time signatures and visual language without this having to be 'translated'. 
Katherine M. Kilburn describes it as follows:
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"Musical ensembles are complex, dynamic, living organisms that react to and connect with both physical and metaphysical energy present in their space. Thus, conductors must always remain open to creative impulses coming back from the ensemble in order to cultivate and maintain a vibrant, synergistic environment and be able to respond in the moment to whatever needs their attention."
(Kilburn 2016, p.7) (2)
Humans have always had a tendency to imitate each other's emotional expressions. In the 1980s, researchers Rizzolatti and Craighero discovered 'mirror neurons', first in monkeys. The neurons, which are grouped in a network in the front part of the cerebral cortex, are strongly involved and crucial for empathic understanding and communication between people. (4)
In his book Kinesics and Context, anthropologist Ray Birdwhistell begins with the following statement:
“These essays are based on the conviction that body motion is a learned form of communication, which is patterned within a culture and which can be broken down into an ordered system of isolable elements.” (Birdwhistell 1970, pp. xi-xiv) (3) 
This is also important for the emotional communication between conductor and orchestra. Kilburn writes:
"The significance of this for conductors is that whatever we show on our face will to some degree be absorbed by at least part if not all of the members of the ensemble. This mimicry suggests not only a communicative role, but also a perceptual one, and can have a profound effect on the emotional communication between a conductor and the ensemble” (Kilburn 2016, p. 19) (2)
American conductor Larry Rachleff says in an interview:
“First, you have to give musicians the space to form their own feelings. That’s why nonverbal communication is the deepest because, hopefully, they’re connecting to your body language and you’re listening to what they’re saying with their instruments.” (Harris Jr. 2001, p.38) (4) In an article in PLOS ONE, the Italian researcher Luciano Fadiga of the University of Ferrara and the Italian Institute of Technology (IIT) in Italy writes:
“we recorded violinists' and conductors' movement kinematics during execution of Mozart pieces, searching for causal relationships among musicians by using the Granger Causality method (GC). We show that the increase of conductor-to-musicians influence, together with the reduction of musician-to-musician coordination (an index of successful leadership) goes in parallel with quality of execution”.
(6) D'Ausilio, Badino, Yi Li, Tokay, Craighero, Canto, Aloimonos, Fadiga,
Music experts also evaluated each performance. Based on these data, the author confirmed that the performance was considered higher quality when the movements of the conductor and musicians were more closely correlated.
I have wanted to investigate the connection between the conductor's gaze, gestures and body language and the musicians' response to this, based on excerpts from two orchestral works. In other words, I look at the relationship between the conductor's nonverbal communication and the response this communication gives as a consequence.
I asked myself the following questions.
- Do the musicians perceive the conducting and communication as demonstrative, visually clear and intentional, or do the musicians experience a lack of correspondence between the conductor's inner musical image and the conductor's ability to clarify and communicate his or her interpretation?
What does a musician want to see and respond to in a given moment or an excerpt from a work known to the musician that the orchestra has in its repertoire?
For this, I have used excerpts from two well-known works from the orchestral literature: Brahms, Symphony no. 2, the opening of the fourth movement and Beethoven, Symphony no. 5, the opening of the first movement.
VALIDATION AND METHOD
To answer these questions, the study uses qualitative methods, and in-depth interviews have been conducted with a limited number of respondents. These are representative of a larger population in that the respondents are selected on the basis of age, instrument group and professional experience. The interview subjects are string players from the Oslo Philharmonic Orchestra:
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4 violinists, of which 2 principal players and 2 tutti
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1 viola player, principal
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2 cellists, tutti Both sexes are represented in the study, with two women and five men.
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Both women are principal players. Everyone is a first-hand source, in that everyone is a participant in the phenomena being studied. They, therefore, encounter the phenomena under investigation on a daily basis in their professional work and are at all times aware of the same phenomena. The study shows that professional experience and where one sits in the group reveal subtle differences in perspective.
The interviews have been built on familiarity with and trust between the interviewees and the researcher, and the respondents' answers reflect truthful and credible views. The interviewees are also independent of each other and do not know each other's identity for the purposes of the study. The information, therefore, provides a description of the investigated phenomena with a high degree of validity.
Due to, among other things, the respondents' different experience bases, there are significant subtle distinctions in the interviewees' feedback. This is important, as the variations largely reflect the personal views of the interviewees. However, all respondents have adequate knowledge related to the phenomena through their daily work in the profession, which strengthens the reliability of the information produced.
CONCLUSIONS AND FINDINGS
The findings that have been made must first and foremost be linked to the respondents' workplace. For reasons of time and labour, the extent to which the results can be generalised and transferred to other similar workplaces, either nationally or internationally, has not yet been taken into account. However, it should be noted that the work situation of the musicians in the OFO is in itself international. The orchestra has a large number of employees from other countries, and soloists and conductors with the world as their workplace are constantly in front of the orchestra. This helps to strengthen the likelihood that the findings of the study are generalisable and have a high degree of external validity.
PRESENTATION OF DATA AND SUBSTANTIVE DISCUSSION
The findings that have been made must first and foremost be linked to the respondents' workplace. For reasons of time and labour, the extent to which the results can be generalised and transferred to other similar workplaces, either nationally or internationally, has not yet been taken into account. However, it should be noted that the work situation of the musicians in the OFO is in itself international. The orchestra has a large number of employees from other countries, and soloists and conductors with the world as their workplace are constantly in front of the orchestra. This helps to strengthen the likelihood that the findings of the study are generalisable and have a high degree of external validity.
1. The gaze, gestures and body language, in general
The first part of the study deals with how the musicians relate to the conductor's use of the gaze, gestures and body language in general and not least how the musicians express themselves within their own section.
1.1. Question asked: How important are the conductor's use of gestures, the gaze and general body language to you in determining your musical response?
The gaze
All respondents stress the importance of the gaze, and the study shows that we can distinguish between two types of eye contact:
a) Directed eye contact that has a distinct direction towards a group or individual in the orchestra.
Here two respondents point out that they prefer eye contact with the conductor from time to time; it gives a feeling of being seen. However, this type of eye contact must not be used if someone makes a mistake.
b) A present gaze that is not specifically aimed at anyone, but which helps to convey a musical intention and character in the music.
Five respondents point out the importance of this type of gaze, and that the gaze is genuine. The music must appear in the eyes, and one respondent believes that the gaze is more important than gestures and body language. The gaze must be present, and that is crucial for the conductor's credibility.
At the same time, one of the respondents points out that communicating a musical direction without making eye contact can also work. Two respondents comments:
«... at the concert we do not really need very much because it has already been agreed. But we are very keen to get a gaze. " "When it comes to direct gaze, it is very important to get a sense of contact and understanding or sympathy. That we understand the same thing, at the same time. "
Comment
It is an interesting point in itself that the gaze itself is not necessarily decisive for the degree to which the conductor demonstrates musical credibility. One sometimes sees conductors who conduct with their eyes closed and are deeply involved in their communication, and that this has an impact on the musical response from the orchestra. However, this is quite different from conductors conducting with his or her "head in the score".
Gestures
Six out of seven respondents comment on the importance of gestures. They are inextricably linked to the conductor's musical will and personality, but also to the conductor's physical personal projection and expression. Here, one of the respondents expresses the importance of the conductor's physical presence in the room and how this can affect both the sound of the orchestra and the conductor's ability to bring the orchestra together. Several of the respondents comment that gaze, gestures and body language work together in a musical expression. At the same time, one of the respondents mentions that it doesn't take much movement before "something starts to happen."
On the other hand, two respondents comment that the gestures of some conductors can be too polished and technically correct. The gesture can take up too much space. It should be a guide towards a musical result, and at the same time, it should go unnoticed.
Comment
What can be suggested from the respondents' feedback is that the gesture must be integrated as a natural part of a physical bodily expression, but it must not be too dominant. It must not get in the way of the musical expression.
General body language
Several respondents stress the importance of present body language. Two of the respondents point out that if the bodily presence is absent or the conductor is uncomfortable with his or her body language, this will also create a mirroring effect or a similar dissociation in the orchestra. At the same time, four of the interviewees emphasise that body language is linked to the conductor's musical personality and to the music that is played. This does not necessarily mean that the movements have an explicit expression but that they can also be seen as an extension of the personality. One of the respondents says:
"When a conductor arrives who is present and confident in his own body, something positive happens with the sound - and vice versa."
Comment
The feedback shows that the conductor's body language is important for the musical result. It will be interesting in a next step to investigate the meaning of an explicit bodily presence versus body language as an integral component of a musical personality.
1.2. Question asked: How much of your musical response lies implicitly in the music itself and in the composer's indications, independent of the conductor's gestures, gaze and body language?
History
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The study shows that we can distinguish between two historical perspectives regarding the musical interpretation. Firstly, it is a tradition that the orchestra has built up over time for how to play works that often appear on the concert programme. This manifests itself in group rehearsals before the tutti rehearsals, but also in those situations where the conductor does not have a clear direction regarding the interpretation. Then you choose to stick to what you have done before. In cases where you do not trust the conductor, you choose to "follow the notes" and let the music be most important thing.
If, on the other hand, the conductor presents an interpretation based on in-depth historical knowledge and argumentation, this may open up the possibility of seeing the music in a new light, thus contributing to innovation rather than mere re-creation. This can help to create trust between orchestra and conductor, and you can be more open to the conductor's ideas. When such a relationship of trust is present, especially in concert situations, musicians are often open to the possibility of something completely new arising, which has not been prepared for during the rehearsal period.
Contribution to/adaptation within your own section
There is one aspect that is pervasive in the feedback, and that is detachment. Detachment from the notes, but also detachment from the conductor. This is an opportunity to take the initiative and be more creative, to create a space to make music together. As one of the respondents mentions, this can also be more fun for the conductor!
On the other hand, one of the respondents points out the necessity to follow what the concertmaster does and that this is more important than just following the conductor.
The conductor's presence and charisma
This point might be better placed under Question 1 as a general reflection on the importance and influence of the conductor, but I choose to place it here to emphasise how much impact the conductor has on the musical result.
6 out of 7 respondents nevertheless commented on the importance of the conductor's presence as decisive for the musical interpretation. The presence of the conductor is decisive in awakening the spirit of the music. Through a few simple words, body, movements, gaze and will, the interpretation is set. When this is, at the same time, based on the transmission of knowledge and not just on intuition and emotions, it is possible to bring the musicians together and convince them that it is 'this' interpretation that counts. One of the respondents says it like this:
“... it was the mixture of his pondus, his" standing ", that he saved and it was all a bit mysterious. So when the "big beast" moved, we responded violently. A memorable experience, I was happy to be lifted that way”
1.3. Question asked: In what way does the collective musical response within your section affect your own musical expression?
Here I wanted to look at the internal dynamics within and between the different string sections and to what extent the conductor has an influence on the same group dynamics.
Responsibility
There are two types of responsibility that stand out. Firstly, there is a specific individual responsibility linked to the leadership of the sections, and secondly, there is the collective responsibility.
1.3.1 Individual responsibility/managerial responsibility
Three of the respondents are section leaders. They make sure to shape both the group sound and not least the phrasing. This is done by both body language and the communication of sound being captured and established at the back of the group. Section leaders take responsibility for communicating clearly to their own section, in particular with appropriate body language, and at the same time have a focus on the other string sections. This can also happen independently of the conductor, and one of the leaders expresses the importance of being aware of this, of finding an expression that safeguards the collective way of thinking.
This responsibility work takes place both in section rehearsals and during the tutti rehearsals, and the goal is to shape the group expression towards the collective. One of the section leader puts it this way:
"We who hold leadership positions must be aware and work and be conscious of maintaining the collective mindset and attitude"
1.3.2 Collective responsibility/group responsibility
The study reveals similar feedback from respondents. The overall goal is that what is done must be done collectively to get a good result. The feedback shows a clear tendency for the musicians to want to contribute to the collective, for the musicians in each section to take collective responsibility all the time in different ways.
It is easier to contribute to and at the same time adapt to the sound when you sit in the middle of the section. You create and not least nuance the sound within the collective. You are "in the middle of the sound", and with a lot of musical empathy from fellow musicians, the musicians are influenced by how the others around them play.
You listen in all the time to create a collective sound of ONE voice in an orchestral work. This sound can vary wildly, from the individually inaudible to the collectively soloistic.
This is a group process that involves delivering something and responding to what you get back. You have to listen in and contribute, but not adapt so much that you don't contribute. To put it another way, you discover the collective expression while adding to the collective your own way of expressing the music. In this way, the collective expression is strengthened even further. It's a delicate balance, and it manifests a desire to find a genuine group sound that emerges from the work itself.
The conductor's presence and charisma
Although the sections are working towards a collective expression, the study shows that the conductor has a great influence on the collective interpretation even if the sections are largely aligned with what the section leaders are suggesting. This applies not least to phrasing, timbre and dynamics, and in this non-verbal interaction process, a potential relationship of trust between conductor and orchestra is demonstrated. One of the respondents (section leader) points out that this depends, among other things, on the conductor being engaged in the music and not necessarily in the instruction itself. When trust is present, the collective response to the conductor is simple, and the interaction is powerful.
On the other hand, when trust in the conductor is more or less absent, there is also a collective spirit for which, however, the section leaders take a broader responsibility. One of the leaders says:
"You notice when there are conductors that everyone trusts, it's kind of easy. Then you automatically get the collective; that one responds to the conductor and at the same time has a very strong degree of collective action and interaction."
2. Correlating gaze, gesture and body language,
linked to two excerpts from the orchestral literature
In this part of the study, I wanted to look at what it takes for the musicians to experience the conductor's gestures, gaze and body language and the musical communication as evident and intense, or to what extent the musicians experience a lack of correspondence between the conductor's inner musical image and ability to clarify and communicate his or her interpretation. What kind of gaze, gesture and body language does a musician want to see and respond to in a given moment or an excerpt from a work known to the musician that the orchestra has in its repertoire?
For this, I have used excerpts from two well-known works from the orchestral literature: Brahms, Symphony no. 2, the opening of the fourth movement, and Beethoven, Symphony no. 5, the opening of the first movement. These two examples are highly contrasting in character and expression, and at the same time, represent a gesture and body language that can be easily transferred to other musical contexts with similar expressions.
2.1. Beethoven, Symphony no. 5, 1st movement
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This opening is demanding for the conductors, both musically and technically. Through these iconic bars, we gain immediate insight into Beethoven's will and personality.
The gaze
It is difficult to see a clear attitude among the musicians to the conductor's use of the gaze in this opening. One of the respondents is more interested in following the concertmaster's response to the conductor's signals than in following the conductor. In addition, the respondents describe the use of the gaze as described above; directed eye contact and the present gaze. One respondent puts special emphasis on directed eye contact, which is motivational and has a big impact when eye contact is made with those at the back of the group. Two of the respondents describe the importance of a present gaze. It is better to have a powerful gaze, it reduces the need for large movements, and it encourages attention and trust between conductor and orchestra.
Gestures
All of the interviewees comment on the importance of clear gestures, and one respondent specifies that the gesture must be in the hands. The musicians have a general understanding of the importance of having a good technique and that some technical solutions are better than others. Impulses that correspond to character and pace are important. At the same time, a good technique is linked to having a powerful expression that comes from within and is echoed in the orchestra. This combination makes it easier to play.
Body language
One of the principal players comments explicitly that when the conductor conveys a clear conviction about how he or she wants the opening to be, it is unproblematic for the sections. This can take place in a combination of verbal instruction and unambiguous body language, but the study shows that gestures and the gaze have greater significance in such a powerful opening as in Beethoven's 5th Symphony, 1st movement.
The conductor's presence and charisma
The respondents' feedback is quite unequivocal regarding the importance of the conductor's charisma and presence. One of the respondents points out:
“It must come from an initiative of the conductor; he or she must ignite the moment and unite the orchestra around a focal point and this is, to a lesser extent, associated with certain movements.”
When this power comes from within, there is a powerful communication between conductor and orchestra, and this makes it easier for the musicians to respond back. This power has an emotional anchorage that becomes collective. The conductor and the musicians "find each other", and this is noticeable in the consistency and attention, in the mood of the orchestra and in the sound and interpretative expression.
2.2. Brahms, Symphony no. 2, 4th movement
This movement opens with a melody that may seem atypical of Romanticism on account of its unison and its chordal orientation. This gives the melody a 'flat' expression without the expected archaic agogics, of course quite evident from Brahms' side. This is set against the explosive release of bar 23 before the main theme is repeated again in a monumental fashion. 
The gaze
Two of the respondents highlighted the gaze as more important than gestures and movements in the opening of this movement. The movements can be small, and at the same time, the facial expression must be active and almost 'replace' the movements. This leads to an active relationship with fellow musicians, listening and playing along to find the music's own intrinsic value.
Comment: The conductor initiates a direction in the music and invites the musicians to take collective responsibility.
Gestures
As mentioned above, two respondents regard the gaze as more important than gestures in this opening. Several of the interviewees also point out the important difference between being restrained and controlled through gestures and movements versus conductors who, through his or her gestures and mannerisms, invite people to play. The general perception is that if the conductor holds back, so do the musicians. This affects not least the sound of the opening of this Brahms movement. A conductor who beats too much and wants to control every bar creates a contradiction in the orchestra, as opposed to conductors who dare to give the musicians the freedom to play. It's a delicate balancing act, and it takes little for musicians to feel controlled, either through gestures or behaviour, or a combination of the two.
At the same time, one respondent notes that gesture as an explicit component is important. Gestures must be clear at the outset, and musicians must be able to ask for gestural solutions that make it easier to play.
Body language
The body language itself seems to have little direct effect on the opening of the movement. None of the respondents give explicit feedback on body language, but one of the section leaders points to the responsibility of the section to read the conductor's body language as adequate and appropriate for the expression being sought.
The conductor's presence and charisma
One of the respondents emphasizes the importance of the conductor's presence in the Brahms movement, albeit in a different way than in Beethoven. This can be defined on the basis of the degree to which the conductor manages to gather the orchestra, find a flow and almost "freeze time". The conductor's mannerisms and gestures are an expression of the conductor's personality, and as a conductor one must dare to encourage the musicians to take the initiative. This shows that you trust the musicians and then it is easier to believe in the conductor's “project”. When this emotional communication works, it has consequences for the interpretation, as in Beethoven. Emotions are aroused, they become collective and this is noticeable within the groups. It will be easy to respond.
Comment
In connection with both the Beethoven excerpt and the opening of the Brahms movement, one should have the following perspective as a conductor: What is my attention focused on? Is it wide / external? Is it towards something wide and big inside us, something emotional? Or is the focus on something technical, very fast? [1]
Closing comment
The work with the survey has confirmed aspects of the use of gaze, gestures and general body language that conductors are constantly confronted with through the nonverbal communication. There have also been nuances in these aspects, and here I would like to emphasize the importance of the gaze. First, the study shows that one can distinguish between two types of gaze; the general and the inquiring gaze. Secondly, it has emerged that a strong gaze can replace the gestural visual and that body language largely expresses the conductor's musical personality. The survey also confirms the importance of the conductor's preparations, and that these are based on both contextual historical knowledge and creativity and artistic ideas. This provides a basis for credibility and a good interaction between conductor and orchestra. This also means that when musicians gain trust, they take responsibility, both individually and collectively.
Every conductor should include in his or her professional activities the ultimate perspective which means that a professional orchestra can do well WITHOUT a conductor. Much of the music in the traditional orchestra repertoire can be played without someone standing in front and "showing the way", and a number of orchestras base their activities on just this. A reflection on his/her own role in communication with the musicians is therefore a good starting point for being able to legitimize the presence on the podium, as well as to make visible and legitimize the conductor's influence on both the artistic process and the sounding result.
It is my hope that the findings and considerations in this article can contribute to this necessary reflection process.
References
(1) Leonard Bernstein, The Joy of Music, (New York: Simon and Schuster, 1959), p. 150.
(2) Katherine Margaret Kilburn, “Pedagogical Approaches to Conducting Gesture in Contemporary Music” PhD. Bowling Green State University (2016) p.7, p.11, p.19
(3) Ray Birdwhistell, Kinesics and Context, Philadelphia: University of Pennsylvania Press, (1970), pp. xi-xiv.
(4) Frederick Harris Jr., Conducting with Feeling, Galesville: Meredith Music Publications, (2001), p.38.
(5) Robert N. Grechesky. "An Analysis of Nonverbal and Verbal Conducting Behaviors and Their Relationship to Expressive Musical Performance" (Ph.D. University of Wisconsin-Madison. 1985).
(6) D'Ausilio, Badino, Yi Li, Tokay, Craighero, Canto, Aloimonos, Fadiga, Leadership in Orchestra Emerges from the Causal Relationships of Movement Kinematics PLOS ONE (2012) https://doi.org/10.1371/journal.pone.0035757
[1] Psychologist Robert Nideffer developed a model of concentration (1976) that has been widely used in the training and analysis of top-level athletes. The concentration can have a narrow inner perspective with a focus on breathing and visualisation or a broad inner perspective with a focus on planning and implementation. On the other hand, a narrow external concentration focuses on a single goal 'up ahead'. A broad external concentration aims to maintain an overview of several things happening simultaneously.
The model can be of great relevance to a conductor's approach to nonverbal interpretation.
photo by William Hsu