Neurological research using American Sign Language for the deaf
conducted by Hickok, Bellugi and Klima (Scientific American, June
2001) reviews known principles and presents new findings. While
the researchers state up front that the assumed left-right dichotomy
of the brain is an oversimplification, they state that:
1. The left hemishpere is often branded the verbal hemisphere
and the right hemisphere the spatial hemisphere.
2. New research suggests that the brain's left hemisphere is
dominant for sign language just as it is for speech. Neural organization
of sign language has more in common with that of spoken language
than it does with the brain organization for visual-spacial processing.
[This may indicate that the conductor's gestural language is processed
in the left hemisphere where speech is processed.]
a. Perhaps the left hemishpere is dominant for producing and
comprehending signs and signed sentences because those processes
are dependent on local-level spatial abilities. [This might
indicate that skills (signs) and syntax (signed sentences) as
presented in Expressive Conducting are processed primarily
in the left hemishpere.]
b. Perhaps the right hemisphere is dominant for establishing
and maintaining a coherent discourse in sign language because
those processes are dependent on global-level abilities. [This
might indicate that comprehending an entire composition may
be dependent on processes primarily located in the right hemishpere.]
3. Studies of brain lesions make it clear that if processing
differences exist between spoken and sign language, they are likely
to be subtle.
Pedagogical thinking based on experiential research (Choral Journal,
August 2001, Joseph Ford) briefly describes five categories of
gesture: iconic, metaphoric, beats, cohesives and deictics.
1. An example of an iconic gesture would be to place
beats at consecutively higher points in space to demonstrate
pitch.
2. An example of a metaphoric gesture is similar but
presents imagery of a more abstract concept.
3. Beats (or the alternative name, batons) are
movements that do not present a discernible meaning, and they
can be recognized positively in terms of their prototypical
movement characteristics. [Although Ford does not explain, one
may suppose that "discernible meaning" as used here
means discernible iconic or metaphorical meaning. We must then
assume that without iconic or metaphorical meaning, beats
have discernable meaning based on prototypical movement characteristics
.]
4. An example of a cohesive gesture is that which a
conductor might use between movements to prevent the audience
from clapping.
5. An example of a deictic gesture is the conductor's
cue.
Summary: The findings of Hickok, Bellugi and Klima are
extremely interesting because their scientific research confirms
Rudolf's intuitive and experiential concept that the conductor's
gesture is language. It suggests that because of the close neurological
linkage of gesture and language, teachers and students of conducting
should use pedagogies which follow this premise.
Ford's writing is an effort to present differing categories of
the conductor's gesture. The beats/batons category in particular
briefly describes the main thrust of Elizabeth Green's hypothesis--than
non iconic/metaphoric gestures have discernible meaning based
on prototypical movement characteristics. This is exactly the
premise which is followed so strenuously in Expressive Conducting.
