Analytical Perspectives for the Wind Band Conductor: Discovering the Musical Growth of a Composition Through Focused Observation Using the Elements of Shmrg from Jan Larue’s <em>Guidelines for Style Analysis</em>

Productive score study and analysis is one of the most essential skills conductors need for preparing rehearsals and performances of repertoire. Musical conductors acquire score study skills and tools early in their educations. Much of their attention is given to achieving the composer’s intention by searching for and discovering significant musical moments created by several musical elements such as form, harmony, melody, rhythm, timbre, texture, and dynamics. This analytical approach is necessary for learning a piece of music, but conductors miss musical and creative opportunities if they confine themselves solely to their analytical observations for studying, rehearsing, and performing musical compositions with their ensembles.Musicologist and theorist Jan LaRue suggests a related alternative approach to musical preparation using musical elements in his publication Guidelines for Style Analysis (1970). In his book, LaRue provides the acronym SHMRG, which stands for Sound, Harmony, Melody, Rhythm, and Growth. Within this categorization of elements, Sound encompasses timbre, texture and dynamics. Rhythm encompasses pulse, meter, and phrase rhythm in addition to rhythmic notation. Growth relates to form and results from connecting the first four elements in creating a feeling of expansive continuation.This document introduces SHMRG to conductors as a tool for organizing their analytical observations. A focused examination of Sound, Harmony, Melody, or Rhythm through a narrowed scope can lead to discoveries of significant moments created by the other elements. These observations can lead conductors to discovering Growth within a work. Wind band conductors can utilize this approach to expand their analytical perspectives, inform their conducting and rehearsing strategies, and shape and influence the experience of performers and audiences. The perspectives presented for each element of SHMRG do not serve as a definitive analysis of each work. These perspectives serve alongside the composers’ intentions and enhance the rehearsal and performance possibilities for the conductor and the ensemble.Advisor: Carolyn Barber