ABSTRACT. Lee et al. explain that designing interactive conducting exhibits for public spaces poses unique challenges (the conceptual model of conducting music varies among users). Humphries argues that to deal with vertically conceived passages, one needs a clear image of each separate chord and an understanding of the role each instrument plays in it. Litman claims that descriptions of the purpose of choral conducting gesture are varied (they all seem to correspond at one point: the conductor's gesture consists of a translation of the intended movement and rhythm of music into a form of visible signs that are intended to shape the musical behavior of the conducted in a common way).

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