I enjoyed reading the post by Vic. Sandra and Sandman are among those who had positive experiences, which is always nice to hear about.


But I am afraid the more I hear about the application of Laban, the more it sounds like 'mumbo jumbo' or some sort of metaphor. This may be because of the lack of examples.

Kerr's remark that it is about 'the way the voice moves through the air' adds a new element to it, as Laban was about the way the body moves through space. But I still have a gut feeling that this has to be in some sense about how the melody is interpreted, be it in terms of dynamics or tempo or ornamentation (or lack of it). Quite happy to be shot down in flames or told I am making a 'haymes' of it, but ideally by somebody capable of providing an explanation related to some examples and of recognising ornamentation when it crops up.

It is something that interest me: I have tried using google to get more information but can only find a few papers suggesting that Laban can be a useful way of training conductors to use body language to guide an orchestra. I'm inclining to a 'metaphorical' analysis. Not saying I don't believe it could be useful, just saying the concept cannot really be got across without examples.