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Conducting
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For other uses, see Conduct (disambiguation) and Conductor (disambiguation).
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Apo Hsu, using a baton, conducts the NTNU Symphony Orchestra in Taipei, Taiwan
Steven Sametz conducting the Lehigh University Choir without a baton
Conducting is the art of directing a musical performance, such as an orchestral or choral concert. It has been defined as "the art of directing the simultaneous performance of several players or singers by the use of gesture."[1] The primary duties of the conductor are to interpret the score created by a composer in a manner which is reflective of the specific indications within that score, set the tempo, ensure correct entries by various members of the ensemble, and to "shape" the phrasing where appropriate.[2] To convey their ideas and interpretation, conductors communicate with their musicians primarily through hand gestures, typically though not invariably with the aid of a baton, and may use other gestures or signals, such as eye contact with relevant performers.[3] A conductor's directions will almost invariably be supplemented or reinforced by verbal instructions or suggestions to their musicians in rehearsal prior to a performance.[3]
The conductor typically stands on a raised podium with a large music stand for the full score, which contains the musical notation for all the instruments or voices. Since the mid-19th century, most conductors have not played an instrument when conducting, although in earlier periods of classical music history, leading an ensemble while playing an instrument was common. In Baroque music from the 1600s to the 1750s, the group would typically be led by the harpsichordist or first violinist (see concertmaster), an approach that in modern times has been revived by several music directors for music from this period. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras. Communication is typically non-verbal during a performance (this is strictly the case in art music, but in jazz big bands or large pop ensembles, there may be occasional spoken instructions, such as a "count in"). However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung.
Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their scores, to which they may make certain adjustments (e.g., regarding tempo, articulation, phrasing, repetitions of sections, and so on), work out their interpretation, and relay their vision to the performers. They may also attend to organizational matters, such as scheduling rehearsals,[4] planning a concert season, hearing auditions and selecting members, and promoting their ensemble in the media. Orchestras, choirs, concert bands and other sizable musical ensembles such as big bands are usually led by conductors.
Contents
[hide]
1 Nomenclature
2 History
2.1 Middle Ages to 18th century
2.2 19th century
2.3 20th century
2.4 21st century
3 Technique
3.1 Beat and tempo
3.2 Dynamics
3.3 Cueing
3.4 Other musical elements
4 Roles
5 Training and education
6 See also
7 References
8 Further reading
9 External links
Nomenclature[edit]
The principal conductor of an orchestra or opera company is sometimes referred to as a music director or chief conductor, or by the German words Kapellmeister or Dirigent. Conductors of choirs or choruses are sometimes referred to as choral director, chorus master, or choirmaster, particularly for choirs associated with an orchestra. Conductors of concert bands, military bands, marching bands and other bands may hold the title of band director, bandmaster, or drum major. Respected senior conductors are sometimes referred to by the Italian word, maestro ("master" as in "one who has mastered the art").
History[edit]
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Middle Ages to 18th century[edit]
An early form of conducting is cheironomy, the use of hand gestures to indicate melodic shape. This has been practiced at least as far back as the Middle Ages. In the Christian church, the person giving these symbols held a staff to signify his role, and it seems that as music became rhythmically more complex, the staff was moved up and down to indicate the beat, acting as an early form of baton.
In the 17th century, other devices to indicate the passing of time came into use. Rolled up sheets of paper, smaller sticks and unadorned hands are all shown in pictures from this period. The large staff was responsible for the death of Jean-Baptiste Lully, who injured his foot with one while conducting a Te Deum for the King's recovery from illness. The wound became gangrenous and Lully refused amputation, whereupon the gangrene spread to his leg and he died two months later.[5]
In instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use his bow as a baton, or a lutenist who would move the neck of his instrument in time with the beat. It was common to conduct from the harpsichord in pieces that had a basso continuo part. In opera performances, there were sometimes two conductors – the keyboard player was in charge of the singers, and the principal violinist or leader was in charge of the orchestra.
19th century[edit]
Giuseppe Verdi conducting his opera Aida in 1881
By the early 19th century (ca. 1820), it became the norm to have a dedicated conductor, who did not also play an instrument during the performance. While some orchestras protested the introduction of the conductor, since they were used to having a concertmaster or keyboard player act as leader, eventually the role of a conductor was established. The size of the usual orchestra expanded during this period, and the use of a baton became more common, as it was easier to see than bare hands or rolled-up paper. Among the earliest notable conductors were Louis Spohr, Carl Maria von Weber, Louis-Antoine Jullien and Felix Mendelssohn, all of whom were also composers. Mendelssohn is claimed to have been the first conductor to utilize a wooden baton to keep time, a practice still generally in use in the 2010s. Prominent conductors who did not or do not use a baton include Pierre Boulez, Kurt Masur, James Conlon, Yuri Temirkanov,[6] Leopold Stokowski, Vasily Safonov, Eugene Ormandy (for a period), and Dimitri Mitropoulos.[7]
The composers Hector Berlioz and Richard Wagner attained greatness as conductors, and they wrote two of the earliest essays dedicated to the subject. Berlioz is considered the first virtuoso conductor. Wagner was largely responsible for shaping the conductor's role as one who imposes his own view of a piece onto the performance rather than one who is just responsible for ensuring entries are made at the right time and that there is a unified beat. Predecessors who focused on conducting include François Habeneck, who founded the Orchestre de la Société des concerts du Conservatoire in 1828, though Berlioz was later to be alarmed at Habeneck's loose standards of rehearsal. Pianist and composer Franz Liszt was also a conductor.
Wagner's one-time champion Hans von Bülow (1830–1894) was particularly celebrated as a conductor, although he also maintained his initial career as a pianist, an instrument on which he was regarded as among the greatest performers (he was a prized piano student of Franz Liszt, whose daughter Cosima he married – although she was to abandon him for Wagner. Liszt was a major figure in the history of conducting, who attained remarkable performances).
Bülow raised the technical standards of conducting to an unprecedented level through such innovations as separate, detailed rehearsals of different sections of the orchestra ("sectional rehearsal"). In his posts as head of (sequentially) the Bavarian State Opera, Meiningen Court Orchestra, and Berlin Philharmonic he brought a level of nuance and subtlety to orchestral performance previously heard only in solo instrumental playing, and in doing so made a profound impression on young artists like Richard Strauss, who at the age of 20 served as his assistant, and Felix Weingartner, who came to disapprove of his interpretations but was deeply impressed by his orchestral standards. Composer Gustav Mahler was also a noted conductor.
20th century[edit]
The next generation of conductors brought technical standards to new levels; perhaps most notable was the Hungarian-born Arthur Nikisch (1855–1922), who succeeded Bülow as music director of the Berlin Philharmonic in 1895. He had previously served as head of the Leipzig Opera, Boston Symphony Orchestra, and Leipzig Gewandhaus Orchestra, and was to serve as music director of the London Symphony Orchestra. Nikisch premiered important works by Anton Bruckner and Pyotr Ilyich Tchaikovsky, who greatly admired his work; Johannes Brahms, after hearing him conduct his Fourth Symphony, said it was "quite exemplary, it's impossible to hear it any better."
Nikisch took the London Symphony Orchestra on tour through the United States in April 1912, the first American tour by a European orchestra. He also made one of the earliest recordings of a complete symphony: the Beethoven Fifth with the Berlin Philharmonic in November 1913. Nikisch was also the first conductor to have his art captured on film – alas, silently. The film confirms reports that he made particularly mesmerizing use of eye contact and expression to communicate with an orchestra; such later conductors as Fritz Reiner stated that this aspect of his technique had a strong influence on their own.
Conductors of the generations after Nikisch often left extensive recorded evidence of their arts. Two particularly influential and widely recorded figures are often treated, somewhat inaccurately, as interpretive antipodes. They were the Italian conductor Arturo Toscanini (1867–1957) and the German conductor Wilhelm Furtwängler (1886–1954). Toscanini played in orchestras under Giuseppe Verdi and made his debut conducting Aida in 1886, filling in at the last minute for an indisposed conductor. He is to this day regarded by such authorities as James Levine as the greatest of all Verdi conductors. But Toscanini's repertory was wide, and it was in his interpretations of the German symphonists Beethoven and Brahms that he was particularly renowned and influential, favoring stricter and faster tempi than a conductor like Bülow or, before him, Wagner. Still, his style shows more inflection than his reputation may suggest, and he was particularly gifted at revealing detail and getting orchestras to play in a singing manner.
Furtwängler, whom many regard as the greatest interpreter of Wagner (although Toscanini was also admired in this composer) and Bruckner, conducted Beethoven and Brahms with a good deal of inflection of tempo – but generally in a manner that revealed the structure and direction of the music particularly clearly. He was an accomplished composer as well as performer, and a disciple of the theorist Heinrich Schenker, who emphasized concern for underlying long-range harmonic tensions and resolutions in a piece, a strength of Furtwängler's conducting. Along with his interest in the large-scale, Furtwängler also shaped the details of the piece in a particularly compelling and expressive manner.
Herbert von Karajan conducting the Vienna Philharmonic in 1941
The two men had very different techniques: Toscanini's was Italianate, with a long, large baton and clear beats (often not using his left hand); Furtwängler beat time with less apparent precision, because he wanted a more rounded sound (although it is a myth that his technique was vague; many musicians have attested that he was easy to follow in his own way). In any event, their examples illustrate a larger point about conducting technique in the first half of the 20th century: it was not standardized. Great and influential conductors of the middle 20th century like Leopold Stokowski (1882–1977), Otto Klemperer (1885–1973), Herbert von Karajan (1908–1989) and Leonard Bernstein (1918–1990) – incidentally, the first American conductor to attain greatness and international fame – had widely varied techniques.
Karajan and Bernstein formed another apparent antipode in the 1960s–80s, Karajan as music director of the Berlin Philharmonic (1955–89) and Bernstein as, for part of that period, music director of the New York Philharmonic (1957–69), and later frequent guest conductor in Europe. Karajan's technique was highly controlled, and eventually he conducted with his eyes often closed; Bernstein's technique was demonstrative, with highly expressive facial gestures and hand and body movements. Karajan could conduct for hours without moving his feet, while Bernstein was known at times to leap into the air at a great climax. As the music director of the Berlin Philharmonic, Karajan cultivated warm, blended beauty of tone, which has sometimes been criticized as too uniformly applied; by contrast, in Bernstein's only appearance with the Berlin Philharmonic in 1979 – performing Mahler's Symphony No. 9 – he tried to get the orchestra to produce an "ugly" tone in a certain passage in which he believed it suited the expressive meaning of the music (the first horn player refused, and finally agreed to let an understudy play instead of himself).
Both Karajan and Bernstein made extensive use of advances in media to convey their art, but in tellingly different ways. Bernstein hosted major prime-time national television series to educate and reach out to children and the public at large about classical music; Karajan made a series of films late in his life, but in them, he did not talk. Both made numerous recordings, but their attitudes toward recording differed: Karajan frequently made new studio recordings to take advantage of advances in recording technique, which fascinated him – he played a role in setting the specifications of the compact disc – but Bernstein, in his post-New York days, came to insist on (for the most part) live concert recordings, believing that music-making did not come to life in a studio without an audience.
In the last third of the 20th century, conducting technique – particularly with the right hand and the baton – became increasingly standardized. Conductors like Willem Mengelberg in Amsterdam until the end of World War II had had extensive rehearsal time to mold orchestras very precisely, and thus could have idiosyncratic techniques; modern conductors, who spend less time with any given orchestra, must get results with much less rehearsal time. A more standardized technique allows communication to be much more rapid. Nonetheless, conductors' techniques still show a great deal of variety, particularly with the use of the left hand, facial and eye expression, and body language.
21st century[edit]
Conductor's score and batons on a lit, extra-large conductor's music stand
Women conductors were almost unheard of in the ranks of leading orchestral conductors through most of the 19th and 20th centuries, but today, artists like Hortense von Gelmini (de),[8] Marin Alsop and Simone Young have broken the gender barrier. Alsop was appointed music director of the Baltimore Symphony Orchestra in 2007 – the first woman ever appointed to head a major US orchestra – and also of the Orquestra Sinfônica do Estado de São Paulo in 2012, and Alsop was the first woman to conduct on the last night of The Proms. Young scored similar firsts when she became head of the Hamburg State Opera and Philharmoniker Hamburg in 2005; she is also the first woman conductor to record the Ring Cycle of Richard Wagner. The Guardian called conducting "one of the last glass ceilings in the music industry".[9] A 2013 article stated that in France, out of 574 concerts only 17 were conducted by women and no women conducted at the National Opéra in Paris.[10] "Bachtrack reported that, in a list of the world's 150 top conductors that year, only five were women."[11]
While Mexico has produced several major international conductors, Alondra de la Parra has become the first Mexican-born woman to attain distinction in the profession. Similarly, Asian origin has become unremarkable, because of the international successes of conductors from the Far East such as Seiji Ozawa, who was the Boston Symphony Orchestra's music director from 1973 until 2002 after holding similar posts in San Francisco and Toronto, and Myung-Whun Chung, who has held major posts in Germany and France and now is bringing the Seoul Philharmonic Orchestra to international attention. There is still under-representation of artists of black origin in the conducting profession, but there have been notable exceptions, such as Henry Lewis, Dean Dixon, James DePreist, Paul Freeman, and Michael Morgan. For more information on black conductors, see Black conductors. According to a 2004 article in The Guardian, "black conductors are rare in the classical music world and even in symphony orchestras it is unusual to see more than one or two black musicians."[12]
Technique[edit]
2
4, 2
2, or fast 6
8 time
3
4 or 3
8 time
4
4 time
slow 6
8 time
Conducting is a means of communicating artistic directions to performers during a performance. Although there are many formal rules on how to conduct correctly, others are subjective, and a wide variety of different conducting styles exist depending upon the training and sophistication of the conductor. The primary responsibilities of the conductor are to unify performers, set the tempo, execute clear preparations and beats, listen critically and shape the sound of the ensemble, and to control the interpretation and pacing of the music. Communication is non-verbal during a performance, however in rehearsal frequent interruptions allow directions as to how the music should be played. During rehearsals, the conductor may stop the playing of a piece to request changes in the phrasing or request a change in the timbre of a certain section. In amateur orchestras, the rehearsals are often stopped to draw the musicians' attentions to performance errors or transposition mistakes.
Conducting requires an understanding of the elements of musical expression (tempo, dynamics, articulation) and the ability to communicate them effectively to an ensemble. The ability to communicate nuances of phrasing and expression through gestures is also beneficial. Conducting gestures are preferably prepared beforehand by the conductor while studying the score, but may sometimes be spontaneous.
A distinction is sometimes made between orchestral conducting and choral conducting. Typically, orchestral conductors use a baton more often than choral conductors. The grip of the baton varies from conductor to conductor.
Beat and tempo[edit]
At the beginning of a piece of music, the conductor raises his hands (or hand if he only uses a single hand) to indicate that the piece is about to begin. This is a signal for the orchestra members to ready their instruments to be played or for the choristers to be ready and watching. The conductor then looks at the different sections of the orchestra (winds, strings, etc.) or choir to ensure that all the orchestra members are ready to play and choir members are ready. In some choral works, the conductor may signal to a pianist or organist to play a note or chord so that the choir members can determine their starting notes. Then the conductor gives one or more preparatory beats to commence the music. The preparatory beat before the orchestra or choir begins is the upbeat. The beat of the music is typically indicated with the conductor's right hand, with or without a baton. The hand traces a shape in the air in every bar (measure) depending on the time signature, indicating each beat with a change from downward to upward motion.[13] The images show the most common beat patterns, as seen from the conductor's point of view.[citation needed]
The downbeat indicates the first beat of the bar, and the upbeat indicates the beat before the first note of the piece and the last beat of the bar. The instant at which the beat occurs is called the ictus (plural: ictūs or ictuses), and is usually indicated by a sudden (though not necessarily large) click of the wrist or change in baton direction. In some instances, "ictus" is also used to refer to a horizontal plane in which all the ictuses are physically located, such as the top of a music stand where a baton is tapped at each ictus. The gesture leading up to the ictus is called the "preparation", and the continuous flow of steady beats is called the "takt" (the German word for bar, measure and beat).
If the tempo is slow or slowing, or if the time signature is compound, a conductor will sometimes indicate "subdivisions" of the beats. The conductor can do this by adding a smaller movement in the same direction as the movement for the beat that it belongs to.
Changes to the tempo are indicated by changing the speed of the beat. To carry out and to control a rallentando (slowing down the pace of the music), a conductor may introduce beat subdivisions.
While some conductors use both hands to indicate the beat, with the left hand mirroring the right, formal education discourages such an approach. The second hand can be used for cueing the entrances of individual players or sections, and to aid indications of dynamics, phrasing, expression, and other elements.
During an instrumental solo section (or, in an opera orchestra during a vocalist's unaccompanied solo), some conductors stop counting out all the subdivisions and simply tap the baton down once per bar, to aid performers who are counting bars of rests.
There is a difference between the "textbook" definition of where the ictus of a downbeat occurs and the actual performance practice in professional orchestras. With an abrupt, loud sforzando chord, a professional orchestra will often play slightly after the striking of the ictus point of the baton stroke.
Dynamics[edit]
Dynamics are indicated in various ways. The dynamic may be communicated by the size of the conducting movements, larger shapes representing louder sounds. Changes in dynamic may be signalled with the hand that is not being used to indicate the beat: an upward motion (usually palm-up) indicates a crescendo; a downward motion (usually palm-down) indicates a diminuendo. Changing the size of conducting movements frequently results in changes in the character of the music depending upon the circumstances.
Dynamics can be fine-tuned using various gestures: showing one's palm to the performers or leaning away from them may demonstrate a decrease in volume. To adjust the overall balance of the various instruments or voices, these signals can be combined or directed toward a particular section or performer.
Cueing[edit]
The indication of entries, when a performer or section should begin playing (perhaps after a long period of rests), is called "cueing". A cue must forecast with certainty the exact moment of the coming ictus, so that all the players or singers affected by the cue can begin playing simultaneously. Cueing is most important for cases where a performer or section has not been playing for a lengthy time. Cueing is also helpful in the case of a pedal point with string players, when a section has been playing the pedal point for a lengthy period; a cue is important to indicate when they should change to a new note. Cueing is achieved by "engaging" the players before their entry (by looking at them) and executing a clear preparation gesture, often directed toward the specific players. An inhalation, which may or may not be a semi-audible "sniff" from the conductor, is a common element in the cueing technique of some conductors. Mere eye contact or a look in the general direction of the players may be sufficient in many instances, as when more than one section of the ensemble enters at the same time. Larger musical events may warrant the use of a larger or more emphatic cue designed to encourage emotion and energy.
Other musical elements[edit]
A conductor, Gerald Wilson, leads a jazz big band
Articulation may be indicated by the character of the ictus, ranging from short and sharp for staccato, to long and fluid for legato. Many conductors change the tension of the hands: strained muscles and rigid movements may correspond to marcato, while relaxed hands and soft movements may correspond to legato or espressivo. Phrasing may be indicated by wide overhead arcs or by a smooth hand motion either forwards or side-to-side. A held note is often indicated by a hand held flat with palm up. The end of a note, called a "cutoff" or "release", may be indicated by a circular motion, the closing of the palm, or the pinching of finger and thumb. A release is usually preceded by a preparation and concluded with a complete stillness.
Conductors aim to maintain eye contact with the ensemble as much as possible, encouraging eye contact in return and increasing the dialogue between players/singers and conductor. Facial expressions may also be important to demonstrate the character of the music or to encourage the players.
In some cases, such as where there has been little rehearsal time to prepare a piece, a conductor may discreetly indicate how the bars of music will be beat immediately before the start of the movement by holding up their fingers in front of their chest (so only the performers can see). For example, in a 4
4 piece that the conductor will beat "in two" (two ictus points or beats per bar, as if it were 2
2), the conductor would hold up two fingers in front of his chest.
In most cases, there is a short pause between movements of a symphony, concerto or dance suite. This brief pause gives orchestra or choir members time to turn the pages of their part and ready themselves for the start of the next movement. String players may apply rosin or wipe sweat off their hands with a handkerchief. Reed players may take this time to change to a new reed. In some cases, woodwind or brass players will use the pause to switch to a different instrument (e.g., from trumpet to cornet or from clarinet to E♭ clarinet). If the conductor wishes to immediately begin one movement after another for musical reasons, this is called attacca. The conductor will instruct the orchestra members and choristers to write the term in their parts, so that they will be ready to go immediately to the next movement.
Roles[edit]
A military conductor leads the U.S. Navy band during Memorial Day ceremonies held at Arlington National Cemetery.
The roles of a conductor vary a great deal between different conducting positions and different ensembles. In some cases, a conductor will also be the musical director of the symphony, choosing the program for the entire season, including concerts by guest conductors, concerto soloists, pop concerts, and so on. A senior conductor may attend some or all of the auditions for new members of the orchestra, to ensure that the candidates have the playing style and tone that the conductor prefers and that candidates meet the highest performance standards. Some choral conductors are hired to prepare a choir for several weeks which will subsequently be directed by another conductor. The choral conductor is usually acknowledged for their preparatory work in the concert program.
Some conductors may have a significant public relations role, giving interviews to the local news channel and appearing on television talk shows to promote the upcoming season or particular concerts. On the other hand, a conductor hired to guest conduct a single concert may only have the responsibility of rehearsing the orchestra for several pieces and conducting one or two concerts. While a handful of conductors have become well-known celebrities, such as Leonard Bernstein, most are only known within the classical music scene.
Training and education[edit]
David Baker, a music educator, composer and conductor, (far left) leads the Smithsonian Jazz Masterworks Orchestra during the NEA Jazz Masters awards ceremony and concert in 2008.
Classical choral and instrumental conducting have established comprehensive systems of instruction and training. Aspiring conductors can study at colleges, conservatories, and universities. Conservatories, which are the standard musical training system in France and in Quebec (Canada) provide lessons and amateur conducting experience. Universities offer a range of conducting programs, including courses in conducting as part of bachelor's degrees, a small number of Master of Music degrees in conducting, and an even smaller number of Doctor of Musical Arts degrees in conducting.
As well, there are a variety of other training programs such as classical summer camps and training festivals, which give students the opportunity to conduct a wide range of music. Aspiring conductors need to obtain a broad education about the history of music, including the major periods of classical music and regarding music theory. Many conductors learn to play a keyboard instrument such as the piano or the pipe organ, a skill that helps them to be able to analyze symphonies and try out their interpretations before they have access to an orchestra to conduct. Many conductors get experience playing in an orchestra or singing in a choir, an experience which gives them good insights into how orchestras and choirs are conducted and rehearsed.
In 2014, orchestra conductors typically hold a master's degree in music and choir conductors in the US typically hold a bachelor's degree in music.[14] Bachelor's degrees (referred to as B.Mus. or B.M) are four-year programs that include conducting lessons, amateur orchestra experience, and a sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Students do not usually specialize in conducting at the B.Mus. stage; instead, they usually develop general music skills such as singing, playing an orchestral instrument, performing in a choir, playing in orchestra, and playing a keyboard instrument such as the piano or the organ.
Another topic that conducting students study is the languages used in Classical music opera. Orchestral conductors are expected to be able to rehearse and lead choirs in works for orchestra and choir. As such, orchestral conductors need to know the major languages used in choral writing (including French, Italian and Latin, among others) and they must understand the correct diction of these languages in a choral singing context. The opposite is also true: a choral conductor will be expected to rehearse and lead a string orchestra or full orchestra when performing works for choir and orchestra. As such, a choral conductor needs to know how to rehearse and lead instrument sections.
Master of music degrees (M.mus.) in conducting consist of private conducting lessons, ensemble experience, coaching, and graduate courses in music history and music theory, along with one or two conducted concerts. A Master's degree in music (referred to as an M.Mus. or M.M.) is often the required minimum credential for people who wish to become a professor of conducting.
Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D) degrees in conducting provide an opportunity for advanced study at the highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Examinations in music history, music theory, ear training/dictation, and an entrance examination and conducting audition are required. Students perform a number of conducted concerts, including a combination lecture-conducted concert with an accompanying doctoral dissertation, advanced coursework. Students must typically maintain a minimum B average. A DMA in conducting is a terminal degree, and as such, it qualifies the holder to teach in colleges, universities and conservatories. In addition to academic study, another part of the training pathway for many conductors is conducting amateur orchestras, such as youth orchestras, school orchestras and community orchestras.
A small number of conductors become professionals without formal training in conducting. These individuals often have achieved renown as instrumental or vocal performers, and they have often undertaken a great deal of training in their area of expertise (instrumental performance or singing). Another way that a small number of conductors become professionals without formal training in conducting is by learning on the job by conducting amateur orchestras, school orchestras, and community orchestras (or the equivalent choral ensembles).
The average salary of conductors in the US in 2014 was $48,180. A 3% growth rate is forecast for conducting jobs from 2014 to 2024, a slower than average growth rate.[14]
See also[edit]
Conductorless orchestra
List of principal conductors by orchestra
References[edit]
Jump up ^ Sir George Grove, John Alexander Fuller-Maitland; eds. (1922). A Dictionary of Music and Musicians, Volume 1, p.581. Macmillan. [ISBN unspecified].
Jump up ^ Kennedy, Michael; Bourne Kennedy, Joyce (2007). "Conducting". Oxford Concise Dictionary of Music (Fifth ed.). Oxford University Press, Oxford. ISBN 9780199203833.
^ Jump up to: a b Holden, Raymond (2003). "The technique of conducting". In Bowen, José Antonio. The Cambridge Companion to Conducting. Cambridge: Cambridge University Press. p. 3. ISBN 0-521-52791-0.
Jump up ^ Espie Estrella (6 March 2017). "The Conductor". thoughtco.com. Retrieved 9 March 2018.
Jump up ^ Jérôme de La Gorce (2007). "(1) Jean-Baptiste Lully (Lulli, Giovanni Battista) (i)". Oxford Music Online (New Grove). Oxford University Press. Retrieved 8 October 2008. (subscription required)
Jump up ^ Libbey, Theodore (2006). The NPR Listener's Encyclopedia of Classical Music, p. 44. Workman. ISBN 9780761120728.
Jump up ^ Galkin, Elliott W. (1988). A History of Orchestral Conducting: In Theory and Practice, p. 521. Pendragon. ISBN 9780918728470.
Jump up ^ David Mutch: "The gathering critical judgement of Hortense von Gelmini, Germany's only woman conductor, is that she has not only the talent but the education, energy, and persistance to make her mark in this difficult and competive profession" – 1976 in: The Christian Science Monitor[full citation needed]
Jump up ^ Hannah Levintova. "Here's Why You Seldom See Women Leading a Symphony". Mother Jones. Retrieved 2016-01-20.
Jump up ^ Victor Tribot Laspière (2013-10-02). "Une main ferme à l'Orchestre national de France". France Musique. Retrieved 2016-10-17.
Jump up ^ "11 of today's top women conductors". Classical-Music.com. 2015-03-06. Retrieved 2016-01-20.
Jump up ^ Higgins, Charlotte (10 August 2004). "Black conductor fears he will remain exception". The Guardian. Retrieved 19 June 2017.
Jump up ^ Wakin, Daniel J. (6 April 2012). "The Maestro's Mojo – Breaking Conductors' Down by Gesture and Body Part". The New York Times. Retrieved 26 April 2012.
^ Jump up to: a b "Music Directors and Composers : Occupational Outlook Handbook : U.S. Bureau of Labor Statistics". www.bls.gov. Retrieved 2017-08-19.
Further reading[edit]
Michael Bowles: The Art of Conducting (Garden City, New York: Doubleday, 1959); English edition as The Conductor: His Artistry and Craftsmanship (London: G. Bell & Sons, 1961).
Larry G. Curtis and David L. Kuehn: A Guide to Successful Instrumental Conducting (New York: McGraw-Hill, 1992); ISBN 978-0697126948.
Michel Faul: Louis Jullien: Musique, spectacle et folie au XIXe siècle (Biarritz: Atlantica, 2006); ISBN 9782351650387.
Elliott W. Galkin: A History of Orchestral Conducting in Theory and Practice (New York: Pendragon Press, 1988); ISBN 978-0918728470.
Norman Lebrecht: The Maestro Myth: Great Conductors in Pursuit of Power (2nd revised and updated edition, New York: Citadel Press, 2001).
Brock McElheran: Conducting Technique for Beginners and Professionals (New York: Oxford University Press, 1989); ISBN 978-0193858305.
Ilya Musin: The Technique of Conducting (Техника дирижирования) (Moscow: Muzyka Publishing House, 1967).
Ennio Nicotra: Introduction to the Orchestral Conducting Technique in Accordance with the Orchestral Conducting School of Ilya Musin, book and DVD in English, German, Italian, Spanish (Milan: Edizioni Curci, 2007).
Frederik Prausnitz: Score and Podium (New York: W.W. Norton, 1983); ISBN 978-0393951547.
Max Rudolf: The Grammar of Conducting (New York: Macmillan, 2nd ed. 1981); ISBN 978-0028722207.
Palmer, Fiona M. (17 March 2017). Conductors in Britain, 1870–1914: Wielding the Baton at the Height of Empire. Woodbridge: Boydell Press. p. 320. ISBN 9781783271450.
External links[edit]
Wikiquote has quotations related to: Conductors
Media related to Conducting at Wikimedia Commons
The New York Times video, including motion capture of Alan Gilbert, as he demonstrates and discusses the role of a conductor, rehearsing Stravinsky's Soldier's Tale.
Demonstration of conducting: Jean Sibelius' tone poem En saga
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These Boots Are Made for Walkin'
From Wikipedia, the free encyclopedia
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"These Boots Are Made for Walkin'"
Single by Nancy Sinatra
from the album Boots
B-side
"The City Never Sleeps at Night"
Released
December 1965
Format
7" single
Recorded
November 19, 1965
Western Recorders
Hollywood, California, United States
Genre
Pop rock, country rock
Length
2:42
Label
Reprise
Songwriter(s)
Lee Hazlewood[1]
Producer(s)
Lee Hazlewood[2]
Nancy Sinatra singles chronology
"So Long, Babe"
(1965) "These Boots Are Made for Walkin'"
(1965) "How Does That Grab You, Darlin'?"
(1966)
"These Boots Are Made for Walkin'" is a hit song written by Lee Hazlewood and recorded by Nancy Sinatra. It charted January 22, 1966,[3] and reached No. 1 in the United States Billboard Hot 100 and in the UK Singles Chart.[2]
Subsequently, many cover versions of the song have been released in a range of styles: metal, pop, rock, punk rock, country, dance, and industrial. Among the more notable versions are the singles released by Megadeth, Jessica Simpson, and Ella Fitzgerald backed by Duke Ellington and his orchestra.
Contents
1 Nancy Sinatra version
1.1 Recording
1.2 Personnel
1.3 Release
1.4 Promotional film
1.5 In popular culture
1.6 Charts
1.7 Track listing
1.8 Release history
2 Jessica Simpson version
2.1 Recording and release
2.2 CD single
2.3 Chart performance
2.4 Music video
2.5 Charts and certifications
2.6 Weekly charts
2.7 Year end charts
2.8 All-time chart
2.9 Certifications
2.10 Versions
3 Megadeth version
4 Selected list of other recorded versions
5 References
6 External links
Nancy Sinatra version[edit]
Recording[edit]
Lee Hazlewood intended to record the song himself, saying that "it's not really a girl's song", but Sinatra talked him out of it, saying that "coming from a guy it was harsh and abusive, but was perfect for a little girl to sing". Hazlewood agreed.[4] Sinatra's recording of the song was made with the help of Los Angeles session musicians known as the Wrecking Crew.[4] This session included Hal Blaine on drums, Al Casey, Tommy Tedesco, and Billy Strange on guitars, Ollie Mitchell, Roy Caton and Lew McCreary on horns, Carol Kaye on electric bass and Chuck Berghofer on double bass, providing the notable bass line. Nick Bonney was the guitarist for the Nelson Riddle Orchestra.
Personnel[edit]
Other personnel, as seen in the American Federation of Musicians (AFM) contracts for the session include:[5]
Billy Strange - arranger, conductor, and guitar
William Miller - (unknown)
Don Lanier - guitar
Lou Norell - guitar
Jerry Cole - guitar
William Pitman - guitar
Don Randi - keyboard
Richard Perissi - French horn
Oliver Mitchell - trumpet
Plas Johnson - tenor sax
Nick Bonney - guitar
Donald Frost - (unknown)
Charles Berghofer - bass
Eddie Brackett Jr. - engineer
Emil Richards - percussion
Jim Gordon - drums
Roy V. Caton - (contractor) trumpet
Lee Hazlewood - supervisor
Release[edit]
The single was released in December 1965,[6] the second song to taken from her debut album Boots, and was a follow-up to the minor hit "So Long, Babe". The song became an instant success and in late February 1966 it topped the Billboard Hot 100 chart, a move it replicated in similar charts across the world.
Promotional film[edit]
In the same year Sinatra recorded a promotional film, which would later be known as the music video, for the song. It was produced by Color-Sonics and played on Scopitone video jukeboxes.[4] In 1986, for the song's 20th anniversary, cable station VH1 played the video.
Sinatra told Alison Martino that other videos and performances are from TV shows like The Ed Sullivan Show, Hullaballoo and Shindig![4]
The videos featured Sinatra wearing an iconic pair of boots.[4]
In popular culture[edit]
The song was featured in Stanley Kubrick's 1987 film Full Metal Jacket.
The song was featured in the 1995 film Now and Then. However the song did not appear on the film's soundtrack.
The song was featured in the 1997 film Austin Powers: International Man of Mystery
In 2006, Pitchfork Media selected it as the 114th best song of the 1960s. Critic Tom Breihan described the song as "maybe the finest bitchy kiss-off in pop history".[7]
Goodyear Tire and Rubber Company used portions of the song for its 1960s ad campaign promoting its "wide boots" tires. Nancy Sinatra unsuccessfully sued Goodyear for using the song, claiming that it had violated her publicity rights.[8]
The song was included in the third episode of American action-comedy series The Good Guys, "Broken Door Theory".
In 2017, US Gymnast Ragan Smith used portions of the song as music for her floor routine.
This song appears in the 2018 film Ocean's 8.
Charts[edit]
Chart (1966)
Peak
position
Australia (Kent Music Report) 1
Canada Top Singles (RPM) 1
French (IFOP)[9] 13
Ireland (IRMA) 1
Italian Singles Chart 3
New Zealand (RIANZ) 1
Rhodesia (Lyons Maid) 1
UK Singles Chart[2] (OCC) 1
US Billboard Hot 100 (Billboard) 1
Track listing[edit]
UK promotional single
"These Boots Are Made for Walkin'" – 3:03
"Perhaps, Perhaps, Perhaps" – 2:19
Release history[edit]
Country
Date
Format
Label
United Kingdom February 1, 2000 Promotional single — digital download EMI, Maverick
Jessica Simpson version[edit]
"These Boots Are Made for Walkin'"
Single by Jessica Simpson
from the album The Dukes of Hazzard and A Public Affair
Released
May 26, 2005 (US)
August 29, 2005 (UK)
Format
Digital download, digital maxi single
Genre
Country pop, dance-pop
Length
4:10 (radio edit)
Label
Columbia
Songwriter(s)
Lee Hazlewood; Jessica Simpson (additional; uncredited)
Producer(s)
Jimmy Jam and Terry Lewis
Jessica Simpson singles chronology
"Angels"
(2004) "These Boots Are Made for Walkin'"
(2005) "A Public Affair"
(2006)
Music video
"These Boots Are Made for Walkin'" at VEVO.com
Jessica Simpson recorded her own version of "These Boots Are Made for Walkin'" (and added her own lyrics) for the soundtrack to the film The Dukes of Hazzard (2005). The version was also included in the international version of her fifth studio album, A Public Affair (2006). Simpson's cover was co-produced by Jimmy Jam and Terry Lewis and was released as the soundtrack's first single in 2005. It became Simpson's fifth top-twenty single in the United States, and its music video drew some controversy because of its sexual imagery.[10][11]
Recording and release[edit]
Simpson's version of the song is performed from the point of view of her character in The Dukes of Hazzard, Daisy Duke, and it has several major differences from Sinatra's version. The song's lyrics were changed almost completely as Simpson felt that they did not accurately convey the feelings needed for the film; in the original Sinatra dealt with a cheating boyfriend, while in the new version Simpson explored Daisy Duke's personality and experiences. She rewrote the majority of the lyrics herself, although some elements were retained such as the opening line "You keep saying you got something for me..." and the spoken "Are you ready, boots? Start walkin'".
Simpson also added some new music to her version of the song. Whereas the original version did not have a bridge, she created one for the cover. A risqué rap-like/spoken breakdown was added after the bridge. Because of the legalities of songwriting, Simpson has not been credited for the new music or lyrics that she wrote. The production of the song was altered as well. Producers Jimmy Jam and Terry Lewis gave the cover a country-inspired production because of its relationship to the film The Dukes of Hazzard, but they also added a more hip hop-like beat.
In an interview with GAC Nights, Jessica stated that her record label did not want to promote the song because of its country feel, even though the song is more pop than country. She said that she told the label "It's a great song and Willie Nelson's on it with me" and she said the label told her pop radio wouldn't understand that importance.[citation needed]
CD single[edit]
"These Boots Are Made for Walkin'" (Radio edit) - 4:10
"With You (Live from Universal Amphitheater)
"Take My Breath Away" (Live from Universal Amphitheater)
"I Think I'm in Love with You" (Live from Universal Amphitheater)
"These Boots Are Made for Walkin'" (Video clip)
Chart performance[edit]
"These Boots Are Made for Walkin'" peaked at fourteen on the US Billboard Hot 100, and in late 2005 the RIAA certified the single Gold for 500,000 legal downloads or more. Its digital downloads were high, but radio airplay was low. Due to this, it's the song that reached the lowest chart position on the Billboard Hot 100 for a song topping the Hot Digital Songs chart. It reached the top ten on Billboard's Pop 100 chart, and was Simpson's first single to appear on the chart. On 11 December 2006 the single was certified Gold by the RIAA again, this time by Epic Records. In total, the single has received 1 million digital downloads.
Internationally it was a success, reaching top 5 in several European countries. It became her biggest hit in Australia, where it reached number two and remained in the top forty for twenty-four weeks. In Ireland, the single also reached number 2. The song also cracked the top five in the United Kingdom, where it reached number four and is to date, her highest peaking single in Britain. It reached the top ten in the chart European Hot 100 Singles, Belgium, and New Zealand and the top twenty in Austria, Switzerland, and Germany. As the end of the year 2005, the single had sold 69,500 copies in UK.[12]
Music video[edit]
The video, directed by Brett Ratner, has caused some controversy because of its sexual imagery.[citation needed]
Charts and certifications[edit]
Weekly charts[edit]
Chart (2005)
Peak
position
Australia (ARIA)[13] 2
Austria (Ö3 Austria Top 40)[14] 12
Belgium (Ultratip Wallonia)[15] 14
Belgium (Ultratip Flanders)[16] 10
Canada (Canadian Singles Chart)[17] 29
European Hot 100 Singles[18] 7
Germany (Media Control AG) 17
Greece (IFPI)[19] 18
Ireland (IRMA)[20] 2
Netherlands (Dutch Top 40)[21] 35
Netherlands (Single Top 100)[22] 27
New Zealand (Recorded Music NZ)[23] 10
Romania (Romanian Top 100)[24] 81
Scotland (Official Charts Company)[25] 2
Switzerland (Schweizer Hitparade)[26] 16
UK Singles (Official Charts Company)[27] 4
Ukraine (FDR Charts)[28] 13
US Billboard Hot 100[29] 14
US Mainstream Top 40 (Billboard)[30] 34
US Dance Club Songs (Billboard)[31] 35
US Pop 100 (Billboard)[32] 12
Year end charts[edit]
Country
Position
Australia (ARIA) (2005)[33] 16
Australia (ARIA) (2006)[34] 85
German Singles Chart[35] 98
Ireland (IRMA)[36] 19
UK Singles Chart[37] 78
US Hot Digital Songs[38] 60
US Pop 100[39] 99
All-time chart[edit]
Chart
Position
Australia (ARIA)[40] 147
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[41]
Platinum 70,000^
New Zealand (RMNZ)[42]
Gold 5,000*
United States (RIAA)[43]
Gold (Columbia)
Gold (Epic) 1,000,000
*sales figures based on certification alone
^shipments figures based on certification alone
Versions[edit]
"These Boots Are Made for Walkin'" (Soundtrack version) – 4:10
"These Boots Are Made for Walkin'" (Original version) – 3:35
"These Boots Are Made for Walkin'" (Radio edit) – 4:10
"These Boots Are Made for Walkin'" (Instrumental) – 3:35
"These Boots Are Made for Walkin'" (Scott Storch Mix) – 4:43
"These Boots Are Made for Walkin'" (E-Smoove Vocal Mix) – 6:59
"These Boots Are Made for Walkin'" (Bimbo Jones Vocal Club Mix) – 6:00
"These Boots Are Made for Walkin'" (Bimbo Jones Radio Edit) – 3:14
"These Boots Are Made for Walkin'" (Bimbo Jones Dub) – 6:03
"These Boots Are Made for Walkin'" (Ed n' Richie Club Mix) – 5:16
"These Boots Are Made for Walkin'" (Gomi & Escape's Club Mix) – 9:05
"These Boots Are Made for Walkin'" (Gomi & Escape Mix) – 9:03
"These Boots Are Made for Walkin'" (Gomi & Escape's Dub) – 6:13
Megadeth version[edit]
"These Boots"
Song by Megadeth
from the album Killing Is My Business... and Business Is Good!
Released
June 12, 1985
Genre
Thrash metal
Length
3:44
Label
Combat
Songwriter(s)
Lee Hazlewood
Producer(s)
Megadeth
Karat Faye
Megadeth covered the song on their 1985 debut album Killing Is My Business... and Business Is Good!, which is track four on the original release and eight on the 2002 re-release. Their version (entitled "These Boots") featured altered lyrics, and was produced more as a parody than a true cover.
When the album started selling well, the writer of the song, Lee Hazlewood, began demanding that the song be omitted, due to its being a "perversion of the original". Megadeth guitarist and frontman Dave Mustaine made the point that Hazlewood had been paid royalties for years before he made the complaint, although Mustaine eventually omitted the song anyway from newer pressings of the album. When the album was remixed in 2002, a censored version of the song was included as a bonus track. In 2011, an uncensored live version recorded in 1987 was released as part of the 25th anniversary edition of the album Peace Sells... but Who's Buying?. In 1987 Megadeth re-recorded the song as part of the soundtrack for Penelope Spheeris’ movie Dudes, changing the title to "These Boots Are Made for Walkin'". In 2018, the song was released with the original Lee Hazlewood lyrics on the remixed and remastered version of Killing Is My Business... and Business Is Good!
Selected list of other recorded versions[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2018) (Learn how and when to remove this template message)
1966 Nancy Sinatra, US #1, UK #1.[1]
1966 Lee Hazlewood, the songwriter's own version, a humorous take on Sinatra's original recording sessions ("this is the part of the song where Billy Strange raised his hand and asked if he could please leave the room", "this is the part of the record where the engineer Eddy Brackett said if we don't fade this thing out, we're all gonna be arrested...") and the song's worldwide success ("and this is the part of the record where everybody said, 'Aw, that can't be no.1...!'", "You'll put on yer boots an' I'll put on mine, we'll sell a million ol' records any ol' time, yeah!").
1966 Ella Fitzgerald and Duke Ellington with his Orchestra, as a single (CBS 2446).
1966 Eileen Goldsen, a French version titled "Ces bottes sont faites pour marcher". It is featured on the Gossip Girl Season 4 promo. Goldsen also recorded Italian and German versions of the hit, the later of which is featured in the second episode of BBC America's Orphan Black.
1966 Loretta Lynn on her first chart-topping studio album, You Ain't Woman Enough. Lynn's version was recorded in the final sessions for the album, two months after the release of the Sinatra recording.
1966 Martha Duhalt (es), a Spanish version: "Las botas que uso pueden caminar", as a CBS single (5872).
1966 Yvonne Přenosilová, a Czech version (lyrics by Eduard Krečmar) titled "Boty proti lásce", as a Supraphon single (Su 013691).
1966 The Ventures an instrumental version on their compilation album 8 Miles High (originally titled Go with The Ventures).[44][45]
1970 The British reggae group Symarip released a reggae version of the song on their album Skinhead Moonstomp, with the same title but "walking" changed to "stomping" in the lyrics.
1978 The English band Fulham Furies released a punk version as a single.[46]
1982 British Electric Foundation released a new wave version featuring Paula Yates on vocals.
1985 Megadeth on the studio album Killing Is My Business... and Business Is Good!.
1988 Kon Kan, Remix Version
1991 Zeena Schreck/Radio Werewolf, on the 12" vinyl single "Boots/Witchcraft – A Tribune To The Sin-atras".[47][48]
1991 Georgie Parker and the Channel 7 Australia ensemble Farmhouse. Reached #58 on the Australian ARIA Chart.
1992 Billy Ray Cyrus, on the album Some Gave All. Reached #27 in Denmark.
2000 Geri Halliwell recorded her own version of "These Boots Are Made for Walkin'" for the soundtrack to the film Rugrats in Paris: The Movie. It was included as a B-side of her single "Bag It Up", which reached number one in the UK Singles Chart.
2002 KMFDM released Boots which includes three versions of the song.
2005 Lil' Kim, the theme for the TV show Growing Up Gotti.
2005 Jessica Simpson, for The Dukes of Hazzard soundtrack, US #14.
2005 Little Birdy, for Like a Version Volume One (2005).
2011 Planet Funk covered it for the Italian comedy movie La kryptonite nella borsa's soundtrack. This version of the song peaked at number ten on the Italian Singles Chart[49] and it was certified gold by the Federation of the Italian Music Industry.[50]
2015, Ubisoft covered this track for use in Just Dance 2016.
References[edit]
^ Jump up to: a b Gilliland, John (1969). "Show 44 - Revolt of the Fat Angel: Some samples of the Los Angeles sound. [Part 4]" (audio). Pop Chronicles. University of North Texas Libraries.
^ Jump up to: a b c Rice, Jo (1982). The Guinness Book of 500 Number One Hits (1st ed.). Enfield, Middlesex: Guinness Superlatives Ltd. p. 98. ISBN 0-85112-250-7.
Jump up ^ "Music: Top 100 Songs - Billboard Hot 100 Chart".
^ Jump up to: a b c d e Alison Martino (19 January 2016). "Nancy Sinatra Talks "These Boots Are Made for Walkin'" on the Eve of Its Golden Anniversary The hit song that inspired a generation of women to start walkin' turns 50 tomorrow". Retrieved 5 July 2016.
Jump up ^ "Phonograph Recording Contract Blank : American Federation of Musicians" (PDF). Wreckingcrewfilm.com. Retrieved 2014-04-06.
Jump up ^ https://books.google.fr/books?id=bSkEAAAAMBAJ&pg=PA18&dq=These+Boots+Are+Made+for+Walkin%27+billboard+1965&hl=fr&sa=X&ved=0ahUKEwjjh9XCyd_bAhUQkRQKHTnHBYAQ6AEIPDAD#v=onepage&q&f=false
Jump up ^ "pitchforkmedia.com". pitchforkmedia.com. Retrieved 2011-03-13.
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Jump up ^ "TOP - 4 juin 1966". top-france.fr.
Jump up ^ "Jessica Simpson: Singles Chart History". billboard.com. Archived from the original on May 9, 2013. Retrieved 2008-08-07.
Jump up ^ "USATODAY.com - Jessica Simpson kicks off People's Choice Awards". www.usatoday.com. January 5, 2006. Retrieved 2008-07-31.
Jump up ^ "UK 2005 TOP 200 w/ sales!!". ATRL. Archived from the original on October 3, 2011. Retrieved 2011-03-13.
Jump up ^ "Australian-charts.com – Jessica Simpson – These Boots Are Made for Walkin'". ARIA Top 50 Singles. Retrieved 2012-10-19.
Jump up ^ "Austriancharts.at – Jessica Simpson – These Boots Are Made for Walkin'" (in German). Ö3 Austria Top 40. Retrieved 2012-10-19.
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Jump up ^ "IFPI Greece Top 50 Singles". Web.archive.org. 2005-09-30. Archived from the original on 2005-11-27. Retrieved 2012-11-16.
Jump up ^ "Chart Track: Week 35, 2005". Irish Singles Chart. Retrieved 2010-10-19.
Jump up ^ "Dutch Top 40 week 37 van 2005". top40.nl. Retrieved 1 April 2013.
Jump up ^ "Dutchcharts.nl – Jessica Simpson – These Boots Are Made for Walkin'" (in Dutch). Single Top 100. Retrieved 2010-10-19.
Jump up ^ "Charts.nz – Jessica Simpson – These Boots Are Made for Walkin'". Top 40 Singles. Retrieved 2010-10-19.
Jump up ^ "will smith-Switch - editia curenta". 2005-09-30. Archived from the original on 2005-09-30. Retrieved 2011-03-13.
Jump up ^ "Official Scottish Singles Sales Chart Top 100". Official Charts Company. Retrieved July 24, 2014.
Jump up ^ "Swisscharts.com – Jessica Simpson – These Boots Are Made for Walkin'". Swiss Singles Chart. Retrieved 2010-10-19.
Jump up ^ "Official Singles Chart Top 100". Official Charts Company. Retrieved 2010-10-19.
Jump up ^ "ФДР - Радіо - Розсилки". Fdr.com.ua. Archived from the original on 2014-05-05. Retrieved 2014-04-06.
Jump up ^ "Jessica Simpson Chart History (Hot 100)". Billboard. Retrieved 2011-10-19.
Jump up ^ "Jessica Simpson Chart History (Pop Songs)". Billboard. Retrieved 2011-10-19.
Jump up ^ "Jessica Simpson Chart History (Dance Club Songs)". Billboard.
Jump up ^ "Jessica Simpson – Charts". AllMusic. Retrieved 2011-03-07.
Jump up ^ Australian Recording Industry Association (2005). "ARIA Annual Chart". Archived from the original on December 11, 2014. Retrieved October 4, 2009.
Jump up ^ "ARIA Charts - End of Year Charts - Top 100 Singles 2006". Aria.com.au. Archived from the original on 2013-11-06. Retrieved 2011-03-13.
Jump up ^ offiziellecharts.de (2005). "TOP 100 SINGLE-JAHRESCHARTS 2005". Retrieved February 27, 2012.
Jump up ^ IRMA (2005). "IRMA Best 2005". Retrieved January 22, 2010.
Jump up ^ UK Singles 2005 (2005). "UK Singles 2005" (PDF). Retrieved February 27, 2010.
Jump up ^ "Billboard.BIZ". Billboard.BIZ. Retrieved 2011-03-13.
Jump up ^ "Billboard.BIZ". Billboard.BIZ. Retrieved 2011-03-13.
Jump up ^ "ARIA Charts – Best of all time chart – Top 1000 Singles". Retrieved September 1, 2015.
Jump up ^ "ARIA Charts – Accreditations – 2005 Singles". Australian Recording Industry Association. Retrieved 2012-11-10.
Jump up ^ "New Zealand Singles 2005; The Official New Zealand Music Chart". Nztop40.co.nz. Archived from the original on 2008-12-16. Retrieved 2012-06-11.
Jump up ^ "Gold & Platinum Searchable Database - April 06, 2014". RIAA. Retrieved 2014-04-06.
Jump up ^ "Eight Miles High by The Ventures".
Jump up ^ "The Ventures - Go With The Ventures". Discogs.
Jump up ^ "Fulham Furies Discography - UK - 45cat". www.45cat.com. Retrieved 29 May 2018.
Jump up ^ "Zeena/Radio Werewolf Boots Single: Cover by fetish photographer Helmut Wolech". Discogs.com. Retrieved 2014-04-06.
Jump up ^ "YouTube of the Zeena/Radio Werewolf version". Youtube.com. Retrieved 2014-04-06.
Jump up ^ "Italian Charts - Planet Funk - These Boots Are Made for Walking (song)". Italiancharts.com. Hung Medien. Retrieved 1 October 2012.
Jump up ^ "Italian single certifications" (in Italian). Federazione Industria Musicale Italiana.
External links[edit]
Lyrics of this song at MetroLyrics
Collection of over 200 versions
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values: These Boots Are Made for Walkin’ – German

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