This is the method of conducting in which the "downbeat" is actually "up" ... quite common in Europe and in professional ensembles. Nothing new.

IanW ... "the bounce that counts" ... never heard that one before, but i love it! And I agree that the style in this example is somewhat mannered.

I sometimes feel those who emphasize the differences between modern conducting and chironomy either a) really believe what they are saying and are doing something wrong with one or both of them, or b) are merely trying to simplify things for beginners.

The point of any kind of gesture of musical leadership is to ellicit the appropriate sound from the ensemble. It most easily accomplishes this by balancing "looking like" the music being conducted while at the same time providing all of the "information" necessary for the ensemble to take care of musical details (releases, cues, beats, etc). (BTW, many teachers of conducting try to dictate how much of this "information" should be shown by means of blanket statements, e.g. all Renaissance motets should be conducted in big beats. This is ridiculous. Every ensemble and every performance situation is different and require different amounts of information be given.)

In the end I believe and will continue to believe:

The rules for "123" conducting can effectively be used for chant when done in the correct style (and vice versa).

The rules for chironomy when followed blindly can result in an awful rendition of chant (and likewise with rules for "123" conducting and "modern" music).

In the end - learn the rules, then use your variety of experience and gesture to get it to sound as good as it can.

Sorry for taking so long to return to the forum after my Christmas holiday.

I appreciate your response to my confusion - but I have to say I'm still confused. Perhaps this is because I believe very strongly that except for the most rhythmic of music (unlike a fairly large portion of even modern choral music), "123" conducting itself should reflect movement that is breathing like chant - moving forward and relaxing - far more often than it often does. To accomplish this with a "mathematical" modern downbeat is, I agree, impossible.

I maintain, however, that it is completely possible to craft one's modern conducting gesture to include all of these elements while still maintaining the "conducting grammar" of putting all the beats in the correct places. Perhaps this is where such a forum fails, as it would be much better for me to demonstrate this physically with an choir present!

Nevertheless, I just want to reiterate my point of view in the discussion of this topic in this particular place... That is,
Students of conducting and chant should not accept that modern conducting patterns in and of themselves are antithetical to the musical style of chant - rather it is the manner in which modern conducting patterns are so often employed (by amateurs) that is the basis for this advice.

And...
By incorporating elements of chironomy in modern conducting and vice-versa, all kinds of artistic and aesthetic benefits can be result in both styles of music.

Well, I don't really care about the conductor... (conducting is way over-rated, and mostly unnecessary if you rehearse them correctly) but I must say, the music is fabulous! When I was a child, our choirmaster was also the organist... and we sang just as well with the baton as without. (However, he did use a whip at rehearsals.)