Another consistent feature among our subjects was that after a few repetitions of something, the signals would be minimized until new information needed to be conveyed. Professionals tended to reduce the size and velocity of their gestures during segments where there was no change; when new musical information approached, then their gestures became bigger and faster. For example, after the opening of Sousa’s "Presidential Polonaise," P3’s gestures decreased in size because the tempo and musical character did not change for a few bars. This successive lack of emphasis in repetitive, static sections is significant because it is a case in which the relationship between the signal and its intended meaning changes over time in a context-specific way. That is, since no change is required, the slow decrease in amplitude of gestures allows the conductor to slowly reduce his effort without causing the musicians to similarly decrease the amplitude of their efforts. Figure 26, below, demonstrates this phenomenon:
This phenomenon suggests that conductors operate according to an efficiency principle. When new information is not needed by the orchestra, the overall intensity level of all gestures is reduced. This point is supported by the conducting pedagogue Max Rudolf, who wrote, "you should not use more motion than you need in conducting." Perhaps the prevalence of this feature indicates experience or expertise on the part of the conductor.