Parton2014
| Parton2014 | |
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| BibType | ARTICLE |
| Key | Parton2014 |
| Author(s) | Katharine Parton |
| Title | Epistemic stance in orchestral interaction |
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| Tag(s) | EMCA, Music, orchestral rehearsal, epistemic stance, interaction, gesture |
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| Year | 2014 |
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| Journal | Social Semiotics |
| Volume | 24 |
| Number | 4 |
| Pages | 402–419 |
| URL | Link |
| DOI | 10.1080/10350330.2014.929389 |
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Abstract
An interactional participant's epistemic status relies on their access to “epistemic domains” which exist beyond the unfolding interaction in which they are expressed. Heritage argues that comparative access and epistemic status can be described along an “epistemic gradient” and that it is the expression of this status which, in the interaction, exists as the taking, aligning to, and challenging of epistemic stance. This paper describes some of the resources musicians use in interaction to encode the epistemic domains from which knowledge comes during orchestral rehearsal. As “sound-hearing” and “instrument-playing” are central to the work of musicians, the discussion will focus on how perceptions of auditory and corporeal experience are deployed as part of musicians' epistemic stance taking. I will argue that these epistemic stances, as expressions of graded and differential access to epistemic domains, form part of the construction of authority in orchestral rehearsal.
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