Difference between revisions of "Merlino2014a"
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{{BibEntry | {{BibEntry | ||
|BibType=ARTICLE | |BibType=ARTICLE | ||
| − | |Author(s)=Sara Merlino; | + | |Author(s)=Sara Merlino; |
|Title=Singing in “another” language: how pronunciation matters in the organisation of choral rehearsals | |Title=Singing in “another” language: how pronunciation matters in the organisation of choral rehearsals | ||
|Tag(s)=EMCA; Music; choral rehearsals; singing; correction sequences; pronunciation; participation framework; multimodality | |Tag(s)=EMCA; Music; choral rehearsals; singing; correction sequences; pronunciation; participation framework; multimodality | ||
| Line 10: | Line 10: | ||
|Number=4 | |Number=4 | ||
|Pages=420-445 | |Pages=420-445 | ||
| + | |Abstract=In this paper, I analyse the rehearsals of a choir and focus on sequences during which | ||
| + | participants correct and practise the pronunciation of an item. In order to sing in a | ||
| + | choir, singers orient both to musical relevancies (such as melody, pitch and rhythm) | ||
| + | and to the linguistic features of the words they sing (such as articulation of consonants | ||
| + | or vowels, cutting of the syllables, accent): these features are fundamental to singing | ||
| + | and can be the object of correction. I hereby take into consideration “second language” | ||
| + | singing and show that, during this activity, the correction of a word pronunciation can | ||
| + | be initiated and realised either by the director or by the singers themselves. I analyse | ||
| + | the structure of these sequences and show their implication for the organisation of the | ||
| + | activity and for the participatory dynamics of the rehearsals. Based on the video- | ||
| + | recordings of the rehearsals of the choir of a music school, my analyses take into | ||
| + | account both the audible and visible resources participants orient to; they thus | ||
| + | contribute to a conversation analytical and multimodal perspective on the interactional | ||
| + | and institutional activity of music rehearsals. | ||
}} | }} | ||
Revision as of 10:02, 11 March 2015
| Merlino2014a | |
|---|---|
| BibType | ARTICLE |
| Key | Merlino2014a |
| Author(s) | Sara Merlino |
| Title | Singing in “another” language: how pronunciation matters in the organisation of choral rehearsals |
| Editor(s) | |
| Tag(s) | EMCA, Music, choral rehearsals, singing, correction sequences, pronunciation, participation framework, multimodality |
| Publisher | |
| Year | 2014 |
| Language | |
| City | |
| Month | |
| Journal | Social Semiotics |
| Volume | 24 |
| Number | 4 |
| Pages | 420-445 |
| URL | |
| DOI | |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
In this paper, I analyse the rehearsals of a choir and focus on sequences during which participants correct and practise the pronunciation of an item. In order to sing in a choir, singers orient both to musical relevancies (such as melody, pitch and rhythm) and to the linguistic features of the words they sing (such as articulation of consonants or vowels, cutting of the syllables, accent): these features are fundamental to singing and can be the object of correction. I hereby take into consideration “second language” singing and show that, during this activity, the correction of a word pronunciation can be initiated and realised either by the director or by the singers themselves. I analyse the structure of these sequences and show their implication for the organisation of the activity and for the participatory dynamics of the rehearsals. Based on the video- recordings of the rehearsals of the choir of a music school, my analyses take into account both the audible and visible resources participants orient to; they thus contribute to a conversation analytical and multimodal perspective on the interactional and institutional activity of music rehearsals.
Notes
