Difference between revisions of "Sunakawa2018"
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|Tag(s)=EMCA; Instructions; Music; Learning; Synchronization; Bodily shadowing; Orchestral conducting | |Tag(s)=EMCA; Instructions; Music; Learning; Synchronization; Bodily shadowing; Orchestral conducting | ||
|Key=Sunakawa2018 | |Key=Sunakawa2018 | ||
| + | |Publisher=John Benjamins | ||
|Year=2018 | |Year=2018 | ||
|Language=English | |Language=English | ||
| + | |Address=Amsterdam | ||
|Booktitle=Time in Embodied Interaction: Synchronicity and sequentiality of multimodal resources | |Booktitle=Time in Embodied Interaction: Synchronicity and sequentiality of multimodal resources | ||
| − | |Pages= | + | |Pages=203–230 |
|URL=https://benjamins.com/catalog/pbns.293.06sun | |URL=https://benjamins.com/catalog/pbns.293.06sun | ||
| − | |DOI= | + | |DOI=10.1075/pbns.293.06sun |
|Abstract=In this chapter, I examine synchronous body movements made by an orchestral conducting teacher and students while engaging one another in an instructional interaction. This behavioral synchrony, which I refer to as bodily shadowing, provides participants with effective ways to learn and teach orchestral conducting skills. It is important for students to move their bodies as the teacher moves his because students learn forms of body movement that are situated in a specific temporal context. By analyzing the elements of the teacher’s behavior that are chosen for shadowing and how shadowing is initiated, I demonstrate the process by which participants communicate the correction. Additionally, I explain how bodily shadowing becomes a means to display understanding and a way of participating in an apprenticeship interaction. | |Abstract=In this chapter, I examine synchronous body movements made by an orchestral conducting teacher and students while engaging one another in an instructional interaction. This behavioral synchrony, which I refer to as bodily shadowing, provides participants with effective ways to learn and teach orchestral conducting skills. It is important for students to move their bodies as the teacher moves his because students learn forms of body movement that are situated in a specific temporal context. By analyzing the elements of the teacher’s behavior that are chosen for shadowing and how shadowing is initiated, I demonstrate the process by which participants communicate the correction. Additionally, I explain how bodily shadowing becomes a means to display understanding and a way of participating in an apprenticeship interaction. | ||
}} | }} | ||
Latest revision as of 00:36, 12 January 2020
| Sunakawa2018 | |
|---|---|
| BibType | INCOLLECTION |
| Key | Sunakawa2018 |
| Author(s) | Chiho Sunakawa |
| Title | Bodily shadowing Learning to be an orchestral conductor |
| Editor(s) | Arnulf Deppermann, Jürgen Streeck |
| Tag(s) | EMCA, Instructions, Music, Learning, Synchronization, Bodily shadowing, Orchestral conducting |
| Publisher | John Benjamins |
| Year | 2018 |
| Language | English |
| City | Amsterdam |
| Month | |
| Journal | |
| Volume | |
| Number | |
| Pages | 203–230 |
| URL | Link |
| DOI | 10.1075/pbns.293.06sun |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | Time in Embodied Interaction: Synchronicity and sequentiality of multimodal resources |
| Chapter | |
Abstract
In this chapter, I examine synchronous body movements made by an orchestral conducting teacher and students while engaging one another in an instructional interaction. This behavioral synchrony, which I refer to as bodily shadowing, provides participants with effective ways to learn and teach orchestral conducting skills. It is important for students to move their bodies as the teacher moves his because students learn forms of body movement that are situated in a specific temporal context. By analyzing the elements of the teacher’s behavior that are chosen for shadowing and how shadowing is initiated, I demonstrate the process by which participants communicate the correction. Additionally, I explain how bodily shadowing becomes a means to display understanding and a way of participating in an apprenticeship interaction.
Notes
