Difference between revisions of "Veronesi2014"
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| − | |Pages= | + | |Pages=468–494 |
| + | |URL=http://www.tandfonline.com/doi/abs/10.1080/10350330.2014.929393 | ||
| + | |DOI=10.1080/10350330.2014.929393 | ||
| + | |Abstract=The paper examines the phenomenon of correction of musical action by analysing ensemble music workshops devoted to Conduction®, a way of making music together on the basis of a codified gestural lexicon addressed by a conductor to instrumentalists. In particular, it focuses on correction sequences initiated by the conductor and related to the musical material to be played and discusses the techniques used by the conductor to construct and sequentially organize correction, showing how these are accomplished through the interplay and mutual contextualization of talk and further audible and visible semiotic resources. Based on the fine-grained analysis of two correction sequences, the study stresses the role of multimodality for investigating music and pedagogy from an interactional perspective, while highlighting the peculiarities of Conduction as performative and educational practice. | ||
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Latest revision as of 09:42, 7 March 2016
| Veronesi2014 | |
|---|---|
| BibType | ARTICLE |
| Key | Veronesi2014 |
| Author(s) | Daniela Veronesi |
| Title | Correction sequences and semiotic resources in ensemble music workshops: the case of Conduction® |
| Editor(s) | |
| Tag(s) | EMCA, Music, ensemble music workshops, correction sequences, multimodality, semiotic resources, Conduction, conversation analysis |
| Publisher | |
| Year | 2014 |
| Language | |
| City | |
| Month | |
| Journal | Social Semiotics |
| Volume | 24 |
| Number | 4 |
| Pages | 468–494 |
| URL | Link |
| DOI | 10.1080/10350330.2014.929393 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
The paper examines the phenomenon of correction of musical action by analysing ensemble music workshops devoted to Conduction®, a way of making music together on the basis of a codified gestural lexicon addressed by a conductor to instrumentalists. In particular, it focuses on correction sequences initiated by the conductor and related to the musical material to be played and discusses the techniques used by the conductor to construct and sequentially organize correction, showing how these are accomplished through the interplay and mutual contextualization of talk and further audible and visible semiotic resources. Based on the fine-grained analysis of two correction sequences, the study stresses the role of multimodality for investigating music and pedagogy from an interactional perspective, while highlighting the peculiarities of Conduction as performative and educational practice.
Notes
