Difference between revisions of "Black2014"
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| − | |Abstract=This article draws from anthropology, conversation analysis, ethnomusicology, | + | |URL=http://www.tandfonline.com/doi/abs/10.1080/10350330.2014.929387 |
| − | semiotics, and phenomenology, using the concept of intersubjectivity to model how | + | |DOI=10.1080/10350330.2014.929387 |
| − | the micro-organization of musical communication can be integral in social processes | + | |Abstract=This article draws from anthropology, conversation analysis, ethnomusicology, semiotics, and phenomenology, using the concept of intersubjectivity to model how the micro-organization of musical communication can be integral in social processes of support, identity maintenance, and activism amid structural inequality. This is based on ethnographic fieldwork in Durban, South Africa, with a Zulu gospel choir that functioned as a support group, activist organization, and performance troupe. Three distinct aspects (or levels) of intersubjectivity are discussed. The organization of these levels in music making is outlined through fine-grained discussion of how people with HIV coordinate bodies and voices in space as they make music together for each other and for international audiences. This article contributes to the further development of a musical semiotics, discussing how overlapping conceptualizations of intersubjectivity in multiple disciplines may be synthesized to analyze the performance of coordinated sonic action. |
| − | of support, identity maintenance, and activism amid structural inequality. This is based | ||
| − | on ethnographic fieldwork in Durban, South Africa, with a Zulu gospel choir that | ||
| − | functioned as a support group, activist organization, and performance troupe. Three | ||
| − | distinct aspects (or levels) of intersubjectivity are discussed. The organization of these | ||
| − | levels in music making is outlined through fine-grained discussion of how people with | ||
| − | HIV coordinate bodies and voices in space as they make music together for each other | ||
| − | and for international audiences. This article contributes to the further development of a | ||
| − | musical semiotics, discussing how overlapping conceptualizations of intersubjectivity | ||
| − | in multiple disciplines may be synthesized to analyze the performance of coordinated | ||
| − | sonic action. | ||
}} | }} | ||
Latest revision as of 06:47, 12 March 2016
| Black2014 | |
|---|---|
| BibType | ARTICLE |
| Key | Black2014 |
| Author(s) | Steven P. Black |
| Title | The intersubjective space–time of a Zulu choir/HIV support group in global perspective |
| Editor(s) | |
| Tag(s) | EMCA, intersubjectivity, HIV/AIDS, South Africa, music, support, stigma |
| Publisher | |
| Year | 2014 |
| Language | |
| City | |
| Month | |
| Journal | Social Semiotics |
| Volume | 24 |
| Number | 4 |
| Pages | 381–401 |
| URL | Link |
| DOI | 10.1080/10350330.2014.929387 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
This article draws from anthropology, conversation analysis, ethnomusicology, semiotics, and phenomenology, using the concept of intersubjectivity to model how the micro-organization of musical communication can be integral in social processes of support, identity maintenance, and activism amid structural inequality. This is based on ethnographic fieldwork in Durban, South Africa, with a Zulu gospel choir that functioned as a support group, activist organization, and performance troupe. Three distinct aspects (or levels) of intersubjectivity are discussed. The organization of these levels in music making is outlined through fine-grained discussion of how people with HIV coordinate bodies and voices in space as they make music together for each other and for international audiences. This article contributes to the further development of a musical semiotics, discussing how overlapping conceptualizations of intersubjectivity in multiple disciplines may be synthesized to analyze the performance of coordinated sonic action.
Notes
