Difference between revisions of "Veronesi2014"

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|Number=4
 
|Number=4
 
|Pages=68-494
 
|Pages=68-494
 +
|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 instrumen-
 +
talists. 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.
 
}}
 
}}

Revision as of 09:21, 11 March 2015

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 68-494
URL
DOI
ISBN
Organization
Institution
School
Type
Edition
Series
Howpublished
Book title
Chapter

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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 instrumen- talists. 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