Difference between revisions of "Reed2015"
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{{BibEntry | {{BibEntry | ||
|BibType=ARTICLE | |BibType=ARTICLE | ||
| − | |Author(s)=Darren J. Reed; | + | |Author(s)=Darren J. Reed; |
|Title=Relinquishing in musical masterclasses: Embodied action in interactional projects | |Title=Relinquishing in musical masterclasses: Embodied action in interactional projects | ||
|Tag(s)=EMCA; Music pedagogy; Embodied interaction; Embodied choreography; Music masterclasses; Relinquishing move; Performance preparation; Action frame transition | |Tag(s)=EMCA; Music pedagogy; Embodied interaction; Embodied choreography; Music masterclasses; Relinquishing move; Performance preparation; Action frame transition | ||
| Line 8: | Line 8: | ||
|Journal=Journal of Pragmatics | |Journal=Journal of Pragmatics | ||
|Volume=89 | |Volume=89 | ||
| − | |Pages= | + | |Pages=31–49 |
| − | |Abstract=This paper provides analysis of a particular phenomenon found in the transitions from instruction to performance in music masterclasses in what might be called ‘action frame transitions’. By undertaking a conversation analytic multi-modal analysis, it provides a progressive appreciation of what we will call the ‘relinquishing move’ produced by the master. Importantly this ‘move’ is related | + | |URL=http://www.sciencedirect.com/science/article/pii/S0378216615002647 |
| − | sequentially to various actions by participants to the scene that while sequentially ordered nevertheless show up a flexible organisation. The relinquishing move is seen to address a key issue in music masterclasses, the precise timing of action frame transitions, in that it is a resource for projecting upcoming performances. | + | |DOI=10.1016/j.pragma.2015.09.006 |
| + | |Abstract=This paper provides analysis of a particular phenomenon found in the transitions from instruction to performance in music masterclasses in what might be called ‘action frame transitions’. By undertaking a conversation analytic multi-modal analysis, it provides a progressive appreciation of what we will call the ‘relinquishing move’ produced by the master. Importantly this ‘move’ is related sequentially to various actions by participants to the scene that while sequentially ordered nevertheless show up a flexible organisation. The relinquishing move is seen to address a key issue in music masterclasses, the precise timing of action frame transitions, in that it is a resource for projecting upcoming performances. | ||
}} | }} | ||
Latest revision as of 03:10, 17 March 2016
| Reed2015 | |
|---|---|
| BibType | ARTICLE |
| Key | Reed2015 |
| Author(s) | Darren J. Reed |
| Title | Relinquishing in musical masterclasses: Embodied action in interactional projects |
| Editor(s) | |
| Tag(s) | EMCA, Music pedagogy, Embodied interaction, Embodied choreography, Music masterclasses, Relinquishing move, Performance preparation, Action frame transition |
| Publisher | |
| Year | 2015 |
| Language | |
| City | |
| Month | |
| Journal | Journal of Pragmatics |
| Volume | 89 |
| Number | |
| Pages | 31–49 |
| URL | Link |
| DOI | 10.1016/j.pragma.2015.09.006 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
This paper provides analysis of a particular phenomenon found in the transitions from instruction to performance in music masterclasses in what might be called ‘action frame transitions’. By undertaking a conversation analytic multi-modal analysis, it provides a progressive appreciation of what we will call the ‘relinquishing move’ produced by the master. Importantly this ‘move’ is related sequentially to various actions by participants to the scene that while sequentially ordered nevertheless show up a flexible organisation. The relinquishing move is seen to address a key issue in music masterclasses, the precise timing of action frame transitions, in that it is a resource for projecting upcoming performances.
Notes
