Second Person interaction in chamber music performance
- Autores
- Milomes, Luciana Rosario; Valles, Mónica Leonor
- Año de publicación
- 2021
- Idioma
- inglés
- Tipo de recurso
- documento de conferencia
- Estado
- versión publicada
- Descripción
- Interaction in chamber music ensembles has been studied from various fields of knowledge and from different approaches. However, bibliographic review shows that although interaction in chamber music ensembles has motivated the work of numerous researchers, investigation to date have tended to focus on group social organization, musical and social coordination and communication between musicians. Several studies still maintain a solipsistic approach of the musician as someone who receives information from their musical partners, observes their behaviour and interprets it reflectively. In addition, most of the research focuses towards bodily movement from a sensorimotor perspective rather than as an expression of musicians intentionality. Up to now there are still certain aspects of musical practice related to musicians experience in interaction, the attributions they perform and interaction dynamics that have not yet been addressed. The Second Person Perspective of mental attribution - 2PP - (Gomila, 2002; Perez, 2013) focuses on a particular type of interaction (direct, face-to-face and bodily) and it is considered that it can offer answers to understand certain aspects of communication between musicians that have not yet been explored.
Laboratorio para el Estudio de la Experiencia Musical - Materia
-
Música
Interaction
Chamber music
Second Person Perspective
Social Cognition - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- http://creativecommons.org/licenses/by-nc-sa/4.0/
- Repositorio
- Institución
- Universidad Nacional de La Plata
- OAI Identificador
- oai:sedici.unlp.edu.ar:10915/136899
Ver los metadatos del registro completo
id |
SEDICI_0881abb24a805a798cbb358df8349fd4 |
---|---|
oai_identifier_str |
oai:sedici.unlp.edu.ar:10915/136899 |
network_acronym_str |
SEDICI |
repository_id_str |
1329 |
network_name_str |
SEDICI (UNLP) |
spelling |
Second Person interaction in chamber music performanceMilomes, Luciana RosarioValles, Mónica LeonorMúsicaInteractionChamber musicSecond Person PerspectiveSocial CognitionInteraction in chamber music ensembles has been studied from various fields of knowledge and from different approaches. However, bibliographic review shows that although interaction in chamber music ensembles has motivated the work of numerous researchers, investigation to date have tended to focus on group social organization, musical and social coordination and communication between musicians. Several studies still maintain a solipsistic approach of the musician as someone who receives information from their musical partners, observes their behaviour and interprets it reflectively. In addition, most of the research focuses towards bodily movement from a sensorimotor perspective rather than as an expression of musicians intentionality. Up to now there are still certain aspects of musical practice related to musicians experience in interaction, the attributions they perform and interaction dynamics that have not yet been addressed. The Second Person Perspective of mental attribution - 2PP - (Gomila, 2002; Perez, 2013) focuses on a particular type of interaction (direct, face-to-face and bodily) and it is considered that it can offer answers to understand certain aspects of communication between musicians that have not yet been explored.Laboratorio para el Estudio de la Experiencia Musical2021-07-29info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionResumenhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttp://sedici.unlp.edu.ar/handle/10915/136899enginfo:eu-repo/semantics/altIdentifier/url/https://drive.google.com/file/d/1C-3kSYu8e7gWDQr6LvzxsbqQtBzalYBu/viewinfo:eu-repo/semantics/openAccesshttp://creativecommons.org/licenses/by-nc-sa/4.0/Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)reponame:SEDICI (UNLP)instname:Universidad Nacional de La Platainstacron:UNLP2025-09-03T11:06:44Zoai:sedici.unlp.edu.ar:10915/136899Institucionalhttp://sedici.unlp.edu.ar/Universidad públicaNo correspondehttp://sedici.unlp.edu.ar/oai/snrdalira@sedici.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13292025-09-03 11:06:44.603SEDICI (UNLP) - Universidad Nacional de La Platafalse |
dc.title.none.fl_str_mv |
Second Person interaction in chamber music performance |
title |
Second Person interaction in chamber music performance |
spellingShingle |
Second Person interaction in chamber music performance Milomes, Luciana Rosario Música Interaction Chamber music Second Person Perspective Social Cognition |
title_short |
Second Person interaction in chamber music performance |
title_full |
Second Person interaction in chamber music performance |
title_fullStr |
Second Person interaction in chamber music performance |
title_full_unstemmed |
Second Person interaction in chamber music performance |
title_sort |
Second Person interaction in chamber music performance |
dc.creator.none.fl_str_mv |
Milomes, Luciana Rosario Valles, Mónica Leonor |
author |
Milomes, Luciana Rosario |
author_facet |
Milomes, Luciana Rosario Valles, Mónica Leonor |
author_role |
author |
author2 |
Valles, Mónica Leonor |
author2_role |
author |
dc.subject.none.fl_str_mv |
Música Interaction Chamber music Second Person Perspective Social Cognition |
topic |
Música Interaction Chamber music Second Person Perspective Social Cognition |
dc.description.none.fl_txt_mv |
Interaction in chamber music ensembles has been studied from various fields of knowledge and from different approaches. However, bibliographic review shows that although interaction in chamber music ensembles has motivated the work of numerous researchers, investigation to date have tended to focus on group social organization, musical and social coordination and communication between musicians. Several studies still maintain a solipsistic approach of the musician as someone who receives information from their musical partners, observes their behaviour and interprets it reflectively. In addition, most of the research focuses towards bodily movement from a sensorimotor perspective rather than as an expression of musicians intentionality. Up to now there are still certain aspects of musical practice related to musicians experience in interaction, the attributions they perform and interaction dynamics that have not yet been addressed. The Second Person Perspective of mental attribution - 2PP - (Gomila, 2002; Perez, 2013) focuses on a particular type of interaction (direct, face-to-face and bodily) and it is considered that it can offer answers to understand certain aspects of communication between musicians that have not yet been explored. Laboratorio para el Estudio de la Experiencia Musical |
description |
Interaction in chamber music ensembles has been studied from various fields of knowledge and from different approaches. However, bibliographic review shows that although interaction in chamber music ensembles has motivated the work of numerous researchers, investigation to date have tended to focus on group social organization, musical and social coordination and communication between musicians. Several studies still maintain a solipsistic approach of the musician as someone who receives information from their musical partners, observes their behaviour and interprets it reflectively. In addition, most of the research focuses towards bodily movement from a sensorimotor perspective rather than as an expression of musicians intentionality. Up to now there are still certain aspects of musical practice related to musicians experience in interaction, the attributions they perform and interaction dynamics that have not yet been addressed. The Second Person Perspective of mental attribution - 2PP - (Gomila, 2002; Perez, 2013) focuses on a particular type of interaction (direct, face-to-face and bodily) and it is considered that it can offer answers to understand certain aspects of communication between musicians that have not yet been explored. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-07-29 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/conferenceObject info:eu-repo/semantics/publishedVersion Resumen http://purl.org/coar/resource_type/c_5794 info:ar-repo/semantics/documentoDeConferencia |
format |
conferenceObject |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
http://sedici.unlp.edu.ar/handle/10915/136899 |
url |
http://sedici.unlp.edu.ar/handle/10915/136899 |
dc.language.none.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
info:eu-repo/semantics/altIdentifier/url/https://drive.google.com/file/d/1C-3kSYu8e7gWDQr6LvzxsbqQtBzalYBu/view |
dc.rights.none.fl_str_mv |
info:eu-repo/semantics/openAccess http://creativecommons.org/licenses/by-nc-sa/4.0/ Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
eu_rights_str_mv |
openAccess |
rights_invalid_str_mv |
http://creativecommons.org/licenses/by-nc-sa/4.0/ Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
dc.format.none.fl_str_mv |
application/pdf |
dc.source.none.fl_str_mv |
reponame:SEDICI (UNLP) instname:Universidad Nacional de La Plata instacron:UNLP |
reponame_str |
SEDICI (UNLP) |
collection |
SEDICI (UNLP) |
instname_str |
Universidad Nacional de La Plata |
instacron_str |
UNLP |
institution |
UNLP |
repository.name.fl_str_mv |
SEDICI (UNLP) - Universidad Nacional de La Plata |
repository.mail.fl_str_mv |
alira@sedici.unlp.edu.ar |
_version_ |
1842260567730946048 |
score |
13.13397 |