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
SEDICI (UNLP)
Institución
Universidad Nacional de La Plata
OAI Identificador
oai:sedici.unlp.edu.ar:10915/136899

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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
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