國立虎尾科技大學 |

Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet./
Author:	Hospelhorn, Emma.
Description:	1 online resource (170 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780355177213

Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet.
Hospelhorn, Emma.

Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet. - 1 online resource (170 pages)

Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.

Thesis (Ph.D.)--University of Illinois at Chicago, 2017.

Includes bibliographical references

This case study of a string quartet in rehearsal uses a distributed and embodied framework to track learning trajectories across talk, non-sound-producing gestures of the head and torso, and musician annotations over a three week rehearsal period. The principal question guiding this study is "how do musical groups learn to construct a performance?" In order to track the learning that occurred across rehearsals, I developed the construct of Group Expressive Musical Gesture (GEMG) to track the ways that entrained non-sound-producing motions of the head and torso emerged and evolved across multiple takes in rehearsals. This analysis of the group's learning trajectory across shared GEMGs, written annotations, and rehearsal talk resulted in four central findings: that (1) gestures, talk, and annotation shared the burden of driving conceptual change across rehearsals; (2) these three mediums of learning unfolded across different timescales; (3) the group's learning process consisted in part of a process of spatialization of musical concepts across multiple dimensions; (4) analyses of learning trajectories across all three modes show a shift across rehearsals from a focus on entrainment to the development and deepening of increasingly rich shared concepts.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355177213Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet.
LDR:02493ntm a2200337K 4500 001 913124
005 20180614071649.5
006 m o u
007 cr mn||||a|a||
008 190606s2017 xx obm 000 0 eng d
020 $a 9780355177213
035 $a (MiAaPQ)AAI10644485
035 $a (MiAaPQ)0799vireo:175Hospelhorn
035 $a AAI10644485
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a Hospelhorn, Emma. $3 1185803
245 1 0 $a Embodied, Representational, and Distributed Learning Practices in a Professional String Quartet.
264 0 $c 2017
300 $a 1 online resource (170 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 79-01(E), Section: A.
500 $a Adviser: Joshua Radinsky.
502 $a Thesis (Ph.D.)--University of Illinois at Chicago, 2017.
504 $a Includes bibliographical references
520 $a This case study of a string quartet in rehearsal uses a distributed and embodied framework to track learning trajectories across talk, non-sound-producing gestures of the head and torso, and musician annotations over a three week rehearsal period. The principal question guiding this study is "how do musical groups learn to construct a performance?" In order to track the learning that occurred across rehearsals, I developed the construct of Group Expressive Musical Gesture (GEMG) to track the ways that entrained non-sound-producing motions of the head and torso emerged and evolved across multiple takes in rehearsals. This analysis of the group's learning trajectory across shared GEMGs, written annotations, and rehearsal talk resulted in four central findings: that (1) gestures, talk, and annotation shared the burden of driving conceptual change across rehearsals; (2) these three mediums of learning unfolded across different timescales; (3) the group's learning process consisted in part of a process of spatialization of musical concepts across multiple dimensions; (4) analyses of learning trajectories across all three modes show a shift across rehearsals from a focus on entrainment to the development and deepening of increasingly rich shared concepts.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
650 4 $a Cognitive psychology. $3 556029
650 4 $a Organizational behavior. $3 557544
655 7 $a Electronic books. $2 local $3 554714
690 $a 0413
690 $a 0633
690 $a 0703
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of Illinois at Chicago. $b Learning Sciences. $3 1185804
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10644485 $z click for full text (PQDT)