Second Person Attributions in Jazz Improvisation
This article aims at identifying the second person attributions carried out by duets of musicians during jazz improvisation and to relate them to the sonic-kinetic features that express the musicians’ attributed intentional states. We conducted a mixed-methods study where duets produced improvisatio...
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| Formato: | Articulo |
| Lenguaje: | Inglés |
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2022
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| Acceso en línea: | http://sedici.unlp.edu.ar/handle/10915/168269 |
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I19-R120-10915-168269 |
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I19-R120-10915-1682692024-08-01T20:05:55Z http://sedici.unlp.edu.ar/handle/10915/168269 Second Person Attributions in Jazz Improvisation Martínez, Isabel Cecilia Pérez, Joaquín Blas Marchiano, María Damesón, Javier Valles, Mónica Leonor Tanco, Matías Germán Pretti, Patricio Adrián Pissinis, Juan Félix Milomes, Luciana Rosario Giménez, Mariel Yanina 2022 2024-08-01T16:45:07Z en Música Segunda Persona Improvisación en Jazz Interacción Atribuciones de Segunda Persona This article aims at identifying the second person attributions carried out by duets of musicians during jazz improvisation and to relate them to the sonic-kinetic features that express the musicians’ attributed intentional states. We conducted a mixed-methods study where duets produced improvisations under different visual and auditory conditions of mutual perception. Results show that (i) musicians mutually attributed musical intentions based on their direct ‘reading’ of the partner’s sonic gestures; (ii) improvisations showed idiosyncratic features that persisted across trials; and (iii) jazz interaction bear similarities with communicative musicality in early infancy: imitation-variation emerges as an indicator of communication between musicians. Este artículo propone identificar las atribuciones de segunda persona realizadas por dúos de músicos de jazz y relacionarlas con los rasgos sonoro-cinéticos que expresan los estados intencionales atribuidos. Se realizó un estudio de método mixto donde los dúos produjeron improvisaciones bajo diferentes condiciones de percepción visual y auditiva mutua. Los resultados indican: (i) atribuciones realizadas mediante la ‘lectura’ directa del gesto sonoro del otro; (ii) rasgos idiosincráticos que persisten a través de las condiciones; (iii) las interacciones de jazz guardan similitudes con la musicalidad comunicativa temprana: la imitación-variación es un indicador de la comunicación entre los músicos. Laboratorio para el Estudio de la Experiencia Musical Articulo Articulo http://creativecommons.org/licenses/by-nc-sa/4.0/ Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) application/pdf 81-107 |
| institution |
Universidad Nacional de La Plata |
| institution_str |
I-19 |
| repository_str |
R-120 |
| collection |
SEDICI (UNLP) |
| language |
Inglés |
| topic |
Música Segunda Persona Improvisación en Jazz Interacción Atribuciones de Segunda Persona |
| spellingShingle |
Música Segunda Persona Improvisación en Jazz Interacción Atribuciones de Segunda Persona Martínez, Isabel Cecilia Pérez, Joaquín Blas Marchiano, María Damesón, Javier Valles, Mónica Leonor Tanco, Matías Germán Pretti, Patricio Adrián Pissinis, Juan Félix Milomes, Luciana Rosario Giménez, Mariel Yanina Second Person Attributions in Jazz Improvisation |
| topic_facet |
Música Segunda Persona Improvisación en Jazz Interacción Atribuciones de Segunda Persona |
| description |
This article aims at identifying the second person attributions carried out by duets of musicians during jazz improvisation and to relate them to the sonic-kinetic features that express the musicians’ attributed intentional states. We conducted a mixed-methods study where duets produced improvisations under different visual and auditory conditions of mutual perception. Results show that (i) musicians mutually attributed musical intentions based on their direct ‘reading’ of the partner’s sonic gestures; (ii) improvisations showed idiosyncratic features that persisted across trials; and (iii) jazz interaction bear similarities with communicative musicality in early infancy: imitation-variation emerges as an indicator of communication between musicians. |
| format |
Articulo Articulo |
| author |
Martínez, Isabel Cecilia Pérez, Joaquín Blas Marchiano, María Damesón, Javier Valles, Mónica Leonor Tanco, Matías Germán Pretti, Patricio Adrián Pissinis, Juan Félix Milomes, Luciana Rosario Giménez, Mariel Yanina |
| author_facet |
Martínez, Isabel Cecilia Pérez, Joaquín Blas Marchiano, María Damesón, Javier Valles, Mónica Leonor Tanco, Matías Germán Pretti, Patricio Adrián Pissinis, Juan Félix Milomes, Luciana Rosario Giménez, Mariel Yanina |
| author_sort |
Martínez, Isabel Cecilia |
| title |
Second Person Attributions in Jazz Improvisation |
| title_short |
Second Person Attributions in Jazz Improvisation |
| title_full |
Second Person Attributions in Jazz Improvisation |
| title_fullStr |
Second Person Attributions in Jazz Improvisation |
| title_full_unstemmed |
Second Person Attributions in Jazz Improvisation |
| title_sort |
second person attributions in jazz improvisation |
| publishDate |
2022 |
| url |
http://sedici.unlp.edu.ar/handle/10915/168269 |
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