Spatial Co-ordination in Music Tuition
Spatial Co-ordination in Music Tuition
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音乐教学中的空间协调
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发表时间：
2012
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影响因子：
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通讯作者：
P. Healey
中科院分区：
文献类型：
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作者：
S. Duffy;P. Healey
Spatial Co-ordination in Music Tuition Sam Duffy & Patrick G. T. Healey Queen Mary University of London Media and Arts Technology Programme Interaction Media and Communication Group School of Electronic Engineering and Computer Science London, E1 4NS, United Kingdom s.duffy@eecs.qmul.ac.uk, ph@eecs.qmul.ac.uk Abstract Playing an instrument is a physical skill learned through obser- vation, repetition and rehearsal. Students of orchestral instru- ments seek one-to-one tuition from expert musicians. However as they become more accomplished, the number of suitable tu- tors becomes more concentrated, especially for less common instruments. Often a tutor-student relationship develops over several years and temporary separation due to overseas per- forming, auditioning and teaching commitments is problem- atic. Some music education organisations use video conferenc- ing as a solution to these problems, however it has long been recognised that interaction mediated by video conferencing is not analogous to a co-present experience. In this paper, ethno- graphic video analysis is used to study the interactions in co- present and separated instrumental music lessons. We find that the musical score represents more than a physical embodiment of the music - it plays an important role in coordinating activ- ity and interaction. In video mediated lessons a single physical score can no longer be shared and interaction is changed as a result. Keywords: video conference; interaction; ethnography. Introduction A recognised method for learning to play an orchestral mu- sical instrument is through regular one-to-one lessons with an experienced tutor. Playing an instrument is a physi- cal practice requiring dextrous manipulation of a complex tool. Marchand (2010) proposes that the interpretation, un- derstanding, and realisation of practice is based in motor cog- nition. As the student watches the tutor, visually processed signals are paired with observed actions, gestures, and pos- tures. These may be co-ordinated with verbal instruction and commands from the tutor. However learning a musical in- strument cannot be achieved purely by verbal description or observation, students learn a practice by ‘doing’. Through observation followed by repetition and rehearsal, with itera- tive feedback from the tutor, the student develops motor and kinaesthetic cognition of how to play their instrument. This is a collaborative process, involving the co-ordination of un- derstanding (Clark & Brennan, 1991). At an undergraduate level of study, music students seek professionally recognised performers as tutors and their choice of where to study could be influenced by resident tutors and professors at an institute. The number of qual- ified professional tutors in any particular field is finite, but becomes more limited the more accomplished a student be- comes, especially for less common instruments. Once a teaching relationship has been established, musicians tour and travel frequently, so temporary separation of tutor and student can occur at critical times, such as prior to an im- portant audition or performance. One solution to these prob- lems is video conferencing. This is popular in geographically remote areas such as Australia (Lancaster, 2007) but is also part of urban mainstream conservatoires such as The Man- hattan School of Music in New York. However interaction when video is the medium of communication is not analo- gous to the co-present experience. The belief at the incep- tion of video conferencing that technology which replicated face-to-face interaction, simply at a distance, would enhance communication, contained a fundamental misunderstanding about how people interact when working collaboratively to achieve a task (Whittaker, 2003; Edigo, 1988; Hollan & Stor- netta, 1992). Heath et al (1997) found that the visual focus of collaborative work is likely to be aligned to the focal point of the activity, such as a document or object, rather than face-to- face. Existing research concerning separated musicians has fo- cused on collaborative performance, the impact of latency and delays and tools to enable distributed ensembles to perform, improvise and compose (Chew et al., 2004; Sarkar & Vercoe, 2007; Hamilton, Iyer, Chafe, & Wang, 2008; Barbosa, 2003; Bryan-Kinns & Healey, 2006). However the activity taking place during music tuition is not the same as performance due to the educational frame of reference. The Use of Shared Space Individuals in shared space coordinate their actions through spatial awareness, peripheral monitoring of non-verbal sig- nals and the ability to joint reference; where gaze and gesture around a shared point coordinates the attention of participants (Whittaker, 2003). They use their position relative to each other to create mutually recognised shared space. Kendon (1990) describes how two or more people can organise them- selves to create and sustain a shared space, called ‘o-space’, to maintain a common focus of attention. He goes on to de- scribe sustained clusters and patterns as formations, an ‘F formation’ being where participants have equal, direct and exclusive access to their o-space. When two people are per- forming a collaborative task through the medium of video, they no longer have a concept of negotiated mutual distance (Sellen, 1992) and they cannot easily manage their position relative to each other or objects in their environment, there-
