![]() Further, the analysis shows that the use of imagery as a teaching strategy is emergent in interaction and not predetermined. As a master teacher and biographical performer known for her fluid musicality and extensive. ![]() and collaborator, the late Charles Honi Coles. Bufalino explores the recent history of tap dance and shares stories about her early training and professional career. None of the different types of imagery – verbal, sound or body –seem to fully function unless they are used together with at least one other resource. See all condition definitions opens in a new window or tab. These multimodal resources interplay in a complex way, and the different resources used by the teacher cooperate to create meaning for the dancers. The analysis shows that the use of imagery is common, and that verbal language is a resource that co-occurs with both sound and body in these demonstrations. The analysis is based on the framework of ethnomethodological conversation analysis (EMCA). The participants are a teacher and a group of non-professional learners aged between 16 and 24 years. Tango musicality as used in contemporary tango discourse can thus be defined as the ability of a dancer to express the music through their dancing. ![]() ![]() Naturally people define musicality in array of ways, the definitions I found are a good start to understanding what it is. Musical creativity is the ability to feel the music and interpret, connect with, and add innovative movement. The data consist of ethnographic fieldwork and video recordings from a show dance practice. Perceiving music involves a knowledge of music in terms of tempo, rhythm, mood and phrasing. The overall aim is to explore the pedagogical task of demonstrating with the help of imagery and to understand how different multimodal resources create prerequisites for learning. The present study investigates how the teacher in a show dance class demonstrates choreography to a group of learners (dancers) using imagery as a teaching strategy. ![]()
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