Important information modes and changes in situational relevance among Doctor of Music students focusing on music performance
| Important information modes | ||
| Iconic representations of music | ||
| Music making as the first mode of enactive representations | ||
| Receiving music as the second mode of enactive representations | ||
| Ideological models of music as the second mode of symbolic representations | ||
| Other symbolic information | ||
| Technological models of music as the first mode of symbolic representations (at the 2nd phase, not at the 1st) | ||
| Changes in situational relevance | ||
| Pre-focus | Focus formulation | Post-focus |
| Notations as the foundation of gestural language of the concert pieces (iconic mode) | During and after focus formulation the situational relevance of the iconic mode may expand to other relevance types, such as studying the traditions of performance transmitted in the articulation marks | |
| Own rehearsing as the means to gain control over the gestural language of the pieces (1st enactive) | During and after focus formulation, the situational relevance of the 1st enactive mode may expand to other relevance types, such as studying the gestural language of other performers | |
| Study of the topic and concert pieces through listening of audio recordings (2nd enactive) | During and after focus formulation, the situational relevance of the 2st enactive mode may expand to other relevance types, such as conducting different analysis based on recordings | |
| Pre-focus, the symbolic modes appear as secondary in relevance to enactive and iconic modes | During and after focus formulation, the situational relevance of certain symbolic modes may increase, such as technological models (1st symbolic) and other symbolic information | |
| Iconic representations of music | ||
| Music making as the first mode of enactive representations | ||
| Receiving music as the second mode of enactive representations | ||
| Ideological models of music as the second mode of symbolic representations | ||
| Other symbolic information | ||
| Technological models of music as the first mode of symbolic representations (at the 2nd phase, not at the 1st) | ||
| Pre-focus | Focus formulation | Post-focus |
| Notations as the foundation of gestural language of the concert pieces (iconic mode) | During and after focus formulation the situational relevance of the iconic mode may expand to other relevance types, such as studying the traditions of performance transmitted in the articulation marks | |
| Own rehearsing as the means to gain control over the gestural language of the pieces (1st enactive) | During and after focus formulation, the situational relevance of the 1st enactive mode may expand to other relevance types, such as studying the gestural language of other performers | |
| Study of the topic and concert pieces through listening of audio recordings (2nd enactive) | During and after focus formulation, the situational relevance of the 2st enactive mode may expand to other relevance types, such as conducting different analysis based on recordings | |
| Pre-focus, the symbolic modes appear as secondary in relevance to enactive and iconic modes | During and after focus formulation, the situational relevance of certain symbolic modes may increase, such as technological models (1st symbolic) and other symbolic information | |
Note: n=6
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