1. AN EXPLORATORY ANALYSIS INTO THE ROLE OF GESTURE IN INSTRUMENTAL MUSIC TEACHING AND LEARNING 5th Conference of the International Society for Gesture Studies (ISGS). Lund University, Sweden. 24 July, 2012 Lilian Simones Queen’s University Belfast Note: video material presented at this conference was excluded from the present slides in order to protect participants’ rights to anonymity and confidentiality.

2. STUDY 1 AIMS:  To Test the adequacy of McNeill’s classification of spontaneous co- verbal gestures (1992,2005) and Jensenius et al, 2010 functional classification of musical gestures, in the context of instrumental music education  To identify and describe any particular gestures where these classifications may require adaptation or new categorisation

3. PARTICIPANTS TEACHERSSTUDENTS EthnicityCaucasian Gender Age 39-55 8-10 Experience10-30 teachingGrade 1– 5 months of tuition Education2 PhD 1 Master’s degree P4-P6 (Northern Ireland) AccreditationAll specific teaching accreditation -

4. PROCEDURE Teach/learn in one-to-one environment: 2 contrasting pieces during three consecutive lessons. 6 video recordings per Dyad (3 piece 1 and 3 piece II) total18 video recordings

5. ANALYSIS Systematic observation Elan Software for gestural annotation (developed by Max Planck Institute of Psycholinguistics, Nijmegen, the Netherlands, see Lausberg & Sloetjes 2009)

6. Teaching behaviours (adapted from Carlin 1997 and Zhukov, 2004) Demonstrating Modelling Giving advice Practice suggestions Asking questions Giving information Giving feedback Listening/observing Verbal Non-verbal Musical Verbal Non-verbal Musical

7. Cohen’s Kappa of at least.87 (p<.05) was achieved for both teaching behaviours and teachers’ gestures categories. INTER-ANNOTATOR RELIABILITY (BAKEMAN & GOTTMAN, 1987 )

8. STUDY 1 RESULTS

9. MUSICAL BEATS CONDUCTING STYLE MIMICS TOUCH PLAYING PIANO

10. GESTURES FOUND TOTAL: 3 TEACHERS/18 TEACHING SESSIONS: 638 GESTURES 68% SPONTANEOUS CO-VERBAL 32% MUSICAL GESTURES

11. SPONTANEOUS CO-VERBAL GESTURES (MCNEILL, 1992; 2055) Freq. % Function and meaning T. Behaviour association Modalities VerbalNVMus. DIECTIC39%Symbolic association of meaning to musical icons; Synchronisation All – info and modelling 76%5%19% METAPHORIC10%Co-verbal Communicative - PMU Info and modelling89%1%10% ICONIC7%Co-verbal Communicative- PMU Description of musical signs in the air sometimes with diectic assoc. - meaning Used differently by the three teachers. T1 performed more across teaching behaviours 92%6%2% BEATS12%Co-verbal Communicative - PMU Feedback; modelling86%0%14%

12. MUSICAL GESTURES Fre q.% Function and meaningTeaching behaviourModalities % VerbalNVMusical Playing piano14Highly communicative, associated with Verbal and musical modalities Demo; Info; Modelling 78% with Verbal and musical modalities 22 Musical beats5Entrainment Sound accompanying Facilitating SP Synchronisation Setting initial tempo Info; listening/observing; Modelling 101476 Conducting style3Communicative Preparing to start/end Synchronisation Entrainment Modelling5590 Mimics6Facilitating/ rectifying sound production gestures/movements – promoting imitative behaviour Demo; Modelling363430 Touch4Communicative Weight/movement of hand/arm Physical posture Kinaesthetic sensation Preparing to start/end Assoc. with verbal metaphorical content Info. T2 also listening/obser. T3 modelling 59734

13. TYPES OF GESTURES USED PER TEACHER (PERCENTAGE OF GESTURES FREQUENCIES)

14. SPONTANEOUS CO-VERBAL GESTURES VERSUS MUSICAL GESTURES  COMMUNICATION  SYNCHRONY S. CO-VERBALMusical gestures Ubiquitous in human communication (Ekman & Friesen, 1969; McNeill 1992; Goldin- Meadow 2003) Ubiquitous and Essential in the process of musical communication S. CO-VERBALMusical gestures Synchronous with speech (McNeill 1992, 2005; Goldin- Meadow 2003) Synchronous to both: the music and the experience of music making.Accompany either: speech, music making at the same time, or only music making

15.  IDIOSYNCRASY  CONTENT S. CO-VERBALMUSICAL GESTURES Idiosyncratic movements of the hands and arms that accompany speech in highly dynamic communicative contexts (McNeill 1992; Ishino & Stam, 2011). Idiosyncratic use by the three teachers in study, and spontaneously used during the teaching process S. CO-VERBALMusical gestures Verbal content determines in many instances the type of gesture May represent, complement features in the speech or represent aspects on speaker’s thoughts (Ishino & Stam, 2011). Musical content guided teachers use of musical gestures Facilitated attempts to represent the material available in the music score: – make it accessible to students – enabling teachers to project ideas in ways unavailable through speech alone

16. Spontaneous co- verbal gestures Spontaneous co- musical gestures

17. THANK YOU!