Situational relevance of music information modes : An empirical investigation among Doctor of Music students

Situational relevance of music information modes An empirical investigation among Doctor of Music students Antti Mikael Rousi and Reijo Savolainen Faculty of Communication Sciences, University of Tampere, Tampere, Finland Maaria Harviainen Sibelius Academy, University of the Arts Helsinki Library, Helsinki, Finland, and Pertti Vakkari Faculty of Communication Sciences, University of Tampere, Tampere, Finland Abstract Purpose –The purpose of this paper is to elaborate the picture of situational relevance of music information from a performing musician’s point of view by delving into its diverse layers within the context of Doctor of Music students’information seeking. Design/methodology/approach –Music-related information is approached through six modes that categorize music information sources based on their levels of abstraction. Situational relevance of the modes of music information is examined in relation to the situational requirements of accomplishing a dissertation on music task consisting of both a series of concerts and a written thesis. The empirical material was collected by interviewing Finnish doctoral students in the field of music performance. Findings –A set of situational relevance types related to each mode of music information were identified. As a whole, the differences between the perceived importance of the modes varied a little. Research limitations/implications –The goal of the present paper is not to create a generalizable list of situational relevance types suggested by modes of music information, but to show that the modes may suggest diverse situational relevance types of their own when evaluated by performing musicians. Originality/value –The present paper provides a rare account on performing musicians’vocational and school-related information seeking. For studies of music information retrieval, the present paper offers new contextual facets explaining why diverse music information could be relevant to musicians. For studies of music-related information seeking, the present study offers new insights on why performing musicians have information needs regarding certain types of music information sources. Keywords Music information, Information seeking, Relevance, Music, Musical semiotics, Performing musicians Paper type Research paper Introduction Music is a domain where information resides not in mere written language. In their works on musicology and musical semiotics, Bengtsson (1977) and Tarasti (1994) examine the different systems of description relevant to musical communication. According to Bengtsson (1977), the concept of tone may refer to a notated tone, a measurable frequency or an aural experience. Tarasti (1994, p. 4) supports Bengtsson’s (1977, p. 18) claim that different systems of description relevant to musical communication should be held as separate. It cannot be assumed that unequivocal translation between the diverse systems of musical communication Journal of Documentation Vol. 74 No. 5, 2018 pp. 1008-1024 Emerald Publishing Limited 0022-0418 DOI 10.1108/JD-10-2017-0149 Received 24 October 2017 Revised 15 March 2018 Accepted 20 March 2018 The current issue and full text archive of this journal is available on Emerald Insight at: www.emeraldinsight.com/0022-0418.htm © Antti Mikael Rousi, Reijo Savolainen, Maaria Harviainen and Pertti Vakkari. Published by Emerald Publishing Limited. This article is published under the Creative Commons Attribution (CC BY 4.0) licence. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this licence may be seen at http://creativecommons.org/ licences/by/4.0/legalcode The authors would like to thank the anonymous reviewers for helping us to improve the manuscript. 1008 JD 74,5 Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) exists (Bengtsson, 1977, p. 18; Tarasti, 1994, p. 4). The previous problem of translation is also reflected in Kuhlthau’s (2004, p. 112) information search process (ISP) model. It suggests that information types at varying levels of abstraction have differentiated interpretations, and that these interpretations can undergo change as the information-seeking process progresses. The above accounts suggest that situational relevance of music information of various kinds may vary in information seeking. When juxtaposing the above notion of music information with previous research on relevance of music information, an anomaly becomes apparent. These studies have left open a significant question; what are the situational relevance types suggested by diverse modes of music information for performing musicians’information seeking? Previous studies of music information retrieval (MIR) have approached relevance of music information objects most often through matching string search queries with textual metadata representations or through matching music similarity of audio data examining rhythm and melodies humming (e.g. Casey et al., 2008; Kim, 2015). These approaches to relevance are, by necessity, more system than user oriented and the contextual factors affecting users’relevance inferences regarding diverse modes of music information often receive little attention within such studies. Studies describing and modeling information seeking and needs of musicians and music scholars confirm that both groups have information needs spanning to diverse information sources representing music information at varying levels of abstraction (Brown, 2002; Hunter, 2006; Liew and Siong, 2006; Kostagiolas et al., 2015; Lavranos et al., 2015; Lavranos et al., 2016). However, these studies have not devoted due attention to the particular nature of these types of music information and the ways in which performing musicians evaluate their situational relevance. To elaborate the issues above, the present paper utilizes a novel music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. The term “music information mode”refers to a set of information sources that are seen to represent music information at a certain level of abstraction. In other words, the concept of music information mode is used to group information sources based on their method of representation, be it gestural language, non-conceptual aural experiences of music or symbolic written representations, for example. The modes of music information were first presented in our previous work (Rousi et al., 2016). Six modes were identified: music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations. In general, studies on situational relevance examine the relationships between information and the user´s information problem situation (Schamber, 1994, p. 8; Saracevic, 2007a, p. 1930). The present paper approaches the situational relevance of the modes of music information in relation to situational requirements of accomplishing a dissertation on music task consisting of both a series of concerts and a written thesis. Situational relevance types related to the modes of music information are identified through the question of why Doctor of Music students consider the individual modes important to their dissertations. Situational relevance types are thus the situational factors that make above modes of music information relevant for the Doctor of Music students working on their dissertations on music. The empirical material was collected in 2013 and 2014 by interviewing Finnish doctoral students in the field of music performance. Since the present study deals with sign systems other than written or spoken language, the following clarification of terminology is needed. The grounding concept of the paper is music-related information seeking, and it encompasses as object of seeking all music-related information, be it in audible, written or notated form. When referring to the audible non-conceptual information types of performing and listening to music, for example, the concept of music per se is used. 1009 Doctor of Music students Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) The rest of the paper is structured as follows. First, a literature review is presented starting with the introduction of the modes of music information. Then, the research questions and the empirical research design are specified. The main part of the paper focuses on the report of the empirical findings. The concluding section discusses the findings and reflect their significance. Literature review Modes of music information The way music information is defined affects greatly on how this phenomenon appears in studies of information seeking. The validity of our music information notions should be from time to time tested with theories of knowing and information emerging from music-related domains such as musicology and music semiotics. According to Bengtsson (1977) the concept of tone (our italics) may refer to a notated tone, a measurable frequency or an aural experience. Tarasti (1994, p. 4) adds to the latter also the gestural language, which is needed to transform a notated tone into both a measurable frequency and an aural experience. Musical knowing therefore transpires also within sign systems, which are inherently non-conceptual (Tarasti, 1994, p. 4). Bengtsson (1977, p. 18) stresses the importance of keeping the different systems of description as separate categories. We cannot assume that the possibility of direct transformation between these sign systems exists (ibid.). A piece’sstaff notation can be interpreted, or modalized in Tarasti’s (1994, p. 39) terms, in various ways, allowing for the performer great power over the musical message, for example. According to Tarasti (1994, p. 4), the most radical translation occurs when a person is trying to explicate his or her aural experiences into conceptual form. Yet, according to Tarasti (1994, p. 4) and Bengtsson (1977, p. 23), it is insufficient to state that musical knowledge is merely transmitted through the musical non-conceptual sign systems. As no sign system works in a vacuum, but in interaction with other systems, also verbal sign systems have had an important role in transmitting musical tradition (Tarasti, 1994, p. 4). Acknowledging the problem of translation occurring between modes of music information is of importance in order to gain further understanding about their relevance within information seeking. As stated in the introduction, the above problem of translation is also reflected in Kuhlthau’s (2004, p. 112) information-seeking process model. It suggests that information types at varying levels of abstraction can have various interpretations and that these interpretations can undergo change as the information-seeking process progresses. In order to elaborate the issues above, the present paper approaches music information through a typology comprising of six modes that categorize music information sources based on their levels of abstraction. This typology was first presented in our previous work (Rousi et al., 2016). The typology of music information was built upon juxtaposing Bruner’s (1966) modes of information representation –introduced in his book Toward a theory of instruction –with the sign systems relevant to musical communication presented by Tarasti (1994) in Theory of musical semiotics. According to Bruner, any domain of knowledge, and every single problem within that domain, can be presented to the learner through using three modes of representation. Enactive mode of representation refers to sequences of activities for creating desired results. Iconic mode of representation refers to presenting a concept through a graphic without exhaustively defining it. Most abstract of modes is the symbolic mode where through a system that defines rules of expression, a set of arguments is created for describing a concept (Bruner, 1966, pp. 44-45). The above juxtaposition resulted in a continuum ranging from the most enactive to most abstract music information categories as follows (Rousi et al., 2016): (1) Music making as the first mode of enactive representations refers to information resided in different sequences of actions that produce sounds for musical purposes. 1010 JD 74,5 Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) This action may appear in varied forms, such as playing the violin, singing or creating electronic music with a computer. Whereas the term “music making”may in its common use refer to either playing or composing music, here it is used in a broader meaning to illustrate the information resided in different sequences of actions that aim to produce sounds for musical purposes. (2) Receiving music as the second mode of enactive representations refers to receiving musical performances, while being present at a performance or through a recording, without the control over the performance’s sonic results. Audio recordings played using either home audio devices or mobile online music streaming services function as examples of sources incorporating this second mode of music information. (3) Iconic representations of music refer to the graphic illustrations presenting music-related information. Different notations, such as modern staff notations, function as an example of sources incorporating this mode of music information. (4) Technological models of music as the first mode of symbolic representations refer to examining structures of music, i.e., tonal organization of harmony and counterpoint and sonic formulae of orchestration and interpretation, for example, through symbolic means such as written language. Information sources that incorporate the first mode of symbolic representations are, for example, textbooks of harmony and counterpoint. (5) Ideological models of music as the second mode of symbolic representations addresses music at a symbolic level but not directly the qualities that transpire in music per se. In this mode conceptual symbolism regarding music are negotiated with other fields and their conceptual symbolic representations. For example, it is possible to produce narratives on concepts such as “Western classical music”and “history”or “music”and “aesthetics”without reference to actual phenomena present in sonic reality of music. Examples of information sources that can be more geared towards the second symbolic mode include monographs on philosophy of music and some texts concerning the history of music, such as some biographies of composers. (6) As Doctor of Music students might also have other than music-related information needs, such as information needs about academic writing, a sixth information category titled other symbolic information was added into examination. This sixth category of other information was defined to include all symbolic, i.e., conceptual, information sources from other than music-related disciplines, such as conventions of scientific writing. The typology’s purpose is not to exhaustively classify phenomena as belonging to one mode alone. The position and needs of the information seeker play a crucial role in providing the angle through which the different modes of music information transpire. For example, the technological models of harmony and counterpoint are closely weaved with the history of Western music, which is evident in concepts such as “Palestrina style counterpoint” (see also Tarasti, 1994, p. 17). Thus, the same information sources can very well include many of the modes of music information. Also, being present at musical performance could be considered both as a source of first and second enactive representations. While attending a music performance, it is possible to study of the mere gestural language of the performer creating the music or mere audible qualities of the performed musical piece, for example. Situational relevance Whereas systems or algorithms create relevance by retrieving documents based on the query, people derive relevance from obtained information objects (Saracevic, 2007a, p. 1919). 1011 Doctor of Music students Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) Situational relevance refers to examining relationships between information and the user’s information problem situation (Schamber, 1994, p. 8; Saracevic, 2007a, p. 1930). Relevance inferences depend not only on the features of the information in document, but also on user’s context, user’s previous knowledge and specific qualities sought (Barry, 1998, p. 1302). Situational relevance approach differs from topical relevance approach where the focus is on relation of the topic expressed in a search query and topic covered by resulting information objects (Saracevic, 2007a, p. 1929; 1931). Concepts such as success dimensions, criteria categories and factors influencing selection have been used to describe the outcomes of previous research examining situational relevance (Schamber, 1994, pp. 24-25). The concept of situational relevance type was seen as most descriptive of the outcomes of the present paper. Even though the present paper is the first attempt to study situational relevance through theoretical constructs of modes of music information, parallels with previous research may be found. The present study has the same exploratory and descriptive nature as the set of studies named user criteria studies by Schamber (1994, pp. 23-25) and also weaves with the concept of utility. In addition, parallels to the group of studies coined by Saracevic (2007b) as relevance clues approach may be seen. According to Saracevic (2007b, p. 2127), the focus of the previous studies was on “relevance criteria users employ while contemplating what is or is not relevant, and to what degree it may be relevant.” Music information objects and relevance The issue of music information objects and relevance has predominantly been discussed within the field of MIR. MIR studies have examined relevance of music information objects through context-based approaches matching string search queries with textual metadata representations and through content-based approaches matching music similarity of audio data examining rhythm and melodies, for example (e.g. Downie, 2003, 2004; Casey et al., 2008; Kim, 2015). In MIR, the approaches to relevance are, by necessity, more system than learner oriented. This is reflected in Downie’s (2003, pp. 293-301) specification of music information for MIR, which consists of pitch, temporal, harmonic, timbral, editorial, textual and bibliographic facets. Coherent to MIR research, these facets approach music-related information mostly from the viewpoint of interacting with MIR systems, and provide a useful summary of the challenges for MIR system design. However, this conceptualization of music information may not be sufficient from the viewpoint of a person engaged in music information seeking to whom gestural language of music making (see e.g. Godøy and Jensenius, 2009) and diverse literature (see Brown, 2002, p. 82) may also be relevant. Currently, there are users’situational or contextual factors incorporated into MIR techniques, too. For example, context-aware music recommender systems utilize the following contextual data when suggesting content. User’s mood or emotion (e.g. Kim et al., 2010); daily activities, such as working, sleeping and running (e.g. Wang et al., 2012); user’s location (e.g. Cheng and Shen, 2014); and time of day (e.g. Su et al., 2010). However, these factors are general in their nature, and do not tell why, for example, musicians and music scholars see the different modes of music information relevant for their information-seeking tasks. The general nature of the above situational factors is partly explained by how the above studies approach the notion of user. Most often the term “users”refers to the vast audience utilizing current online music streaming services (see e.g. Wang et al., 2012; Cheng and Shen, 2014). While utilization of users’contextual factors is still limited in MIR, they are becoming increasingly important (see Inskip et al., 2007; Weissenberger, 2015). Situational relevance of the diverse modes of music information should be further examined with the focus group of performing musicians to gain a more detailed understanding of this phenomenon. Studies describing and modeling information seeking and needs of musicians and music scholars confirm that both groups have information needs spanning to diverse information 1012 JD 74,5 Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) sources representing music information at varying levels of abstraction (Brown, 2002; Hunter, 2006; Liew and Siong, 2006; Kostagiolas et al., 2015; Lavranos et al., 2015; Lavranos et al., 2016). For example, music performances, recordings, notations and music-related literature are identified as information need types, albeit amongst many, by previous studies (e.g. Kostagiolas et al., 2015, p. 7). Brown’s (2002, p. 82, 86) findings suggest that music scholars utilize, for example, audio recordings and music notations while conducting research. However, these studies have not devoted due attention to the particular nature of the modes of music information and the ways in which performing musicians evaluate their situational relevance. Without approaching music information through its many layers, its diverse situational relevance types cannot be systematically examined. The branch of research primarily focusing on the source preferences and user satisfaction among music scholars and students (e.g. Lai and Chan, 2010; Dougan, 2012, 2015; Matson and Shelley, 2013) often examines the frequency of use of pre-categorized sources of information. While these studies are very usable in collection development, neither from this branch of research one finds systematic attempts to examine how performing musicians evaluate the situational relevance of information sources representing diverse modes of music information. The context of everyday life music information seeking differs from the settings of vocational and school-related information seeking. Everyday life music information seeking and needs constitute not so much a goal-oriented activity, but are often initiated by hedonistic, social and cognitive needs, such as identity constructing, mood managing, maintaining interpersonal relations and alleviating monotony (Cunningham et al., 2003; Laplante, 2008; Laplante and Downie, 2011; see also Bourdieu, 1984 and DeNora, 2000). DeNora (2000) provides a detailed account on how music is used for the above purposes in different everyday situations. Performing musicians may certainly utilize music also in the aforementioned ways. However, with reference to the previous sections of this literature review, there currently is a greater lack of studies examining how musicians view the situational relevance of music information in their vocational or school-related contexts. Methods Research questions The present paper seeks to offer new empirical findings regarding situational relevance of music information of various kind in the context of performing musicians’information seeking. To this end, this paper approaches situational relevance types of the modes of music information through the question of why Doctor of Music students consider the individual information modes important to their dissertation on music tasks. There might not be unequivocal translations occurring between the modes of music information (Bengtsson, 1977, p. 18; Tarasti, 1994, p. 4), making it problematic to rely solely on concepts that imply a direct relation or utility between the modes. The concept of importance was thought as broader one that includes the aspect of utility, too. To examine the above issues in greater depth, the present study addresses the following research questions: RQ1. What kind of types of situational relevance can be identified from diverse modes of music information sought for dissertation projects by Doctor of Music students? RQ2. How does the perceived importance of music information of diverse modes vary from the viewpoint of situational relevance? It should be noted that the goal of the present paper is not to create a generalizable list of situational relevance types suggested by modes of music information, but to show that the modes may suggest diverse situational relevance types of their own when evaluated by performing musicians. 1013 Doctor of Music students Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) Methodology Participants. The participants of this study were six Doctor of Music students from Sibelius Academy, Helsinki University of Arts in Finland. The dissertation projects of all participants focused on music performance and included both a series of five concerts and a written part. All of the participants were instrumentalists with a background in the Western art music tradition. In order to protect the anonymity of the participants, their instruments are not revealed. The participants were recruited from an information retrieval course arranged for the Doctor of Music students by Sibelius Academy Library. Prior to the interviews, the participants had submitted their final dissertation proposal for examination, which they had worked on during the previous year. In their proposals, both the concert programs and the topic of the written part of the dissertation were defined. Sibelius Academy is the only organization in Finland providing Doctor of Music programs. The Finnish Doctor of Music program consists of 4 years of full-time study and its length is 240 European Credit Transfer System study points. Within the period of 2011-2015, on average five Doctors of Music focusing on music performance have graduated per year. Data collection. The empirical data were gathered using audio-taped recordings and an additional questionnaire filled during the interviews. First, background information concerning the participants and their dissertation projects were gathered. Second, in the interview, the definitions of the music information modes specified above were presented to the participants. In addition, examples of information sources per information mode were provided. The participants were asked to indicate on a four-point scale how important they consider each music information mode for their dissertation on music. Thereafter, they were asked to further explain and elaborate these answers. The interview data consist of 305 minutes of audio-taped records. The data of this study were collected during the years 2013 and 2014. Coding and data analysis. The questionnaire data were summarized by calculating mode-specific averages of perceived importance. The transcribed interview data were scrutinized through qualitative content analysis. The open-ended answers explaining the perceived importance assessment of an information mode were interpreted to indicate its types of situational relevance. In other words, an information mode was considered important by Doctor of Music students because of diverse reasons A, B, C, etc. and these reasons were considered as the information mode’s situational relevance types in this study. The types were identified from the transcribed data by means of constant comparative method (Silverman, 2005, pp. 213-214). A preliminary inductive coding was done during the transcription process. This coding was further enhanced through comprehensive data treatment until no new situational relevance types could be formed. Even though there were cases where the same situational relevance type could by identified from the answers of several participants, a single occurrence was sufficient for the type to be included in the analysis. To improve the validity of this study, all situational relevance types presented next are accompanied by quotes taken from the interview data. The quotes were translated from Finnish into English by the first author. Care was put into preserving the quotes as close as possible to verbatim form during the translation process. Additional notes in italics were in some cases added if the context of the quote would otherwise be vague for the reader. The italicized notes were also used to replace a specific section of the quote with a more general expression in cases in which the specific part contained an indirect identifier that would compromise the anonymity of the participant. Findings The present study elaborates the picture of situational relevance by focusing on the perceived importance of different modes of music information. To this end, an empirical 1014 JD 74,5 Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) study was carried out by interviewing six Doctor of Music students about their ways to seek information for the needs of ongoing dissertation projects. A summary of findings is presented in Table I. As Table I indicates, a total of 21 types of situational relevance could be identified from the interview data. A set of situational relevance types was identified from each mode of music information. The answers on the importance of individual information modes were examined on a four-point scale where 0 ¼notatallimportant,1¼notthatimportant, 2¼important and 3 ¼very important. Most types of situational relevance are linked to modes I-III and these modes on average were perceived as the most important for the dissertation. As a whole, the differences between the perceived importances of the modes varied little with the exception of the mode IV, which received the lowest average score on a scale from 0 to 3. All modes received at least an indication from one of the participants of being very important for their dissertation. Respectively, none of the participants considered any of the modes as being “notatallimportant.”All of the information modes were seen to include situational relevance types that were related to performing the concert pieces of the dissertations. Respectively, all of the modes also included situational relevance types that were seen to relate to the written part of the dissertation. What follows is a more detailed presentation of the identified situational relevance types per music information mode presented in Table I. Iconic representations of music Notations as the foundation of gestural language. Music notations and scores were considered important by the Doctor of Music students and were sought by them to be used in familiarizing with the gestural language of the concert pieces. Notations were not only seen important by the participants because they included information used for gaining Music information mode Perceived importance (avg.) Situational relevance types III Iconic representations of music Very important (2.7) III.1 Notations as the foundation of gestural language III.2 Utilizing notations in creating arrangements III.3 Utilizing notations in music analyses III.4 Notated traditions of performance I Music making as the first mode of enactive representations Very important (2.5) I.1 Gestural language of the concert pieces I.2 Models of gestural language as the focus of written examination I.3 Own interpretation as the focus of written examination II Receiving music as the second mode of enactive representations Very important (2.5) II.1 Selecting the concert pieces II.2 Thematic material of the concert pieces II.3 Complementing the aural experience of the piece II.4 Interpretations of other musicians II.5 Recorded traditions of performance V Ideological models of music as the second mode of symbolic representations Important (2.4) V.1 Ideological models of the concert pieces V.2 Music history as a framework V.3 Familiarizing with terminology VI Other symbolic information Important (2.2) VI.1 Cultural history of the concert pieces VI.2 Multidisciplinary approaches to dissertations topics VI.3 Conventions of scientific writing IV Technological models of music as the first mode of symbolic representations Important (1.7) IV.1 Technological models of the concert pieces IV.2 Previous analyses of the concert pieces IV.3 Analyzing music of difference eras Table I. Summary of findings 1015 Doctor of Music students Downloaded by 137.163.31.190 At 08:10 13 August 2018 (PT) control of the gestural language of the pieces but also because they include clues regarding their interpretation: They [music notations] are of course where the playing and studying starts. All or most information comes from them, forming your foundation. Utilizing notations in creating arrangements. The Doctor of Music students that created their own arrangements of the concert pieces saw notations of the previous arrangements important for the process. These participants modified notations and scores of the original arrangements through experimentation into new notations and gestural language: It is material for my arrangements. It is very important that I have what exists […] I need the material from which to start arranging, from which to start playing. […] Like how would I arrange the dots and how would I play these on my instrument. Utilizing notations in music analyses. The Doctor of Music students also investigated the music theoretical aspects and structures of the concert pieces through acquiring and examining their notations. The participants thus interpreted and translated information resided in musical notations into written language that examined the technological models thought to reside in the pieces. These extractions of technological models could influence their gestural language of the played pieces, i.e., they could bring forth thematic material in their interpretation as a result of these analyses. Participants could also use these extracts of music theoretical analyses in the written part of their dissertation: I will do analyses on how twelve-tone technique have been used in the piece, or serialist methods or I use other means of analysing this style of music […] I have already acquired the notations and presented analysed passages in seminars. It was very important to find the notations at that point. Notated traditions of performance. The participants also saw musical notations as important documents of traditions of performance. Besides transmitting information regarding the gestural language of the pieces, the Doctor of Music students elaborated that music notations also transmitted information regarding their interpretation of through articulation marks. These presentations of suggested interpretations were seen to differ between editions of different eras. Even though formulas of interpretation may be regarded as technological models of music (see Tarasti, 1994, p. 17), the present paper differentiates this situational relevance type from the previous one due to its possible gearing towards ideological intertextual models of music which is exemplified through use of concepts such as “narratives”by the participants: When studying narratives, or the element of narratives in the chamber music literature, it is based substantially on music notations and articulation marks. They also guide the interpretation, or how to approach the piece emotionally. Music making as the first mode of enactive representations Gestural language of the concert pieces. The Doctor of Music students rehearsed in order to gain control over sequences of actions required by the concert pieces, which was considered important for the dissertation tasks. Within the interviews, the discussion with the participants regarding this situational relevance type ranged from examining different solutions of playing a single passage to rehearsing entire pieces to be played from memory. Most often the Doctor of Music students mentioned private rehearsing as a key mean of studying and gaining this control within the enactive realm. 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