Often considered one of the first ever psychological thrillers, Crime and Punishment is a gripping tale of a poverty-stricken young man in Saint Petersburg, Russia, who hatches a plan to kill someone for money. Once the deed is done, he finds himself racked with guilt, confusion and disgust for his act. In this new recording, Will Poulter gives new life to the troubled protagonist, Rodion Raskolnikov, in a performance that will have you questioning where we draw the line between right and wrong.
Of course, music performance is different from conversation: it doesn't usually have referential content or the kinds of transactional goals that form the basis of many conversations (Cross, 2014), performers can produce sound at the same time as each other for extended periods (overlap in conversation, though common, tends to be brief, e.g., Schegloff et al., 1974; Stivers et al., 2009), and performers often design their music-making to be heard by non-participants (while many conversations are intended to be private). In live performance settings, audience members can also produce sounds that become part of the sonic landscape of the performance (Schober, 2014). Nonetheless, in improvisations on a jazz standard of the sort we are considering, the role and nature of the contributions by performers and listeners are substantially different in ways akin to the ways that interlocutors' and outsiders' roles and contributions differ in conversation, and so perhaps similar distinctions in perception and comprehension occur.
So the evidence from this dataset on Research Question 4 is consistent with one version of a listeners-as-outsiders view: more listeners agreed with another listener's judgments than with the performers' judgments. 59ce067264