Is musical cohesion a function of structure, an interactive achievement, a combination of both, or something else? The author uses ethnographic field data to discuss the process of learning for novice musicians to identify quality of sound as it corresponds to particular bodily configurations, arguing that individual performers use a sound-bodydynamicto identify cohesionin a groupas anembodiedsound.The author concentrates on the earliest stages of practice among amateur taiko drummers, a Japanese style prominent in Japan and the United States, highlighting both individual learning and group interaction in ensemble performance.
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