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Through an analysis of a feedback session among members of a small task-oriented group, the multifaceted nature of feedback was explored. Dynamism, trust, clarity, mood, and criticism emerged as important underlying dimensions of peer feedback. Additionally, this study explored the communicator style in giving feedback. Significant communicative differences across group members were found in their manner of giving feedback. Effectiveness of feedback was significantly related to the feedback's dynamism and with a verbally assertive style. This study appears to demonstrate that both feedback content and form influence judgments of feedback effectiveness. 相似文献
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JOHN ANDREW FISHER 《美学与艺术评论杂志》2018,76(2):151-162
It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Andrew Kania) and those who affirm that there are such (Julian Dodd and others), and I distinguish between claiming that there are no musical works in the jazz tradition and the more provocative claim that they are not performed in jazz performances. I argue that each side of this debate is partially right and that the first step toward resolving the puzzle is to reject inappropriate concepts of a musical work. In particular, Kania's and Lydia Goehr's accounts, derived from classical music practice, are rejected as general accounts of musical works. I then contrast the norms governing work performance in classical music (the werktreue ideal) with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that fundamentally differs from the way that classical musical performances are appreciated. 相似文献