Embodied musical meaning-making and multimodal viewpoints in a trumpet master class Paul Sambre a, * , Kurt Feyaerts b a Department of Linguistics, KU Leuven, Campus Sint-Andries (mail box 4.19 B), Sint-Andriesstraat 2, BE-2000 Antwerpen, Belgium b Department of Linguistics, KU Leuven, Blijde-Inkomststraat 21 (mail box 3308), BE-3000 Leuven, Belgium Available online 21 October 2017 Abstract This paper analyzes how an instructor in a trumpet master class exploits multimodal viewpoints while addressing sound in verbal and/or visuospatial terms in order to conceptualize the interpretation of a piece of music. We show how musical meaning emerges as both an abstract and locally situated, embodied discursive activity, in which speech is connected with metaphorical hand gestures and the material world. Multimodality of musical meaning involves not only abstract gesture and speech about musical ideas, but also implies the concrete use of material objects and actions, such as the instrument, the (breathing) body of the trumpet player, as well as reference to the musical score. Viewpoint is a central issue in this conceptual process: both teacher and student constantly put themselves in the shoes of the performer, simultaneously abstracting over and embodying both their own and the other's body-in-music as they perform and both verbally and gesturally address past and future trumpet playing. © 2017 Elsevier B.V. All rights reserved. Keywords: Music; Cognition; Embodiment; Interaction; Multimodality 1. Musical meaning as a multimodal activity in social interaction The ethnomusicological vision of music has changed the externalist perspective on music-making by its emphasis on the modes of musical interaction rather than on music as a mere auditory object (Finnegan, 1989; Cross and Tolbert, 2009). Ethnomusicology values the role of bodily expression and responses in music communication. Musicians’ gestures, body posture and facial expressions during ensemble rehearsals and concerts (King and Ginsborg, 2011; Poggi, 2002, 2011; Gritten and King, 2006:3) are considered cognitive and perceptual cues for the collective understanding of music (Schutz, 2008). Ethnomusicology's social shift ‘‘from paper to the embodied world’’ (Hospelhorn and Radinsky, 2016:4) radically changed the approach of the offline, exclusively philological musicological study of reception of music, in which musical performances are supposedly reduced to the faithful reproduction of a composer's musical score (Meyer, 2008:25; Hultberg, 2000; Bautista et al., 2009). Ethnomusicology paves the way for online musical performance, which may serve as an access point to our approach: the study of musical interactions as multimodal and embodied phenomena. Our linguistic goal is to better understand the interplay between bodily performance and speech. This bodily performance is to be understood in relation to both instrumental production (i.e. the use of the body in producing the sound or physical reference to the instrument-object) and the role of body movements and gesture in setting www.elsevier.com/locate/pragma Available online at www.sciencedirect.com ScienceDirect Journal of Pragmatics 122 (2017) 10--23 * Corresponding author. E-mail addresses: paul.sambre@kuleuven.be (P. Sambre), kurt.feyaerts@arts.kuleuven.be (K. Feyaerts). http://dx.doi.org/10.1016/j.pragma.2017.09.004 0378-2166/© 2017 Elsevier B.V. All rights reserved.