# chap 12: dialogue ## the logic of dialogue Interactional dynamics Goes on at same time as info linking logic. Dialogue has an internal dynamic of exchange. As in q and a, or command an undertaking, or initiating and response, etc. A more emotive and interactive logic than semantic logic 248. The cohesion we're looking at is between modes. This means that this chap 12 is an extension of the logic of info linking of chap 11. The unfolding is multimodal and simultaneous. 249. > Both are constrained in asynchronous exchange. This is regained in video exchange. Asych exchange employs info linking logic, or discursive logic, or a reduced or different set of cohesive ties. Perhaps a different logic. Music, instruction, tracks in a film, mean orchestrating both the sequencing and simultenately. ## spoken dialogue Summary p 255 Drawing on ethnographic and sociolinguistic study. Exchanges fall into types. Different types can evoke equal or unequal relationship between the participants. Features of equality and inequality. Types follow from Halliday: offer, demand, info, goods and services to create 4 types. 251. Responses can be supportive or challenging, or hedge. And made with different degrees of force. 252. The good and services demand seems to be realized non-verbally. Summary chart P 252 Turn taking. Loose or highly regulated, according to situation. To note that only the challenge is taken as an interrupting. Continuation is not. Turn taking establishes relation between participants. 254. That social position is embedded in the artifact, as in hymns and other participatory music. [British parliament.] the relationship can change through the exchange. ## musical dialogue Looks at this as a way on developing TYPES of dialogic interaction 255. As social types. Interlock Social unison Social plurality Social domination Summary p 258 Dialogue enacts social relations. > Look at music from Hair to see how this is done. ## issues Is the music analysis useful? Illustrates how adverts and music enforce and naturalize social positioning. Might be resisted by students: it's just music. Social domination. How do we place rap, with turn taking, and fanfare of intros, and firm placement of listeners as unequal participants, v band who invite audience members to participate by chorus and onstage, and dance. See rap as more commodity than other types of music? Same with long prog rock solos, a la Yes, v punk.