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This poster presents a method for conceptualizing domains of activity in “real world” music making. An extension of Herbert H. Clark’s (1996)“action” theory of language use, this poster demonstrates how music making can be viewed as an integrated layering of verbal and nonverbal activity, personal and public goals, and situational awareness. A sample ecological analysis of performed music drawn from real world rehearsal data demonstrates how single parameters of performance, eg gesture, can be understood as one of a number of coordination devices used in the process of negotiating musical understanding.