This paper's purpose is to point out the influence of performer interpretations in the learning process of folk dance and folk music by focusing on their ways of articulating dance and music. A single object can be interpreted in different ways by observers. In such performing arts as dance and music, also, observers' interpretations depend on their own way of articulating the object. As long as observers do not represent what they have articulated, differences in their articulations remain unobserved. When, however, they represent what they have articulated, their articulatory differences become clear. Observers may have different articulations and interpretations about a single musical performance or dance, regardless of whether the object is transmitted orally or in written form. In order to clarify the process in which different interpretations occur, I propose a concept, "interpretative spheres, " which postulates that each interpreter possesses his or her interpretative sphere, consisting of its inward and outward parts. In the former, the interpreter interprets the information of the object, whereas in the latter the interpreter interprets and represents the object. In short, the former is of a receptive nature and the latter of a creative nature. This concept will be applicable not only to the study of music and dance but also to other academic fields. This paper will clarify two issues: first, the existence of multifaceted interpretative spheres and their symbolizing or recording on dance study ; and second, the relationship between social contexts and interpretative spheres in dance movements. My one-year participation observation at the State Conservatory in Istanbul, Turkey made me realize that it is necessary to postulate the concept of interpretative spheres. I learned folk dances in the Republic of Turkey with my Turkish colleagues. I then notated and analyzed the learning process-primarily divided into two levels, basic and directional-of specific dance types, Karsiama and hora, applying the method of double articulation ("kineme" and "morphokine"), as proposed by ethnochoreologist Adrienne Kaeppler. For the simple explanation, only ground-touch kinemes are analyzed in this paper. The results demonstrate the variety of interpretative spheres, including the reflection of social context. In this analyzing process, I first tried to explain the width of the meanings of signs, that is, the interpretative sphere of each sign. Although a sign signifies its meanings clearly, we should more "consciously" notice the ambiguous interpretative sphere in itself. I have proposed here a new method to record both musical meters and leg movement patterns of Turkish dances in designating their interpretative spheres. Next, I note that the existence of different interpretative spheres should not be considered undesirable. Rather, it should be considered a matrix from which folk dances continue to be transformed, including improvisation. Of course, degree or speed of transformation is different depending on the phase in a folk dance. This analytical structure will be applicable not only to folk dance, but also to other cultural phenomena. Correspondence between musical meters and leg movement patterns is maintained in national folk dances in Turkey, even though the context has changed. Musical meters play an important role in control of the human body. Further research on dynamism in interpretative spheres will help in understanding the cultural presentation of dance and music.

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