Texte remanié de: Diss.--Frankfurt am Main, 1995. / Bibliogr. p. 487-497.

Zugl.: Berlin, Univ. der Künste, Diss., 2008

Examensarbete 15 hp. Musiklärarexamen

The system of music education devised by Emile Jacques-Dalcroze is based on an interrelated programme which includes solfege, rhythmic movement, plastique and improvisation. Although Dalcroze wrote numerous articles discussing his methods, he failed to provide a comprehensive account of his approach to the music-learning experience. Consequently this thesis aims, by a critical survey and analysis of Dalcroze’s writings, to provide an insight into the meanings and objectives of Dalcroze Eurhythmics. In addition, this investigation will seek to reveal that Dalcroze’s teaching received direction both from a multitude of influences and his extraordinary pre-occupation with rhythm. As a music teacher, Dalcroze had endeavoured to heighten the rhythmic sensitivity of his pupils by the use of kinesthetic exercises. As an humanitarian, Dalcroze’s research into rhythmic manifestations led him to propose rhythm as a dominating force effecting the future welfare of humankind. An understanding of this theory, despite its grandiose tone, is especially relevant to achieving a fuller comprehension of Dalcroze’s musical studies.

Diss.--Philosophie--Bloomington (Ind.)--the school of music, Indiana Univ., 1992. / Bibliogr. p. 253-257.

<p>Svensk titel, Musikalitet: Tre rytmikpedagogers uppfattningar av begreppet.</p><p>Engelsk titel, Musicality: The thoughts and opinions of three pedagogues in eurythmics on the concept musicality.</p><p>Denna uppsats syftar till att klargöra vad begreppet musikalitet innebär. Vi kommer även att klargöra för två inriktningar inom rytmikmetoden. uppsatsen behandlar begreppet musikalitet och belyser detta ur olika synvinklar. Studien bygger på intervjuer med tre rytmikpedagoger och deras uppfattningar om musikalitet samt litteraturstudie av forskningskontext. I resultatet jämförs deras tolkningar och tankar med olika teorier. Vi har studerat de intervjuade pedagogernas syn på rytmik och musikalitet samt likheter och olikheter i deras uppfattningar.</p><p>Det vi har sett under arbetets gång är att vissa begreppsdefinitioner inte var så självklara som man först kunnat tro. Pedagogerna ser olika på begrepp beroende på vilken erfarenhet de har bakom sig. Sedan kan man ställa sig frågan hur djupgående man ska definiera vissa begrepp. Risken är kanske att man fastnar i begreppsdefinitioner istället för att komma till kärnan, som i denna uppsats är att ta reda på tre rytmikpedagogers syn på begreppet musikalitet.</p><p>Ämnesord: Musikalitet, musikalitetssyn, rytmik, Jaques-Dalcroze, von Bülow.</p>

Svensk titel, Musikalitet: Tre rytmikpedagogers uppfattningar av begreppet. Engelsk titel, Musicality: The thoughts and opinions of three pedagogues in eurythmics on the concept musicality. Denna uppsats syftar till att klargöra vad begreppet musikalitet innebär. Vi kommer även att klargöra för två inriktningar inom rytmikmetoden. uppsatsen behandlar begreppet musikalitet och belyser detta ur olika synvinklar. Studien bygger på intervjuer med tre rytmikpedagoger och deras uppfattningar om musikalitet samt litteraturstudie av forskningskontext. I resultatet jämförs deras tolkningar och tankar med olika teorier. Vi har studerat de intervjuade pedagogernas syn på rytmik och musikalitet samt likheter och olikheter i deras uppfattningar. Det vi har sett under arbetets gång är att vissa begreppsdefinitioner inte var så självklara som man först kunnat tro. Pedagogerna ser olika på begrepp beroende på vilken erfarenhet de har bakom sig. Sedan kan man ställa sig frågan hur djupgående man ska definiera vissa begrepp. Risken är kanske att man fastnar i begreppsdefinitioner istället för att komma till kärnan, som i denna uppsats är att ta reda på tre rytmikpedagogers syn på begreppet musikalitet. Ämnesord: Musikalitet, musikalitetssyn, rytmik, Jaques-Dalcroze, von Bülow.

Thesis (MA)--University of Montana, 2009. / Contents viewed on December 11, 2009. Title from author supplied metadata. Includes bibliographical references.

Ultimately, the unity of vision discernable in the philosophies and teachings of Dalcroze, Kodály and Orff may stimulate contemporary music educators to unify their search for newer and ever more meaningful ways to ignite the spark of musical curiosity in the young, to assist in the development of musicians, and to generally help people discover and appreciate the joy of music.

A presente pesquisa discute as contribuições do pensamento filosófico-estético e pedagógico de Rudolf Steiner (1861-1925) e da Rítmica de Émile Jaques-Dalcroze (1865-1950) para os processos de ensino-aprendizagem em Música no contexto escolar, especialmente no período compreendido entre 7 e 14 anos de idade. A partir da pesquisa bibliográfica dos textos de ambos os autores, abarcando conferências, publicações e artigos, o trabalho consistiu, primeiramente, em sintetizar alguns conceitos fundamentais para a Antroposofia, ciência do espírito que Rudolf Steiner elaborou no início do século XX, como ampliação do campo de conhecimento das ciências naturais. Steiner adota a cosmovisão de Goethe e Schiller, bem como seu método cognitivo contemplativo, como alternativa ao materialismo mecanicista do pensamento cartesiano. O estudo revela a correspondência entre os pensamentos de Rudolf Steiner e Émile Jaques-Dalcroze em muitos aspectos, comprovando a hipótese da possibilidade de um fecundo diálogo e mútua complementação entre os dois contemporâneos. Dalcroze, em sentido inverso ao de Steiner, parte da observação e da intuição sobre sua experiência prática como docente de Música, compositor e intérprete, para a elaboração de uma filosofia estético-pedagógica. Dalcroze criou a Rítmica como um método ou um caminho para o desenvolvimento de uma escuta criativa, com o corpo inteiro, encontrando a musicalidade na expressão gestual e no movimento corporal. Ambos os autores apresentam uma concepção expandida de ritmo como princípio que urde toda a vida e toda arte, essencial a todo o processo educativo. Eles ainda trazem múltiplas contribuições importantes para a reflexão sobre a prática pedagógica em Música na atualidade, especialmente no tangente à arte de educar pelo ritmo, em que a improvisação e o aspecto lúdico potencializam a expressão criativa em aula. A dialética entre liberdade e estrutura, integrando escuta e corpo pela respiração e o movimento, e a concepção integrada das artes, como processos estésicos e poiéticos complexos, estendem a sua importância à apreciação dos repertórios modernos e pós-modernos na Educação Musical contemporânea. / This research discusses the contributions of Austrian philosopher Rudolf Steiner\'s (1861-1925) philosophical, aesthetic and pedagogical thought and of Austrian-Swiss musician, composer and music educator Émile Jaques-Dalcroze\'s (1865-1950) Eurythmics to the Music teaching-learning process in elementary and secondary school, especially concerning children between 7 and 14 years of age. Based on bibliographical research comprehending original texts - papers and books - and conferences, this work aims at, first of all, providing a synthesis of some concepts that are fundamental to Anthroposophy - a spiritual science founded by Rudolf Steiner at the beginning of the XXth. century and intended to be an expansion of natural science\'s scope of knowledge. Steiner adopts Goethe\'s and Schiller\'s artistic cosmovision and their cognition method, founded on contemplative observation of nature, as an alternative for the mechanical philosophy of Cartesian materialism. The study shows the many matching aspects of Steiner\'s and Dalcroze\'s thoughts, showing that it is possible to establish a prolific and mutual complementary dialogue between these two contemporaries, given that the latter followed the inverse path of the former toward his aesthetic and pedagogical philosophy, taking as starting point an intuitive approach of his own practical experience as Music teacher, composer and performer. Dalcroze created the Eurhytmics as a method or way to develop creative listening with the whole body, finding musicality in gestural expression and body movement. Both authors present an expanded conception of rhythm as the essence of life, that which unites all the arts and should be a component of every educational process. They also bring great contributions to the consciousness about pedagogical practices in Music at present, specially concerning the art of education through rhythm, taking improvisation and its playful nature as resources to enhance the creative expression in class. The dialectics between freedom and structure, integrating listening to the body as a whole through breathing and movement, as well as their integrated conception of Arts as a complex aesthetic and poetic process expand its importance toward the appreciation of modern and postmodern repertoires in the contemporary Musical Education.