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.

Den schweiziske musikern och pedagogen Emile Jaques-Dalcroze utvecklade under sin livstid den rörelsebaserade musikpedagogiska metod som i dag går under namnet rytmik. Syftet med denna magisteruppsats är att undersöka uppkomsten och den tidiga utvecklingen av Jaques-Dalcrozes ursprungliga rytmik och framför allt solfège – rörelsebaserad gehörsträning – som är ett av dess huvudmoment. För att finna svar på frågan om hur Jaques-Dalcrozes egen historia påverkade hans val av pedagogisk inriktning för hans gehörsundervisning och på frågan om på vilket sätt samtiden påverkade framväxten och mottagandet av solfègen, undersöks Jaques-Dalcrozes liv fram till 1906 samt kulturella, pedagogiska och andra samhälleliga strömningar under 1800-talet. Utgångspunkten är i historisk metod och med ett hermeneutiskt perspektiv och resultatet presenteras i en delvis biografisk form. Undersökningen visar att Jaques-Dalcroze tveklöst influerades av samtiden och påverkades av människor som kom i hans närhet, framför allt hans pianolärare de Senger, Prosnitz och Lussy, violinisten Ysaÿe, psykologen Claparède och Jaques-Dalcrozes kollegor Gorter, Boepple och Chassevant. Pestalozzi, Nägeli och Fröbel var pedagoger vars idéer återspeglas i Jaques-Dalcrozes metod. De olika influenserna i synergi med hans egen personliga historia och förutsättningar var det som ledde fram till utvecklingen av rytmiken. / During his lifetime the Swiss musician and pedagogue Emile Jaques-Dalcroze developed Dalcroze-Eurhythmics, a movement-based methodology in music education. The purpose of the present study is to explore the early development of Jaques-Dalcroze’s original Eurhythmics and especially solfège – movement based aural training – which is one of its main fields. This study aims to fathom Jaques-Dalcrozes life up to the year 1906, as well as the cultural, pedagogical and other societal tendencies during the 19th century to investigate how Jaques-Dalcroze’s personal history influenced his choice of pedagogical emphasis for his aural training, and how contemporary society in his time influenced the development and reception of Eurhythmics and solfège. The methodological basis of the study is historical with a hermeneutic perspective. The result is partly presented in a biographical form. The study shows that Jaques-Dalcroze was without doubt influenced by the world of his time, and was affected by people in his milieu, particularly his piano teachers de Senger, Prosnitz and Lussy, the virtuoso violinist Ysaÿe, the psychologist Claparède and the colleges of Jaques-Dalcroze Gorter, Boepple and Chassevant. Pestalozzi, Nägeli and Fröbel were pedagogues whose ideas were mirrored in the method of Jaques-Dalcroze. These different influences, in synergy with his own personal history and preconditions, led to the development of Dalcroze-Eurhythmics.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-10-17T09:58:46Z No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2011-10-18T10:54:07Z (GMT) No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Made available in DSpace on 2011-10-18T10:54:07Z (GMT). No. of bitstreams: 1 2011_ElisaTeixeiradeSouza.pdf: 5895328 bytes, checksum: b4af31db2c780db698d29cb78efc4dc1 (MD5) / Aborda idéias de dois importantes provocadores da dança moderna: François Delsarte e Émile Jaques-Dalcroze, bem como influências exercidas por suas idéias e práticas sobre a dança cênica nascida no início do século XX, considerando o papel desempenhado nesse processo pela cultura física chamada Delsartismo Norte-Americano. Fornece dados e informações biográficas referentes a Delsarte e Dalcroze, assim como informações menos aprofundadas relativas a outros personagens da história da dança moderna, como Isadora Duncan, Ruth Saint Denis, Ted Shawn, Mary Wigman, Rudolf Laban e Vaslav Nijinsky. Apresenta o sistema filosófico de Delsarte para a expressividade gestual e o método de Dalcroze de aprendizado rítmico corporal. Ao discutir o Delsartismo Norte-Americano, ressalta e contextualiza a participação de Steele Mackaye e Genevieve Stebbins no processo de gestação da dança moderna norte-americana, bem como a reflexão de Ted Shawn a respeito da influência delsarteana nessa dança e a participação de Henrietta Hovey na Denishawn School. Por fim, relaciona o sistema de Delsarte com o método de Dalcroze e explora conexões existentes entre estes e inovações expressivas trazidas por emblemáticos representantes da dança moderna norte-americana e européia. _______________________________________________________________________________ ABSTRACT / It addresses the ideas of two provocative modern dance: François Delsarte and Emile Jaques-Dalcroze as well as influences exerted by their ideas and practices on the new dance born in the early twentieth century, considering in this process the role played by the physical culture called North American Delsartism. Provides biographical information and data relating to Delsarte and Dalcroze as well as less detailed information relating to other personalities involved in the history of modern dance, like Isadora Duncan, Ruth St. Denis, Ted Shawn, Mary Wigman, Rudolf Laban and Vaslav Nijinsky. Presents the philosophical system of Delsarte for gestural expressiveness and Dalcroze method of rhythmic body learning. In discussing the North American Delsartism, highlights and contextualizes the participation of Steele Mackaye and Genevieve Stebbins. It also deals with the reflection of Ted Shawn about the delsartist influence and participation in this dance, as well as the Henrietta Hovey participation on the Denishawn School. Finally, it relates the Delsarte system with the Dalcroze method and explores connections between these and expressive innovations brought by significative representatives of North American and European modern dance.

En Corée du sud, l'éducation musicale multiculturelle fait partie des programmes d'études de l'école primaire et les manuels scolaires comportent des répertoires d'exemples musicaux provenant de diverses régions du monde. Pourtant, malgré la place accordée à l'éducation multiculturelle dans les programmes scolaires, un certain nombre d'études ont soulevé la nécessité de méthodes d'enseignement favorisant chez l'élève une réelle compréhension de la musique en tant que culture. Ces recherches soulignent que les activités musicales proposées aux élèves doivent leur permettre de vivre des expériences musicales qui ne dissocient pas les musiques du monde de leur contexte culturel. Elles considèrent également que ces expériences musicales doivent être incarnées, vécues corporellement - à l'image des pratiques musicales du monde - et faire appel à la participation active de l'élève. La présente recherche, qui vise l'élaboration d'un guide pédagogique pour l'enseignement multiculturel de la musique dans les écoles primaires de la Corée du sud, s'appuie sur la rythmique Jaques-Dalcroze. Jaques-Dalcroze considère que le lien puissant qui existe entre la musique et les êtres humains est ancré dans la nature même du rythme qui est intrinsèquement lié au mouvement corporel. Cette approche pédagogique musicale, centrée sur l'expérience de l'élève et son interaction avec les autres, contribue à la découverte de soi et de l'autre; elle s'avère propice à l'appropriation de sa propre culture musicale et des diverses cultures musicales du monde. Le modèle de Van der Maren (2003), rattaché à la recherche de développement, nous a servi de cadre méthodologique pour l'élaboration et la conceptualisation de notre outil pédagogique. Le contenu de ce dernier a été déterminé en tenant compte des besoins du milieu scolaire et des recommandations découlant d'une recension de la littérature scientifique sur l'éducation musicale multiculturelle. Y sont abordés, les fondements théoriques du multiculturalisme et leurs applications pratiques en éducation musicale; les caractéristiques de la rythmique Jaques-Dalcroze et ses principes pédagogiques. Notre guide pédagogique, qui prend la forme d'un livre électronique E-book, présente une série d'activités et de stratégies pédagogiques illustrées par soixante-huit clips vidéographiques réalisés avec des élèves coréens de la première à la sixième année du primaire. Il a été testé par la chercheuse et évalué par trois enseignants de l'école primaire en Corée du sud. Les données générées par les essais in situ, les captations vidéographiques et les entretiens réalisés auprès des enseignants nous ont permis d'améliorer le contenu et la forme de notre prototype. / Multicultural music education in Korea is part of national curricula, and diverse music repertoires from different regions of the world have been introduced in elementary music textbooks. Yet, a number of studies have raised the necessity of teaching methods that integrate cultural context through a variety of musical experiences and allow students to understand music as culture. These studies emphasize that actual, direct, and comprehensive musical experiences are essential for understanding music and its cultural characteristics, and that bodily experience is a significant part of such music practices. This study draws upon the powerful connection that Jaques-Dalcroze found between music and human beings in the spontaneous nature of rhythm and its relationship with body movement, which inspires students to discover themselves as well as others through exploring music and cultural context in the process of multicultural music learning. The goal of the present study was to create a pedagogical guide grounded in Dalcroze Eurhythmics for teachers incorporating multicultural education into their music lessons, particularly at elementary-school levels in Korea. Following a methodological approach specific to the development of pedagogical tools based on Van der Maren's (2003) model, the topics of the tool were determined according to the needs revealed through review of the existing multicultural music education research literature. Theoretical analyses linked to these topics were carefully selected from literature addressing the implications of multiculturalism and the fundamental purpose of multicultural music education, the characteristics of embodied teaching and learning approaches, and the pedagogical principles of Dalcroze Eurhythmics. A series of practical pedagogical activities and strategies, exemplified by video clips, was developed to support teachers. Following its elaboration, the prototype tool-a text e-book with 68 accompanying video clips-was tested and evaluated by the researcher and three Korean elementary-school music teachers. Evaluation data generated through in situ teaching, video-recordings, and semi-structured interviews were used to improve the prototype.

Genom skrivandet av denna vetenskapliga essä ville jag utforska det slags utvidgade lyssnande som jag strävar efter och använder i mitt yrke som rytmiklärare.[1] Texten tar avstamp i två berättelser som rör sig kring detta lyssnande. Berättelsernas själva ordval gav mig sedan nyckelord som ledde undersökningen framåt: Tystnaden, En enad och gemensam handling, Rummet, Centrum, fokus, mitt, Blicken, Tiden, Rörelsen, Närvaron, Kroppen, Delarna och helheten samt Gesterna. Jag tar i texten hjälp av, eller spjärn emot, tankar av bland andra Don Ihde, Michael Polanyi och Marcia Sá Cavalcante Schuback. Med finns även koreografen och professorn i rytmik Susanne Jaresand, samt essäisten Ann Carson.  Arbetet har visat mig hur vår kultur, såväl som den filosofiska traditionen, sedan lång tid tycks ha kretsat kring den sedda världen framför den hörda, inlyssnade. Kanske detta är en av anledningarna till att jag i mitt yrke ofta stött på oförståelse. Nu finner jag genom skrivandet detta uppdelande av sinnena orättvist för dem båda – att det till exempel är möjligt att se på ett lyssnande sätt. Kroppen blir hemvist till detta lyssnande, som tar in tiden, rummet, rörelsen och de klanger som uppstår.  Går det att kläda detta lyssnande i ord? Jag ville försöka. Genom orden kan jag kanske nå en ny förståelse.   [1] Rytmikmetoden formulerades av Émile Jaques-Dalcroze runt sekelskiftet 1900. Se till exempel hans verk Rytm, musik och utbildning (Stockholm: KMH förlaget 1997). / By writing this scientific essay I wanted to investigate the notion of expanded listening, as I use it in my work as a Eurhythmic teacher[1]. The text begins with two experiences from my everyday work life, where this listening appears. These experiences, when written down, gave me some keywords that led the investigation forward: Silence, Common act, Space, focus, center point, Glance, Time, Movement, Presence, Body, The parts and the whole, Gestures. I found the work of, among others, Don Ihde, Michael Polanyi and Marcia Sá Cavalcante Schuback helpful, as well as something to contrast against. The choreographer and professor in Eurhythmics Susanne Jaresand is present in the text, as well as the author Ann Carson.  The essay also suggests that our culture, as well as the philosophic tradition, for a long time has had its focus on understanding the world as seen, instead of heard or listened to. Maybe that is why this expanded listening has been met with incomprehension by colleagues throughout the years. I now believe that this division of the senses is unfair, and that it is actually possible to see in a listening way – a listening that lives in the body, and incorporates time, space and movement.  Is it possible to dress this listening experience in words? I had to try. To me, this try has led to a new understanding of expanded musical listening.   [1] As formulated by Emile Jaques-Dalcroze in the beginning of the 20th century

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-26Bitstream added on 2014-06-13T20:56:34Z : No. of bitstreams: 1 mantovani_m_me_ia.pdf: 476556 bytes, checksum: 31267a224fb93254db00ec68bd0f1404 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A presente pesquisa pretendeu analisar a importância do movimento corporal na educação musical, partindo da teoria elaborada pelo educador musical suíço Émile Jaques- Dalcroze. O objetivo principal foi detectar como os conhecimentos desenvolvidos pelo educador suíço foram ou ainda são difundidos entre educadores musicais na atualidade, com a intenção de observar qual a importância dada por eles ao movimento corporal na educação musical. Este trabalho justifica-se pela importância de se refletir a respeito da educação musical na atualidade, levando em consideração quais as influências a que são submetidos os educadores musicais. Pesquisas a respeito da especificidade da educação musical são bastante recentes e ainda há necessidade de se mapear como são os trabalhos de formação de educadores musicais e o que pensam a respeito de metodologias adotadas. Para analisar de que modo o trabalho de Dalcroze faz-se presente na educação musical atual, observou-se o trabalho de seis educadoras musicais na cidade de São Paulo. Como metodologia, a pesquisa teve aproximação à observação não-participante, tendo-se escolhido representantes de cada um dos seguintes segmentos: ensino de música em conservatório, em escola regular (infantil e fundamental), cursos livres, cursos de formação de professores e universidade. A pesquisa indica que, dentre as educadoras pesquisadas, algumas reconhecem a influência de Dalcroze em seu trabalho, enquanto outras, não. A partir dos resultados encontrados, discute-se o problema da formação do educador musical e suas condições de trabalho como fatores relevantes para o uso do movimento corporal na educação musical. / The present work aimed at analyzing the importance of body movement based on the theory developed by the music educator Émile Jaques-Dalcroze – Eurhythmics. Having the analysis of how the principles developed by the Swiss educator were or still are spread among contemporary music educators as its main goal, this work focused on the investigation of the importance they grant to body movement in music education. The significance of this work relies on the importance of reflecting upon current music education and the influences imposed on music educators. Research about musical education specificity is still very recent and, therefore, a mapping of how music educators are formed as well as how they position themselves in relation to the adopted methodology is necessary. Thus in order to analyze how Dalcroze’s work is present in contemporary music education, the practice of six musical educators in the city of São Paulo was observed. The methodological procedures adopted included non-participative observation of representatives each one of the following segments of music education: conservatory, regular school (pre-school and primary school), open courses, teacher education courses and University. The results indicate that, among the researched educators, some recognized Dalcroze’s influence on their work, while others did not. Considering the results obtained, we discuss the musical educator formation and work conditions as relevant aspects for the use of body movement in music education.

Orientador: Eliana Ayoub / Acompanha anexo em DVD: Emile-Dalcroze: Memorias em musica / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-12T11:58:14Z (GMT). No. of bitstreams: 1 Madureira_JoseRafael_D.pdf: 2098968 bytes, checksum: 68591f45cb20280e08dd75fd10cec532 (MD5) Previous issue date: 2008 / Resumo: Émile Jaques-Dalcroze (1865-1950), compositor austro-suíço, é o protagonista deste estudo. Suas andanças foram muitas assim como os temas de suas investigações. Este é um trabalho inédito de tradução e discussão de parte substancial da obra teórica de Jaques-Dalcroze, bem como um apontamento sobre as interfaces de seu sistema de educação musical - denominado Rítmica (Rythmique) - com o devir da modernidade na dança do século XX, na Europa como nos Estados Unidos, e com os sistemas ginásticos alemães que estiveram tão perigosamente ligados ao totalitarismo europeu novecentista. Este trabalho foi organizado em 9 fragmentos que narram as incursões de Jaques-Dalcroze pelo universo da música, do teatro, da dança e da ginástica. Os fragmentos - aqui intitulados QUADROS - encontram-se inacabados e, justamente por essa razão, guardam uma grande potência germinativa que poderá inspirar outras pesquisas acerca da temática corpo-ritmo-movimento-expressão. Os 9 QUADROS são precedidos de um PRÓLOGO e estão organizados nos seguintes temas: 1. Panorama biográfico de Émile Jaques-Dalcroze; 2. Origens e princípios do sistema de educação musical denominado Rítmica; 3. A influência das teorias da expressão de François Delsarte (1811-1871) na concepção da Rítmica; 4. A amizade com o cenógrafo Adolphe Appia (1812-1928) e a relação da Rítmica com o conceito de "obra de arte viva"; 5. A experiência do Instituto Jaques-Dalcroze de Hellerau (1911-1914), situado nos arredores de Dresden (Alemanha); 6. O brutal fechamento do Instituto alemão devido à eclosão da 1ª Guerra Mundial; 7. A relação de Jaques-Dalcroze e de sua obra com o devir da dança do século XX; 8. A relação da Rítmica com a ginástica moderna especialmente a partir da figura do ex-aluno Rudolf Bode (1881-1971); 9. A permanência da Rítmica na dança contemporânea francesa a partir do trabalho de Françoise Dupuy. Ao final do texto teórico encontra-se disponível um material complementar de consulta organizado em 3 APÊNDICES: A. Cronologia da vida e das publicações teóricas de Jaques-Dalcroze; B. Dicionário sobre as personalidades citadas ao longo do texto; C. Alguns aforismos esparsos de Émile Jaques-Dalcroze. Em anexo, encontra-se disponível o DVD "Émile Jaques-Dalcroze: Memórias em Música" (18 min.), no qual pode-se ouvir trechos das obras musicais engendradas por Dalcroze enquanto o olhar acompanha algumas imagens de suas andanças pelo mundo afora. / Abstract: This work presents the concepts and practices of Eurhythmics (Rythmique) as conceived by the Swiss composer Émile Jaques-Dalcroze (1865-1950). It discusses the relation of Eurhythmics with modern dance and gymnastics in Europe and in the U.S. It also stablishes a comparison between the poetic experience of Eurhythmics and the German employ of rhythm and expression gymnastics in the european totalitarism. This thesis is composed by 9 PICTURES which describe Dalcroze's exploration of the universe of dramatic arts (music, dance and theather) and gymnastics. These pictures are unfinished, and for this reason they may offer their potency to inspire future researches on the theme body-rhythmmovement- expression. The 9 pictures are preceded by a PROLOGUE and present the following approaches: 1. A biographical essay about Émile Jaques-Dalcroze; 2. A synthesis about Dalcroze's system of musical education named Eurhythmics; 3. The influences of the theories of expression by François Delsarte (1811-1871) on the creation of Eurhythmics; 4. The friendship with the cenographer Adolphe Appia (1862-1928) and the relation between Eurhythmics and the Appia's concept of "living work of art"; 5. The experience of the 1st Dalcroze's Eurhythmics Institute created at the garden-city of Hellerau (Germany); 6. The interruption of Hellerau's school activities caused by the begining of the World War I; 7. The relation between Dalcroze's Eurhythmics and the conception of Modern Dance in Eupore and in the U.S.; 8. The relation between Eurhythmics and the germany gymnastics - a special approach with the Expression-gymnastics created by Dalcroze's pupil Rudolf Bode (1881-1971); 9. The permanence of Eurhythmics at french contemporary dance with Françoise Dupuy. Annexed there is a video named "Émile Jaques-Dalcroze: Memory into Music", where it's possible to hear Dalcroze's own compositions and see some images about his personal life and work. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

En Corée du sud, l'éducation musicale multiculturelle fait partie des programmes d'études de l'école primaire et les manuels scolaires comportent des répertoires d'exemples musicaux provenant de diverses régions du monde. Pourtant, malgré la place accordée à l'éducation multiculturelle dans les programmes scolaires, un certain nombre d'études ont soulevé la nécessité de méthodes d'enseignement favorisant chez l'élève une réelle compréhension de la musique en tant que culture. Ces recherches soulignent que les activités musicales proposées aux élèves doivent leur permettre de vivre des expériences musicales qui ne dissocient pas les musiques du monde de leur contexte culturel. Elles considèrent également que ces expériences musicales doivent être incarnées, vécues corporellement - à l'image des pratiques musicales du monde - et faire appel à la participation active de l'élève. La présente recherche, qui vise l'élaboration d'un guide pédagogique pour l'enseignement multiculturel de la musique dans les écoles primaires de la Corée du sud, s'appuie sur la rythmique Jaques-Dalcroze. Jaques-Dalcroze considère que le lien puissant qui existe entre la musique et les êtres humains est ancré dans la nature même du rythme qui est intrinsèquement lié au mouvement corporel. Cette approche pédagogique musicale, centrée sur l'expérience de l'élève et son interaction avec les autres, contribue à la découverte de soi et de l'autre; elle s'avère propice à l'appropriation de sa propre culture musicale et des diverses cultures musicales du monde. Le modèle de Van der Maren (2003), rattaché à la recherche de développement, nous a servi de cadre méthodologique pour l'élaboration et la conceptualisation de notre outil pédagogique. Le contenu de ce dernier a été déterminé en tenant compte des besoins du milieu scolaire et des recommandations découlant d'une recension de la littérature scientifique sur l'éducation musicale multiculturelle. Y sont abordés, les fondements théoriques du multiculturalisme et leurs applications pratiques en éducation musicale; les caractéristiques de la rythmique Jaques-Dalcroze et ses principes pédagogiques. Notre guide pédagogique, qui prend la forme d'un livre électronique E-book, présente une série d'activités et de stratégies pédagogiques illustrées par soixante-huit clips vidéographiques réalisés avec des élèves coréens de la première à la sixième année du primaire. Il a été testé par la chercheuse et évalué par trois enseignants de l'école primaire en Corée du sud. Les données générées par les essais in situ, les captations vidéographiques et les entretiens réalisés auprès des enseignants nous ont permis d'améliorer le contenu et la forme de notre prototype. / Multicultural music education in Korea is part of national curricula, and diverse music repertoires from different regions of the world have been introduced in elementary music textbooks. Yet, a number of studies have raised the necessity of teaching methods that integrate cultural context through a variety of musical experiences and allow students to understand music as culture. These studies emphasize that actual, direct, and comprehensive musical experiences are essential for understanding music and its cultural characteristics, and that bodily experience is a significant part of such music practices. This study draws upon the powerful connection that Jaques-Dalcroze found between music and human beings in the spontaneous nature of rhythm and its relationship with body movement, which inspires students to discover themselves as well as others through exploring music and cultural context in the process of multicultural music learning. The goal of the present study was to create a pedagogical guide grounded in Dalcroze Eurhythmics for teachers incorporating multicultural education into their music lessons, particularly at elementary-school levels in Korea. Following a methodological approach specific to the development of pedagogical tools based on Van der Maren's (2003) model, the topics of the tool were determined according to the needs revealed through review of the existing multicultural music education research literature. Theoretical analyses linked to these topics were carefully selected from literature addressing the implications of multiculturalism and the fundamental purpose of multicultural music education, the characteristics of embodied teaching and learning approaches, and the pedagogical principles of Dalcroze Eurhythmics. A series of practical pedagogical activities and strategies, exemplified by video clips, was developed to support teachers. Following its elaboration, the prototype tool-a text e-book with 68 accompanying video clips-was tested and evaluated by the researcher and three Korean elementary-school music teachers. Evaluation data generated through in situ teaching, video-recordings, and semi-structured interviews were used to improve the prototype.

Diploma thesis Orff-Schulwerk Approach to Folk Songs for Elementary School Education consists of two parts: theory and practice. The first theoretical describes the basic Orff-Schulwerk thesis for education at the elementary schools in the lessons of Music or in the preparatory units of children choirs. Author introduces Carl Orff biography, circumstances of Orff-Schulwerk creation and its characteristics which is compared to the psychological theories, mainly with the flow phenomenon. The thesis covers the implementation of the Orff-Schulwerk approach to the Czech Framework Education Programme. Author compares studies describing the results of Orff-Schulwerk method in comparison to other methods. The research has not confirmed the thesis, that Orff-Schulwerk has better results in the music education field. The abroad studies confirmed, that Orff-Shulwerk approach is suitable for working with children with special educational needs. On the basis of the sources and literature, the author assumes that Orff-Schulwerk can lead to more intense interest in music and culture itself. Furthermore, the author enriches Orff's approach by ideas and approaches of two known pedagogues and composers: Zontán Kodály and Émile Jaques-Dalcroze. The diploma thesis covers their curriculum and those pedagogical...