Thesis (Ph. D.)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [246]-256).

The diploma thesis is devoted to the development of music and musical movement activities at a younger school age. It consists of theoretical and practical part. The first parts acquaints the reader with the characteristics of younger school age and with the somatic- physiological, psychological and social characteristics of this period. It also describes the means that affect the child's musicality. This work lists the basic music-movement activities and their important aspects. The conclusion of this part is focused on expertise publications focusing on piano playing,where the authors in their works use movement elements or musical-movement activities to directly improve the influence of playing the piano. The practical part is based on theoretical knowledge. We chose a pedagogical experiment with the technique of one-group and we used piano compositions fot this purpose. The issue of qualitative research is focused on the connection of piano playing with musical- movement activities. There are objectives, research methods, the subject and its organization described in the research part. For children involved in the research there was developed a thematic program called Traveling with Little prince, which describes methodological steps supporting the expression of music content and understanding...

The subject of the thesis is the use of musical activities in the development of graphomotor skills of preschool children. The theoretical part of the thesis is devoted to the problem of harmonization of music and movement at the level of gross and fine motor skills. It also deals with the issue of laterality and its distinctness. The practical part contains a detailed case study of a boy with a disadvantageous type of laterality and follows the development of his graphomotor skills during 15 lessons, the core of which are musical activities for the development of graphomotor skills of preschool children. I used multiple complementary research methods in the in-depth case study, which were participant observation, mother interview, open-ended questionnaire, family and personal history, and PPP report. The action research was conducted over a ten-month period, with the boys being 4 years and 3 months old at the start of the research. The practical part of the thesis analyses the action research data and evaluates the overall impact of specific musical activities in the development of preschool children's graphomotor skills.

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This thesis engages with complex issues of musical expression and movement, and their relation, on the one hand, to musical structure and, on the other hand, to embodied musical experience. It aims to fill a gap in music theory and analysis: most methods overemphasise abstract conceptualisation of structural relations at the expense of the more dynamic, intuitive aspect of musical experience. As a solution, it offers a specific analytical method that can be used to explore dynamic aspects of music as experienced through the whole body. Drawing mainly on nineteenth-century piano music, I analyse aspects of structure in both composition and performance in terms of expressive and motional qualities, revealing the relationship between musical and physical movement. Expressivity in music derives its meaning, at least partly, from the embodied experience of music: performers shape expression through their whole body while listeners react to it in a comparable way, albeit less overtly. Two related systems of graphic notation are introduced, which provide a non-verbal means of representing expressive movement and at the same time encourage an immediate, visceral relationship to the music. The first notation captures the animated quality of expressive movement by analogy with the motion of a bouncing ball, while the second breaks down the expressive musical flow into discrete gestural patterns of specific motional character. While the ultimate value of this method lies in the analytical process it instigates, it also provides a novel theoretical framework that sheds light on the interaction, as well as integration, between structures such as metre, rhythm, harmony and voice-leading, which are traditionally studied mostly independently. In addition, it provides a useful tool for the study and communication of performance interpretation, based on data extracted from recordings in the form of tempo and dynamic fluctuation graphs.

Target of this thesis is to realize an one-month musical project at one of kindergarten classes while using Orf's musical instruments. Further to find out through a musical test prospective individual contribution of Orf's musical instruments involvement to a musical development of preschool children. Theoretical part of thesis describes a pedagogical reform at musical education, current status of musical education at kindergardens based on a General Education Programm (RVP). Further refers to a psychological aspect of musical development of preschool children, describes Orf's musical instruments itself and its usage at "itegrative pedagogy". Practical part of thesis is dedicated to a survey. It discovers how often, which way and which musical instruments are used at kindergardens. The musical project is performed at one of kindergarten classes via musical test. Musical abbilities and skills of children are investigated and contribution of Orf's musical instruments is verified and evaluated.

The topic of the diploma thesis is the use of musical activities in the development of graphomotoric skills of preschool children. The theoretical section is focused on harmonising of music and movement on the level of gross and fine motoric skills. This diploma thesis analyses the musical aspect of the Czech version of the Good Start Method. The practical section presents new lessons developing graphomotoric skills with a central focus on musical and instrumental activities. The thesis provides a report on the aims, methods and progress of the field research in the preparatory classes of primary school. Part of the process is basic research into the received tempo of two songs from the Good Start Method. KEYWORDS Good Start Method, musical activities, musical skills, graphomotoric skills, gross motoric skills, fine motoric skills, rhythmic feeling

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In diesem Artikel wird das Konzept des Tonsatzseminars an der Technischen Universität Dortmund vorgestellt, das Brücken zur Komposition bauen will. Jedes Semester endet mit einem Tonsatz-Konzert, das von Studierenden mit eigenen Kompositionen bestritten wird. Die Stücke entstehen in den Tonsatzseminaren. Seminar und zugehöriges Konzert sind jeweils einem bestimmten Thema gewidmet. Die Tonsatzseminare wurden umfassend dokumentiert: Die Stücke aller Teilnehmer*innen liegen schriftlich vor, wurden im Konzert aufgenommen. Begleitet wird der Kurs in den letzten Jahren von musikpsychologischen Tests zum Kreativitäts-Selbstkonzept, die Datenmaterial für statistische Auswertungen geliefert haben. Vor dem Hintergrund musikästhetischer Diskussion im 19. und 20. Jahrhundert hinsichtlich der Anteile von ›Inspiration‹ und ›Arbeit‹ am Kompositionsprozess werden musikpsychologische Untersuchungen zur musikalischen Wahrnehmung (Carl Stumpf) und neurowissenschaftliche Grundlagen der Kreativitätsforschung dargestellt. Diese Forschungen werden im Hinblick auf ihre pädagogische Bedeutung für das Tonsatzseminar reflektiert. / In this essay, we present the concept of the Tonsatz seminar at TU Dortmund University. This seminar aims to include the idea of composition. Each series of lessons concludes with a concert with students performing their own compositions created in the Tonsatz seminars. The seminars and the recorded concert are dedicated to a specific topic. All scores and the recordings are available. In recent years, the seminars have been accompanied by psychological tests on a self-concept of creativity providing data for statistical evaluations. Against the background of music-aesthetic discussions in the nineteenth and twentieth centuries regarding the relation between the concepts of »inspiration« and »work« in the compositional process, music psychological studies on musical perception (Carl Stumpf), and neuroscientific foundations of creativity are presented. These insights are reflected in terms of their pedagogical significance for the Tonsatz seminar in compositional techniques.