Abstract The purpose of the present study was to interpret and understand the manifestation and meaning of embodiment in Dalcroze Eurhythmics. Dalcroze Eurhythmics is an approach to music education that builds on the ideas of Émile Jaques-Dalcroze and aims at developing musicianship in a broad sense. Following Maurice Merleau-Ponty's philosophy, in this study embodiment refers to experiencing and knowing the world subjectively through the living body-subject. The perspective of embodiment accounts for how human beings think and act holistically and how the body can be considered a constitutive element of cognition and creativity. The research questions were formulated as follows: 1. What aspects of embodiment can be found in Dalcroze Eurhythmics? 2. What are the theoretical accounts in support of the practice of applying body movement in music education from the perspective of embodiment? These questions have been approached through research material drawn from the essential writings of Jaques-Dalcroze, commentary books, articles and studies about Dalcroze Eurhythmics, and the talk of some selected Dalcroze master teachers. The dissertation is an overview of four substudies. In the theoretical substudies, the research questions have been examined in relation to the philosophical question of the body-mind in practical music education, and in dialogue with Merleau-Ponty's notions and recent literature on embodiment. From the perspective of embodiment, Dalcroze Eurhythmics primarily teaches habits of musical action or, more generally, 'a bodily way of being in sound', rather than a conceptual, or abstract knowledge of music. Equally, the study sheds light on the meaning and importance of consciously reflecting on 'lived experience'. It illuminates how Dalcroze teaching engages embodiment in ways that aim to reinforce the mind-body connection and facilitate personified, holistic involvement and, thus, embodied learning. The study discusses how Dalcroze Eurhythmics offers a ground for examining music's felt qualities and their relation to musical knowledge and how it turns our attention and interest towards students' lived experiences in relation to musical practices. It challenges music educators to consider that musical learning can profitably make use of holistic bodily experiences and that bodily involvement can facilitate developing a wide range of kinds of musical knowing. Furthermore, the study offers a critical viewpoint and new vocabulary in music education for explaining the practice of Dalcroze teaching. / Tiivistelmä Tämän tutkimuksen tarkoituksena oli ymmärtää ja tulkita kehollisuuden ilmenemistä ja merkitystä Dalcroze-rytmiikassa. Dalcroze-rytmiikka on musiikkikasvatuksen lähestymistapa, joka perustuu Émile Jaques-Dalcrozen ideoille ja joka pyrkii kehittämään muusikkoutta laajassa merkityksessä. Merleau-Pontyn filosofiaa myötäillen, tässä tutkimuksessa kehollisuus viittaa maailman subjektiiviseen kokemiseen ja tuntemiseen elävän keho-subjektin kautta. Kehollisuuden näkökulma selittää sen, kuinka ihminen ajattelee ja toimii kokonaisvaltaisesti ja kuinka kehoa voidaan pitää kognition ja luovuuden keskeisenä tekijänä. Tutkimuskysymykset muotoiltiin seuraavasti: 1. Mitä kehollisuuden näkökulmia voidaaan löytää Dalcroze-rytmiikasta? 2. Mitkä ovat kehollisuuden näkökulmasta teoreettiset argumentit liikkeen käyttämiseksi musiikkikasvatuksessa? Näitä tutkimuskysymyksiä lähestyttiin tutkimusaineiston kautta, joka sisälsi Jaques-Dalcrozen keskeisiä kirjoituksia, Dalcroze-rytmiikkaa käsitteleviä kommentaareja, artikkeleita ja tutkimuksia sekä muutamien valittujen Dalcroze-mestariopettajien puhetta. Väitöskirja pohjautuu neljään osatutkimukseen. Teoreeettisissa osatutkimuksissa kysymyksiä tarkasteltiin suhteessa mielen ja kehon suhdetta koskevaan filosofiseen kysymykseen käytännön musiikkikasvatuksessa sekä dialogissa Merleau-Pontyn käsitteiden ja viimeaikaisen kehollisuutta käsittelevän kirjallisuuden kanssa. Kehollisuuden näkökulmasta Dalcroze-rytmiikka opettaa ensisijaisesti musiikillisia toimintatapoja, tai yleisemmin, 'kehollista tapaa olla musiikissa', eikä niinkään käsitteellistä tai abstraktia musiikista tietämistä. Toisaalta tutkimus valottaa 'eletyn kokemuksen' jatkuvan reflektoinnin merkitystä ja tärkeyttä. Se tuo esille, miten Dalcroze-opetus oppilaiden kokonaisvaltaisen ja omakohtaisen kehollisen aktivoimisen kautta pyrkii vahvistamaan mielen ja kehon yhteyttä ja siten edistämään kokonaisvaltaista oppimista. Tutkimuksessa tarkastellaan miten Dalcroze-rytmiikka tarjoaa pohjan musiikin laadulliselle kokemiselle ja sen yhdistämiselle musiikilliseen tietämiseen ja miten se suuntaa huomiomme ja kiinnostuksemme oppilaan elettyyn kokemukseen musiikin käytännöissä. Tutkimus haastaa musiikkikasvattajat ottamaan huomioon, että musiikillisessa oppimisessa voidaan hyödyntää konaisvaltaisia kehollisia kokemuksia ja että kehollinen osallistuminen voi edistää musiikillisen tietämisen useiden eri osa-alueiden kehittymistä. Lisäksi tutkimus tarjoaa kriittisen näkökulman ja uutta sanastoa Dalcroze-opetuksen käytännön selittämiselle.

abstract: Older adults diagnosed with a serious mental illness (SMI) often face a lifetime of psychiatric institutionalization, making them a very vulnerable population. However, music therapy research has not been conducted with this specific population. The purpose of this thesis was to develop an evidence-based proposed music therapy program for geriatric patients diagnosed with SMI utilizing both music-based and non-music based theoretical frameworks. The music-based approach used for the program is Dalcroze and the non-music based approach is Wellness with a focus on quality of life. The population diagnosed with SMI and the complications of aging for this population are discussed as well as the results of previous music therapy studies conducted with adults diagnosed with SMI. The components of the Dalcroze and Wellness approaches are described and the elements that are incorporated into the program include improvisation and eurhythmics and client strengths and the physical domain (movement). The proposed music therapy program will have the therapeutic goals of increased social interaction, increased self-esteem, and increased quality of life. The data collection tools are mentioned and how to measure results. The program is described in detail with session plans consisting of warm-up, improvisation, movement, and closing interventions. The recommendations for clinical evidence-based practice are discussed. / Dissertation/Thesis / Masters Thesis Music Therapy 2019

<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.

Frank Martin's (1890-1974) 8 Préludes pour le piano has been studied and analyzed by many researchers, yet the influence of one of Martin's most important educational experiences, Dalcroze Eurhythmics, has not been discussed in connection to this work. The purpose of this research is to investigate the influences of Émile Jaques-Dalcroze's (1865-1950) educational method, eurhythmics, on Martin’s compositional writing, specifically the 8 Préludes pour le piano. This research demonstrates the connection between Martin and Dalcroze through several key observations: 1) their close collegial relationship; 2) the influences of Dalcroze Eurhythmics in Martin's approach to rhythm; and 3) Martin's writings on rhythm as connected to Dalcroze Eurhythmics. The examination of Frank Martin’s major piano work, 8 Préludes pour le piano, reveals a strong connection between these composers and their fascination with the expressive power of rhythm. In this paper, I examine the eurhythmics elements evident in Martin’s 8 Préludes pour le piano: irregular measures, unequal beats, polyrhythm, rhythmic counterpoint and canon. Additionally, Dalcroze Eurhythmics-based activities for learning Martin's 8 Préludes pour le piano are offered with the intent of enriching the pianist's experiences in learning and performing this piece and demonstrating the practical application of the method.

Every music teacher is likely to teach one or more children with autism, given that an average of one in 54 persons in the United States receives a diagnosis of Autism Spectrum Disorder (ASD). ASD persons often show tremendous interest in music, and some even become masterful performers; however, the combination of deficits and abilities associated with ASD can pose unique challenges for music teachers. This experimental study shows that phonomimetic (conducting-like) gestures can be used to teach the expressive qualities of music. Children were asked to watch video recordings of conducting-like gestures and produce vocal sounds to match the gestures. The empirical findings indicate that motor training can strengthen the visual to vocomotor couplings in both populations, suggesting that phonomimetic gesture may be a suitable approach for teaching musical expression in inclusive classrooms.

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.

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.