Esta dissertação trata da Rítmica como Princípio Formativo, um dos desdobramentos das formulações de Émile Jaques-Dalcroze (1865-1950), no trabalho pedagógico e profissional com voz, música e encenação. Com seu axioma música é movimento, e movimento é música, Dalcroze ressalta a originalidade da Rítmica em promover uma qualidade imanente à humanidade a indissociabilidade do movimento musical e corporal como forma ancestral de expressão humana. Ponderando questões de ordem ontológica do fazer teatral, num primeiro momento, traço a trajetória da Rítmica, analisando as potencialidades de seu diálogo com outras áreas, considerando como ela transforma e é transformada nesta interação. Em seguida, analiso a operacionalização de conteúdos e técnicas baseadas na pesquisa do indivíduo sobre si pressuposto de importantes encenadores; e, finalmente, descrevo os resultados cênicos obtidos pelo emprego de conceitos e procedimentos com grupos envolvidos na formação, pesquisa e montagem teatral. / This research approaches Eurhythmics as Formative Principle, one of the developments of Émile Jacques Dalcrozeformulations on the pedagogical and professional work with voice, music and staging. Through his axiom music is movement, and movement is music, Dalcroze emphasizes the originality of Eurhythmics in promoting an immanent quality of mankind the indissociability of corporal and musical movement as an ancestral form of human expression. Taking into account ontological questions towards the theatrical making, I start with the reconstruction the Eurhythmicstrajectory, analyzing the potentialities of its dialogue with others areas, exposing how and when it transforms and is transformed by these interactions. Afterwards, I analyze the operativeness of its contents and strategies based on individual self-research presumption of great directors; and, finally, I descript the scenic results obtained by the use of concepts and proceedings with groups involved in theatrical formation, research and staging.

<p>The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues:</p><p>1. What significance does movement have for teachers on the Arts with Music programme?</p><p>2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music?</p><p>3. How do teachers on the Arts with Music programme use movement as educational tool?</p><p>The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice.</p><p>The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson & Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn & Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson & Correia, 2002).</p><p>The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music.</p><p>What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.</p>

I denna uppsats syftar jag till att undersöka hur, när och på vilka sätt samlärande kan ske i musikundervisning. Genom observationer och intervjuer på barn undersöks hur och på vilket sätt barn lär av varandra på musiklektioner. Med samlärande menas allt lärande som sker mellan människor och begreppet utgår ifrån hur vi i en lärprocess kan förespråka delaktighet, kommunikation och mångfald av idéer och tankar. Vygotskij och Piaget har haft stor inverkan på samarbetes roll i våra läroplaner och det framgår främst genom ett demokratiperspektiv på undervisningen. Dock tycks betydelsen av barns samverkan i läroplanerna minskat genom åren. För att barn ska lära sig av varandra är det ett antal faktorer som spelar in. Bland annat har läraren en stor roll för att uppmuntra eleverna till att samarbeta. Utifrån Vygotskijs teorier om den proximala utvecklingszonen har det vuxit fram ett antal olika modeller för kamratsamverkan, som används i undervisning. I musikundervisning kan elever praktisera samlärande på ett konkret sätt, både för att lära sig samarbeta men också som metod till musikalisk utveckling. På lektionerna kan elever lära sig av varandra och med varandra, och genom att se varandras kunskaper som en tillgång blir eleverna jämlika och kunskapsutbytet mer demokratiskt. / In this essay, I aim to examine how, when and in what manner a peer interaction can take place in music education. Through observations and interviews examines how children learn from each other during the music lessons. The concept of peer interaction can be described as all learning that takes place between humans, and the concept is based on how we can advocate participation, communication and diversity of ideas and thoughts in the learning process. Vygotsky and Piaget have had a major impact on the role of collaboration in our school curricula, which is primarily shown by teaching through a democratic perspective. However, it seems as though the importance of collaboration between children has decreased in the school curricula through the years. There are several factors that matter in order for children to learn from each other. Among other things, the teacher’s role to encourage the students to cooperate is very important. Based on Vygotsky's theories on the Zone of Proximal Development a number of different models of peer interactions, used in teaching, have emerged. In music education, students can concretely practice peer interaction, both by learning to work together and also as a method of musical development. In the lessons students can learn from each other and with each other, and by seeing each other's knowledge as an asset the students become equal and the exchange of knowledge more democratic.

The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues: 1. What significance does movement have for teachers on the Arts with Music programme? 2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music? 3. How do teachers on the Arts with Music programme use movement as educational tool? The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice. The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson &amp; Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn &amp; Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson &amp; Correia, 2002). The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music. What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.

Syftet med studien är att öka kunskapen om rytmiklärares upplevelser och erfarenheter av fe- nomenet rytmik. Det teoretiska perspektiv som ligger till grund för arbetet är det fenomenolo- giska perspektivet, som fokuseras kring det som framträder och visar sig utifrån rytmiklärarnas egna upplevelser och erfarenheter i rytmik. Den tidigare forskningen redogör för forskning om barns musikaliska uttryck genom rörelse, användningen av rytmikmetoden i instrument- och sångundervisning, effekterna av rytmikmetoden för barn i tidig ålder samt kropp, görande och varande i musik. Insamlingen av material har gjorts genom semistrukturerade intervjuer i vilka utbildade rytmiklärare fått dela sina upplevelser och erfarenheter av rytmik. Intervjuerna har spelats in och transkriberats samt analyserats utifrån tematisk analys med fenomenologisk grund. Resultatet lyfter fram fem teman utifrån hur rytmiklärarna upplever rytmikmetoden, det omätbara, att våga pröva det oprövade, ett rörligt och polariserande ideal, att så ett frö och helheten. I resultatet framkommer bland annat att rytmik ska förstås och upplevas praktiskt genom kropp och känslor på golvet, genom ett cirkulärt helhetstänk där övergångarna mellan moment är lika viktiga som momenten i sig. I diskussionen relateras studiens resultat till tidi- gare forskning och belyser musikalisk förståelse genom kroppsrörelse, en personlig rytmikme- tod, distinktionen mot annan musikundervisning, samt rytmikens metodik. / This study aims to increase the understanding of eurhythmic teaching practices trough the ex- periences of eurhythmic teachers. Drawing on a phenomenological perspective, the research focuses on what emerges from these experiences, as teachers share their insights on eurhyth- mics. Previous studies have explored the impact of eurhythmic teaching on children’s musical expression, instrument and vocal training and the role of the body in a musical learning. Using a phenomenological perspective, the conducted semi-structured interviews with experiences of eurhythmic teachers were analyzed thematically. Key findings illustrate how teachers experi- ence eurhythmics, including the immeasurable, to dare to try the unknown, and entirety. More- over, the findings highlight the importance of practical, embodied experiences of eurhythmics, with a focus on transitions between moments as well as the moments themselves. Discussion of the results situates them in the context of previous research, emphasizing the role of body movement in musical understanding and the unique characteristics of eurhythmic methodology.

Drawing on phenomenology and the theory of embodied music cognition, and the idea that music is movement and the way we experience music is related to movement and to our bodies, the design and conception of a musical instrument is carried out through a soma design process, with the non-dualistic body at center. In addition to the use of design fiction as a means to imagine new design possibilities, practical somaesthetics are a part of the design process through the bodily practices of Dalcroze eurhythmics and instrument defamiliarisation. These continuous bodily practices provide space for explorations of musical, aesthetic sensitivities and contribute to the designer's attuning to their own body and discoveries of musical sensitivities therein. The experiential qualities of music--movement related rhythm and repetition are identified, and reflected in the design of the musical instrument. While interacting with the instrument does not necessarily provide direct immersion into those experiential qualities, nor an intimate musician--instrument relationship, it might however, open up a fertile breeding ground for new design directions and make space for new experiences. The design process itself, leading up to the instrument, was a great contribution to making room for exploring interactions with the body, movement and music. / Med utgångspunkt i fenomenologi och teorin om förkroppsligad musikkognition, samt iden att musik ar rörelse och att hur vi upplever musik ar relaterat till rörelse och vara kroppar, har designen och skapandet av ett musikinstrument utförts genom en soma-designprocess, med den icke-dualistiska kroppen i centrum.  Utöver användandet av designfiktion som ett satt att föreställa sig nya designmöjligheter, ingår praktisk somaestetik som en del av designprocessen via dem kroppsliga praktikerna Dalcroze-rytmik och instrument-främmandegöring. Dessa kontinuerliga, kroppsliga praktiker ger utrymme for utforskning av musikaliska och estetiska mottagligheter och bidrar till designerns själsstämning av sin egen kropp, samt upptäckter av musikaliska mottagligheter inuti densamma.  De empiriska kvaliteterna hos musik-rörelserelaterad rytm och repetition identifieras och återspeglas därefter i utformningen av musikinstrumentet. Aven om interaktion med instrumentet inte nödvändigtvis leder till en direkt upplevelse av dessa kvaliteter, eller en intim musiker-instrument-relation, sa kan den emellertid lagga en bördig grogrund for nya designriktningar och skapa utrymme for nya upplevelser. Själva designprocessen, som lett fram till instrumentet, gav stora möjligheter till att skapa plats for att utforska interaktioner med kroppen, rörelse och musik.

Voice and speech training for the actor has traditionally defined itself as distinct from the vocal training of the musical theatre or opera singer. The separation in philosophy and practice by trainers of actors and singers reflects the resultant capabilities and proclivities of our performers. Those performers generally sing or act, and if asked, will sometimes do both, but may damage their voices in the process. This study aims to explore and reveal how actors may develop a greater sense of courage and trust, have easy access to breath, find freedom in their bodies and voices, become better listeners and therefore more engaging actors, uncover untold depths of characterization, unearth resonance that communicates easily, and discover the music of rhythm and melody in their spoken voices, all through the use of ensemble singing in the actor's voice and speech classroom.

This essay tells about the meaning of eurhythmics for children’s development and why it is so difficult to draw attention to the value of eurhythmics compared to other activities in preschool. The essay builds upon a story that shows what consequences may follow when the meaning of the eurhythmics in the process of learning is not acknowledged. By looking at the relation between rhythm and human beings in a global perspective, I have examined the meaning of rhythm for the human well-being. The question I have researched is; why does eurhythmics appeal to almost every child in spite of being rejected by so many teachers? By researching the reasons behind these completely different points of views, I have tried to enhance the understanding for the different perspectives. I see a danger in the fact that the children lose a very important way to express themselves, as the eurhythmics in preschool and elementary school has to give way for other theoretical subjects. Despite the knowledge many of us possess regarding the development of children, we consent to the limitation of the different ways to express ourselves that we were born with. With my text, I want the reader to reflect over things that might otherwise have been unthought-of. The essay is a story that draws on my own experiences. I have during many years worked with eurhythmics groups in preschool and have been able to follow a positive development in the children whom have participated in my eurhythmics sessions. Yet, I have been experiencing a resistance from some pedagogues, which takes away the children’s opportunity to participate. Moreover, I have gained knowledge of the subject matter by having conversations with people who have long experience with working with children and eurhythmics/music. I have, during the process of writing, many of my thoughts confirmed; such as eurhythmics being one of the hundred languages Loris Malaguzzi talks about and how it is being jeopardized if not given attention and stimulation. By the help of literature, I have reflected over the subject and myself and my actions.

Studiens syfte är att undersöka instrumentallärares uppfattningar och erfaranheter av att arbeta med rytmik i instrumentalundervisning. Undersökningen grundar sig i intervjuer av fyra instrumentallärare. I bakgrundskapitlet beskrivs Dalcroze-metoden, rytmikinspirerad undervisning och tidigare forskning om rytmik. Som teoretisk utgångspunkt har ett fenomenologiskt perspektiv med ett livsvärldsperspektiv använts för att ta del av instrumentallärarnas erfarna livsvärld i användningen av rytmikinspirerad undervisning. Metoden som används i föreliggande studie är semistrukturerade intervjuer som presenteras i metodkapitlet. Här presenteras studiens analyssätt som är tematisk analys. Metodkapitlet ger även en presentation över de fyra intervjupersoner som ligger till grund i föreliggande studie. I resultatkapitlet presenteras instrumentallärarnas användande och syn på rytmikinspirerad undervisning. Kapitlet är uppdelat i tre teman: upplevelsen av rytmikinspirerad undervisning, erfarandet av rytmikinspirerad undervisning ochbegränsningar. Resultatet visar att lärarna använder sig av rytmikinslag på liknande sätt men olika mycket.  Erfarandet av rytmikinspirerad undervisning som framkommer är klapp, stamp, gå i puls och att kroppen används för i utlärning av takt, periodkänsla och gestaltning. I resultatet framkommer även att de flesta lärarna vill använda sig av rytmikinspirerad undervisning, men på grund av begränsningar såsom tid, rum och okunskap gör de inte det. Dessa lärare vill även ha mer fortbildning för att lära sig mer om rytmik och hur det kan integreras med de instrument de undervisar i. I diskussionen lyfts studiens frågeställningar fram i två teman utifrån studiens frågeställningar: upplevelsen av rytmikinspirerad undervisning  ocherfarandet av rytmikinspirerad undervisning. / The aim of this study is to explore the instrumental teachers' perceptions and experience of working with rhythm in instrumental teaching. To investigate the this purpose, four instrumental teachers have been interviewed about rhythmically-inspired teaching. The background chapter describes the Dalcroze method, rhythmically-inspired teaching and previous research on rhythmics. The theoretical starting point for this study is a pheomenolocical perspective with a life-world perspective used to take part in the instrumental teachers' experience in the use of rhythmically-inspired teaching. The method used in this study consists of semi-structured interviews and is presented in the method chapter. Thematic analysis is also presented as the studys method of analysis. The result chapter presents the instrumental teachers' use and view of rhythmically inspired teaching. The chapter is divided into three themes: the view of rhythmically-inspired teaching, the use of rhythmically-inspired teaching andconstraints. The results show that the teachers use rhythmic themes in a similar way. However they use it in various amount. Rhythmically-inspired teaching that emerges is handclaps, stamp, pulse and the body is used for the learning of pace, periodicity and gesture. Evident in the analysis is that most teachers in the study want to use rhythmically inspired teaching but due to limitations such as time, space and ignorance, they do not. These teachers also want more education to learn more about rhythmics and how it can be integrated with the instruments they teach. In the discussion, the study's research questions are divided in two themes: the use of rhythmically-inspired teaching and the view of rhythmically-inspired teaching.

Studiens syfte är att få insikt i och identifiera lärares arbete kring rytmik och hur det inkluderas i individuell tvärflöjtsundervisning på musikskolan. I bakgrundskapitlet beskrivs Dalcroze-metoden och tidigare forskning om rytmik. Som teoretisk utgångspunkt används ett designteoretiskt perspektiv där lärande och meningsskapande via semiotiska resurser som står i fokus. Studien är kvalitativ, och stimulated-recall-intervjuer används som metod. Fyra tvärflöjtslärare har videofilmats när de undervisar. Dessa videofilmer har legat till grund för intervjuerna. Intervjuerna har sedan transkriberats med fokus på de resurser och undervisningsdesigner som lärarna använder sig av i undervisningen. Resultatet visar lärarnas undervisningsdesigner, vilka bygger på deras förhållningssätt till samt genomförande och utvärdering av användningen av rytmikinspirerad undervisning. I resultatet framkommer också att lärarna använder sig av kroppsligt baserade notblad, kroppen, spelandet och talet som resurs för lärande. I diskussionen lyfts fyra övergripande mönster i lärarnas undervisning: medvetet och omedvetet arbete samt flöjtistiskt och musiskt arbete med rytmikinspirerad undervisning. / The purpose of the study is to gain insight into and identify teachers' work with eurhythmics, and how it is included in individual flute lessons at the music school. The background chapter describes the Dalcroze method and previous research on eurhythmics. As a theoretical basis the design theory perspective is used, where focus on learning and meaning making through semiotic resources are in focus. The study is qualitative, and stimulated-recall interviews are used as a method. Four flute teachers have been video documented when they teach. These videos have been the basis for the interviews. The interviews have been transcribed with focus on the resources and teaching designs the teachers use in their teaching. The result shows the teachers´ teaching designs, based on their approach to, implementation and evaluation of the use of rhythmically inspired teaching. The results also show that the teachers use a bodily based sheet of music, the body, playing and speaking as learning resources. In the discussion, four overall patterns are raised in the teachers' work: aware and unaware work, as well as education that aims to learning how to play the flute and general musical knowledge learning with rhythmically inspired teaching.