Bakgrund: Kroppsmedvetandeträning är ett fysioterapeutiskt tillvägagångssätt med syfte att öka patientens medvetenhet om den egna kroppen genom att normalisera kroppshållning, balans, andning och muskelspänning. Ångest är mycket vanligt förekommande hos patienter både inom primärvård och inom somatisk sjukhusvård samt hos patienter med långvarig smärta, och tar sig i uttryck i kroppen bland annat genom att kroppshållning, muskulär spänningsbalans och andning påverkas. Syfte: Att kartlägga om kroppsmedvetandeträning har en effekt på ångest. Metod: För att besvara syftet har en systematisk litteraturstudie genomförts. Sökningar gjordes i de medicinska databaserna Pub Med, Cinahl, PsycInfo samt Science Direct Journals. Resultat: Totalt granskades 13 studier. 12 av dessa visade att kroppsmedvetandeträning har en positiv effekt på ångest, varav nio stycken visade på signifikant effekt. En studie visade på ökning av ångest, dock ej signifikant. Av de nio studier som visade på signifikant positiv effekt på ångest studerade fem av dem kroppsmedvetandeträning som tilläggsbehandling och fyra studerade kroppsmedvetandeträning som enda behandling. Konklusion: Kroppsmedvetandeträning har en signifikant positiv effekt på ångest, både som enda behandling och som tilläggsbehandling.

The scope of the ?Feldenkrais method, breath and voice? dissertation thesis is the process of examining and recording circumstances, under which it is possible to interactively combine elements of movement, breathing and voice in a new approach that is primarily intended for group learning. In introduction, the author describes the theoretical and practical basis and presents main inspiration sources: learning by movement according to Dr. Moshé Feldenkrais and voice upbringing by Libuše Válková. These are followed by the basic terms integrating both approaches that are named in the context of practice and a philosophical overlap

There is a growing popularity among musicians to turn to somatic approaches such as the Alexander Technique, Body Mapping and Feldenkrais Method to improve posture and movement at the instrument and to produce better tone quality. There is little scientific and objective data to support the changes that are apparently seen and heard after such training. This study examines if a single somatic session has an immediate, perceivable effect on pianists’ body usage and musical quality. In the first mode of evaluation, judges rated specific aspects of body usage and musical quality. In the second mode of evaluation, judges were asked to identify post-somatic performances. Results indicated that there are perceivable changes in body usage and musical quality although those differences are not as apparent or easily detectable as is often believed. The findings also suggest that it is easier to identify post-somatic performances through body usage than musical quality.

The Feldenkrais Method of somatic education has become popular with pianists for improving ease of motion and musculoskeletal health. This thesis contains three studies investigating motion-tracking technologies as means to objectively assess the impact of Feldenkrais training on pianist posture. The first study investigates the accuracy and reliability of Dartfish 2D motion tracking software. Results indicate that Dartfish tracking error is within +/- 0.25 centimeters. The second study uses Dartfish to track head, shoulder, and spine positions of 15 pianists during performance before and after receiving a Feldenkrais Functional Integration Lesson. Comparisons of pre- and post-test measurements indicate no group trends in posture change. However, intriguing changes to movement quality in the head and torso were observable for two participants. The third study compares tracking quality of Dartfish and the Microsoft Kinect for the head, shoulders, and arms of four pianists attending a weeklong Feldenkrais workshop. Results reveal frequent tracking errors with the Kinect sensor, making it unsuitable to measure the impact of somatic training on pianist posture.

No description available.

No description available.

O objetivo desta pesquisa é esclarecer as várias possibilidades de chegar a um modo mais natural e equilibrado de tocar o violoncelo. Inicialmente, o panorama geral da pedagogia e técnica violoncelística foi analisado com a finalidade de determinar conclusões e opiniões a respeito de recursos pedagógicos atuais, somados aos conhecimentos próprios do autor. Em seguida, houve uma pesquisa bibliográfica e dos meios eletrônicos sobre seis técnicas de reeducação corporal, sendo que, em média, dez aulas particulares para cada técnica foram realizadas pelo autor. Foram também analisadas informações sobre o aumento da ocorrência de danos físicos no meio musical, bem como sobre o corpo dos atletas e seus cuidados. Todas as informações colhidas serviram de base para uma discussão, visando à construção e a elaboração de uma proposta de uma nova pedagogia para os violoncelistas, buscando um funcionamento mais natural do corpo e auxiliando no combate das posturas viciosas, a fim de evitar danos físicos futuros aos executantes deste instrumento. / The object of this work is to suggest various possibilities to arrive at a more natural and balanced mode of playing the violoncello. Initially, the general panorama of violoncello pedagogy and technique was analyzed in order to determine conclusions and opinions with regard to pedagogical resources today, together with the personal knowledge of the author. Next, six methods of corporal reeducation were researched, through bibliographic and electronic means, with the author participating in an average of ten private lessons in each technique. Information with regard to the increasing occurrence of physical injuries in the musical class was also analyzed, as well as that pertaining to athletes bodies and their care. All information garnered served as the basis for a discussion aimed at the construction and elaboration of a proposal of a new violoncello pedagogy that strives for a more natural functioning of the body and helps combat detrimental postures, so that future injuries to violoncellists may be avoided.

O objetivo desta pesquisa é esclarecer as várias possibilidades de chegar a um modo mais natural e equilibrado de tocar o violoncelo. Inicialmente, o panorama geral da pedagogia e técnica violoncelística foi analisado com a finalidade de determinar conclusões e opiniões a respeito de recursos pedagógicos atuais, somados aos conhecimentos próprios do autor. Em seguida, houve uma pesquisa bibliográfica e dos meios eletrônicos sobre seis técnicas de reeducação corporal, sendo que, em média, dez aulas particulares para cada técnica foram realizadas pelo autor. Foram também analisadas informações sobre o aumento da ocorrência de danos físicos no meio musical, bem como sobre o corpo dos atletas e seus cuidados. Todas as informações colhidas serviram de base para uma discussão, visando à construção e a elaboração de uma proposta de uma nova pedagogia para os violoncelistas, buscando um funcionamento mais natural do corpo e auxiliando no combate das posturas viciosas, a fim de evitar danos físicos futuros aos executantes deste instrumento. / The object of this work is to suggest various possibilities to arrive at a more natural and balanced mode of playing the violoncello. Initially, the general panorama of violoncello pedagogy and technique was analyzed in order to determine conclusions and opinions with regard to pedagogical resources today, together with the personal knowledge of the author. Next, six methods of corporal reeducation were researched, through bibliographic and electronic means, with the author participating in an average of ten private lessons in each technique. Information with regard to the increasing occurrence of physical injuries in the musical class was also analyzed, as well as that pertaining to athletes bodies and their care. All information garnered served as the basis for a discussion aimed at the construction and elaboration of a proposal of a new violoncello pedagogy that strives for a more natural functioning of the body and helps combat detrimental postures, so that future injuries to violoncellists may be avoided.

Dans ce mémoire, j'examine quels ont été les impacts de l'éducation somatique sur mon rapport au corps incestué et mon mal-être. Je partage en quoi mes apprentissages somatiques ont contribué à une meilleure compréhension de la relation entretenue avec moi-même ainsi qu'à l'assainissement d'habitudes visant à engourdir et abstraire le corps. La littérature qui porte sur les conséquences de l'inceste et de l'agression sexuelle aborde généralement le corps d'un œil externe; peu de travaux scientifiques se fondent sur l'expérience de la personne agressée pour étudier la relation au corps. S'il est question des problèmes psychologiques ainsi que des conduites addictives et destructrices observées chez les victimes, rares sont les écrits où la personne est abordée d'un point de vue somatique. Il apparaît pourtant pertinent de considérer cet angle, l'agression sexuelle étant à la base une transgression corporelle intime. La méthodologie autoethnographique s'inscrit dans le paradigme postpositiviste. Elle accepte favorablement la subjectivité du chercheur en reconnaissant que la neutralité est impossible et qu'il existe une pluralité de points de vue. En se basant sur l'expérience du chercheur, l'autoethnographie propose une compréhension par l'interprétation personnelle d'un phénomène et vise ainsi à produire autrement des savoirs lorsque comparée à une perspective objectiviste. Elle puise sa force dans un vécu exposé et s'avère ainsi susceptible de toucher plusieurs personnes. Mon étude autoethnographique est constituée de diverses expériences somatiques et se fonde sur des données recueillies selon trois phases distinctes, soit des données qualifiées de « conscientes » et « hyper conscientes » colligées depuis mon entrée au programme en éducation somatique à l'hiver 2008, ainsi que des données « pré-éducation somatique », soit antérieures à mes études supérieures. Ce processus m'a d'abord permis d'apprendre à sentir mon corps pour ensuite rendre possible l'identification d'habitudes et comportements problématiques qui nourrissaient inconsciemment une fuite et un contrôle du corps. Prendre conscience de moi par l'expérience du mouvement a favorisé une ré-harmonisation de ma personne et un plus grand pouvoir d'action sur moi (empowerment). Mes différents apprentissages somatiques ont rendu possibles des changements profonds dans ma façon de vivre le corps en plus de favoriser un mieux-être au quotidien. À la lumière de mon expérience, le développement d'une conscience somatique est un sujet d'investigation qui mérite d'être approfondi chez les victimes d'agression sexuelle. Si la méthode Feldenkrais est l'approche d'éducation somatique utilisée dans ce mémoire, d'autres approches pourraient être pertinentes pour ce genre d'étude. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : autoethnographie, inceste, éducation somatique, rapport au corps, méthode Feldenkrais, conscience de soi.

abstract: Studies in Second Language Acquisition and Neurolinguistics have argued that adult learners when dealing with certain phonological features of L2, such as segmental and suprasegmental ones, face problems of articulatory placement (Esling, 2006; Abercrombie, 1967) and somatosensory stimulation (Guenther, Ghosh, & Tourville, 2006; Waldron, 2010). These studies have argued that adult phonological acquisition is a complex matter that needs to be informed by a specialized sensorimotor theory of speech acquisition. They further suggested that traditional pronunciation pedagogy needs to be enhanced by an approach to learning offering learners fundamental and practical sensorimotor tools to advance the quality of L2 speech acquisition. This foundational study designs a sensorimotor approach to pronunciation pedagogy and tests its effect on the L2 speech of five adult (late) learners of American English. Throughout an eight week classroom experiment, participants from different first language backgrounds received instruction on Articulatory Settings (Honickman, 1964) and the sensorimotor mechanism of speech acquisition (Waldron 2010; Guenther et al., 2006). In addition, they attended five adapted lessons of the Feldenkrais technique (Feldenkrais, 1972) designed to develop sensorimotor awareness of the vocal apparatus and improve the quality of L2 speech movement. I hypothesize that such sensorimotor learning triggers overall positive changes in the way L2 learners deal with speech articulators for L2 and that over time they develop better pronunciation. After approximately eight hours of intervention, analysis of results shows participants’ improvement in speech rate, degree of accentedness, and speaking confidence, but mixed changes in word intelligibility and vowel space area. Albeit not statistically significant (p >.05), these results suggest that such a sensorimotor approach to L2 phonological acquisition warrants further consideration and investigation for use in the L2 classroom. / Dissertation/Thesis / Doctoral Dissertation English 2015