Moving Body in the Aural Skills Classroom

Zusatztext The Moving Body is a significant contribution to both the literature on aural skills pedagogy and eurhythmics pedagogy that deserves a place on the bookshelf of readers concerned with either area. It is the first book since Dalcroze's own rather dated volumes to attempt to tackle the full range of concepts a musicianship teacher must cover using a movement and improvisation based approach. Moreover, its comprehensive exercises make it possible to draw movement and kinesthetic learning into every branch of an aural skills curriculum. Informationen zum Autor Diane Urista is on the music theory faculty at the Cleveland Institute of Music where she teaches undergraduate and graduate students. She holds a PhD in music theory from Columbia University and has studied with many Dalcroze-eurhythmics practitioners, most notably the late Robert Abramson from the Juilliard School. She has published articles and presented at numerous international and national conferences on the relationship between performance and analysis, aural skills pedagogy, and embodied musical understanding. Her background allows her to develop a discourse between the different, yet complementary, disciplines of Eurhythmics, music theory, and aural skills. Klappentext The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-Eurhythmics-is a practical guide for college instructors and students interested in integrating the moving body into the aural skills classroom. Zusammenfassung The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now "), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises. Inhaltsverzeichnis Introduction I. Purpose Why the Moving Body in the Aural Skills Classroom? Healing the Mind-Body Split in College Music Training Rhythms from the Body What is the Kinesthetic Sense or "Sixth Sense? " Traditional vs. Embodied Approach Musical Affect and Expressive Performance II. ...

Auteur
Diane Urista is on the music theory faculty at the Cleveland Institute of Music where she teaches undergraduate and graduate students. She holds a PhD in music theory from Columbia University and has studied with many Dalcroze-eurhythmics practitioners, most notably the late Robert Abramson from the Juilliard School. She has published articles and presented at numerous international and national conferences on the relationship between performance and analysis, aural skills pedagogy, and embodied musical understanding. Her background allows her to develop a discourse between the different, yet complementary, disciplines of Eurhythmics, music theory, and aural skills.

Texte du rabat

The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-Eurhythmics-is a practical guide for college instructors and students interested in integrating the moving body into the aural skills classroom.

Résumé
The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now "), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises.

Contenu

• Introduction

• I. Purpose

• Why the Moving Body in the Aural Skills Classroom?

• Healing the Mind-Body Split in College Music Training

• Rhythms from the Body

• What is the Kinesthetic Sense or "Sixth Sense? "

• Traditional vs. Embodied Approach

• Musical Affect and Expressive Performance

• II. Methodology

• Experience before Analysis

• Spiral of Learning

• Sensation before Conceptualization

• Internalization and Automatisms

• Improvisation: Cultivating One's "Voice "

• Physiological Evidence

• Reflective Stillness: Movement is Not an End in Itself

• III. Getting Started (Notes to the Instructor)

• Pedagogical Tips

• Chapter 1: Basics

• I. Preliminary Considerations

• Physical Form (to the instructor)

• Movement Tenets (to the instructor and students)

• Overcoming Inhibitions (to the instructor)

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