Music Perception in Rhythmik Lessons

Ginta Pētersone

doi:10.17770/sie2013vol1.582

Authors

Ginta Pētersone

DOI:

https://doi.org/10.17770/sie2013vol1.582

Keywords:

Music perception, rhythmics, musical perception analysis of the Vivaldi set of concertos “Four Seasons”, fourth concerto “Winter” [RV 297], part three

Abstract

The teaching of rhythmics was first introduced by the Swiss pedagogue Émile Jaques-Dalcroze, as he revealed the phenomenon of mutual interaction between music and movement, thus facilitating the musical, intellectual and physical growth of students. Music is one of the basic components in the choice of means of rhythmics. The perception of music is complex and it can be viewed both from the associative and the analytical aspect. The process of music perception in rhythmics is implemented with the help of movement. By assuming that movement is the basis of all live expression, musical rhythm becomes the movement synchronizer, thus acting on the sensomotoric, cognitive and emotional level. In the rhythmics lessons at the Emils Darzins Secondary Music School for grades 1-4 the process of music perception takes place both in an associative creative and an analytical way, thus ensuring an in-depth strengthening of skills and abilities acquired through music theory lessons and implementing rhythmics through lively and jovial action. The objective is to investigate the process of perception of rhythmic music classroom: music and movement interaction. Research methods: teaching observation, content analysis, test. Research base: Emils Darzins Music School 3rd and 4th grade students - total of 17. The study involved students names have been changed.

Supporting Agencies

Rakstu sponsorē ESF projekts Nr. 2011/0046/1DP/1.1.2.1.2/11/IPIA/VIAA/009 Atbalsts studijām Rīgas Pedagoģijas un izglītības vadības akadēmijas doktora studiju programmā „Pedagoģija”., The article is sponsored by ESF Project No. 2011/0046/1DP/1.1.2.1.2/11

References

Aristoxenos von Tarent, (1883, 1965). Melik und Rhythmik des classischen Hellenentums. Leipzig: R.Westphal, repro Hildesheim: G.Olms

Dalcrose, E. J. (1916). Die Rhytmik, 1 Band. [Rhythmic. Vol.I] Lausanna, Leipzig: Verlag von JOBIN & Cie, bei Breitkopf & Hartel, 64 S.

Dorrell, P. (2005). What is Music? Solving a Scientific Mystery. Chapter 2. What is Music? p.18-43. Lulucom.

Jacobs, D. (1985). Bewegungsbildung – Menschenbildung [Movement Development Human’s Development] Woffenbüttel: Kallmeyer, S. 169–176.

Jäncke, L. (2012). Macht Musik schlau? Neue Erkenntnisse aus den Neurowissenschaften und der kognitiven Psychologie. Bern: Verlag Hans Huber, 453 S.

Fellhofer, S. (2006). Der Bewegungsaspekt in der Rhythmik und der Tanztherapie. Magisterarbeit [Movement Aspect in Rhythmic and Dance Therapy], Betreuerin ao. Prof. Mag. E. Witoszynskyj. Wien: Universität für Musik und darstellende Kunst, 136 S.

Gobbert, J. (1998). Zur Methode Jaques- Dalcroze . Die Rhythmische Gymnastik als musikpädagogisches System. Wege und Möglichkeiten der plastischen Darstellungen von Musik durch den menschlichen Körper, - Frankfurt am Main: Peter Lang GmbH Europäischer Verlag der Wissenschaften, 500 S.

Levitin, D.J., Tirovolas, A.K. (2009). Current Advances in the Cognitive Neuroscience of Music. Ann. N.Y. Acad.Sci. 1156 – New York. Academie of Sciences, P. 211-231

Kārkliņš, L. (1990). Mūzikas leksikons. – Rīga: Zvaigzne.

Konrad, R. (1995). Erziehungsbereich Rhythmik. Entwurf einer Theorie [Rhythmic Development Areas. Introduction into a Theory]. Seelze: Kallmeyersche Verlagsbuchhandlung, edition: rhythmic, 318 S.

Rebel, G. (1999). Bewegungs-pädagogik im Sozialwesen. Münster, New York, München, Berlin: Wachmann Verlag.

Seashore. C. E., (1967). Psychology of Musik . New York: Dover.

Siegenthaler, H., Zihlmann H.(1982). Rhythmische Erziehung. Hitzkirch LU: Comenius Verlag.

Теплов Б. М. (1985). Избранные труды: В 2-х Т.Т.I. – М.: Педагогика.