Music and Movement

Prof. Elisabeth Danuser-Zogg

doi:10.5771/9783896659392

Summary

Die Vermittlung von Musik und Bewegung / Rhythmik wird als Modell in einer dualen Einheit von Struktur und Dynamik dargestellt. In der Struktur im ersten Teil werden Kompetenzprofile umrissen, welche für die Arbeit mit Menschen aller Altersstufen sowie Menschen mit besonderen Bedürfnissen zuzuordnen sind. Der zweite Teil definiert die Merkmale einer kunstbasierten kreativen Unterrichtsgestaltung. Modellzeichnungen erleichtern an jedem Punkt die Orientierung im Spannungsfeld von Struktur und Dynamik.

Die genaue Definierung von Zielen als auch die Möglichkeit der individuell anpassbaren Dynamik macht eine Anwendung in unterschiedlichsten Berufsfeldern möglich. Durch die Vielfalt der Ebenen werden zusätzlich zahlreiche Hinweise für die Arbeit im Bereich der Inklusion beschrieben.

Angesprochen sind Lehrende und Lernende in Musik und Bewegung / Rhythmik, Musik, Künstlerischer Vermittlung, Gymnastik und Sport, sowie kunstpädagogisch Interessierte aus den verschiedensten Arbeitsgebieten.

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Bibliographic data

Copyright year: 2020
ISBN-Print: 978-3-89665-938-5
ISBN-Online: 978-3-89665-939-2
Publisher: Academia, Baden-Baden
Series: Academia Sport
Volume: 58
Language: English
Pages: 240
Product type: Book Titles

Titelei/Inhaltsverzeichnis No access Pages 1 - 8
1. Preface No access
2. 1. Music and Movement / Rhythmics No access
  2. Practical relevance No access
  3. Terminology No access
  4. The text No access
  5. Sources No access
  6. Diagrams No access
3. 1. Translate music into movement and movement into music No access
  2. Time – Space – Strength – Form: first distinctions No access
  3. Distinction of the four parameters within the poles No access
  4. Practical relevance No access
4. 1. The six fields No access
  2. Structure and dynamics No access
  3. The different sections No access
  4. The structures of the fields and sections No access
  5. The model as a basis for practice No access
  6. Practical relevance No access
5. 1. Music A: Being with music/Perceiving music No access
  2. Music B: Learning the basics No access
  3. Music C: Differentiating musical parameters No access
  4. Music D: Relating music to the room, an object, a partner, the group No access
  5. Music E: Discovering music as a personal language No access
6. 1. Movement A: Perception of body and body space No access
  2. Movement B: Movement development No access
  3. Movement C: Distinctions of the movement rhythms No access
  4. Movement D: Movement in relation to the room, a partner, an object No access
  5. Movement E: Movement creations No access
7. 1. Perception A1, developing proprioception: surface perception No access
  2. Perception A2, developing proprioception: depth perception No access
  3. Perception A3, developing proprioception: kinaesthetic perception No access
  4. Perception A4, developing proprioception: vestibular perception No access
  5. Perception C1: Distinctions in remote senses: auditive perception No access
  6. Perception C2: Distinctions in proprioception: visual perception No access
  7. Perception D: Perception – Movement – Space No access
8. 1. Concept formation A: Perceiving processes with all senses and putting them into one’s own words No access
  2. Concept formation B: Experiencing, recognising and naming the basics of the parameters, of cultural techniques and factual topics No access
  3. Concept formation C: Differentiating, comparing, connecting, naming terms No access
  4. Concept formation D: Relating concepts to creation in Music and Movement, to material, to the room, to partners No access
  5. Concept formation E: Personalising terms from everyday life No access
9. 1. Social interaction A: “ME”, self-awareness as the basis for social awareness No access
  2. Social Interaction B: “YOU and ME”, dealing with a partner No access
  3. Social interaction C: “ME and US”, dealing with a group No access
  4. Social interaction D: Me ‒ my partner ‒ the group in the room and/or with materials No access
  5. Social interaction E: Social competence and creativity No access
10. 1. Personal expression A: Becoming self-aware No access
  2. Personal expression B: Using one’s own repertoire of personal abilities No access
  3. Personal expression C: Developing something new from made experiences No access
  4. Personal expression D: Putting personal expressions in relation to materials, the group, a partner, the room No access
  5. Personal expression E: Creativity in all fields No access
11. 1. Definition of rhythm No access
  2. Rhythm training in Music and Movement No access
  3. Rhythms of the body No access
  4. Rhythm as an expressive means of personal properties in everyday life No access
  5. Timing and time research No access
  6. Personal definition No access
  7. Rhythm as the dynamics between the poles of tension and relaxation No access
  8. The importance of rhythm for the human development No access
12. 1. Selection criteria No access
  2. Rhythmics materials No access
  3. Groove Pack No access
  4. Musical instruments No access
  5. Everyday materials and objects for movement No access
  6. Handling of materials and instruments No access
1. 1. Quality No access
  2. Two lessons in comparison No access
  3. Learning success No access
2. 1. Creative processes No access
  2. Lesson dynamics within the four parameters No access
  3. Rhythm and rhythmisation in the lesson dynamics No access
  4. The six fields as a design tool in the aesthetic learning space No access
  5. Reactions as feedback No access
3. 1. Goal and process No access
  2. Setting goals No access
  3. Implementing goals ‒ achieving goals No access
  4. Concrete setting of goals No access
  5. Goal and topic No access
4. 1. Variations No access
  2. The organic exercise development No access
  3. Mixed forms No access
5. 1. Rhythmised learning within the fields No access
  2. Resonance in the aesthetic learning space No access
  3. Resonance and inspiration No access
  4. Interaction patterns in the learning process No access
6. 1. Lesson structure: beginning – development – end No access
  2. Preparatory grid No access
  3. Planning a long-term process No access
7. 1. Lively preparation and reflection No access
  2. Reflections No access
  3. Assessment No access
  4. Evaluations No access
  5. Observation of individual pupils using the model No access
8. 1. Children learn (about) music with all their senses No access
  2. Impact of a lack of differentiation No access
  3. Structural changes in the classroom No access
  4. Observing, analysing and changing difficult teaching situations No access
9. 1. The chance of music in diversity No access
  2. Musical learning is a complex process No access
  3. The inclusive music lessons are designed to be perceptible and tangible No access
  4. Clear pulse and rhythm movements support musical learning No access
  5. Composing the ‘aesthetic’ in a visual and auditive manner is part of the success No access
  6. The score of the inclusive music lesson has different parts No access
10. 1. Between the poles of art and pedagogy No access
  2. The model and acquisition of competencies No access
  3. Music – movement – learning No access
  4. The model as the basis for a specific concept development No access
  5. Experimental spaces No access
  6. The relationship of creativity and learning No access
  7. Relationship and handiwork No access
  8. Innovative learning No access
11. Appendix: Information on literature and references No access