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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Dalcroze Eurhythmics</h1><div class="u-tcGrayDark">8,490 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Dalcroze Eurhythmics</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Dalcroze_Eurhythmics">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27020373" data-work_id="27020373" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27020373/Koellreutter_e_Dalcroze_reflex%C3%B5es_sobre_quest%C3%B5es_do_m%C3%A9todo_a_partir_de_uma_experi%C3%AAncia_de_est%C3%A1gio_TCC_2014">Koellreutter e Dalcroze: reflexões sobre questões do "método" a partir de uma experiência de estágio, TCC, 2014.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O presente trabalho divide-se em quatro partes. A primeira é uma apresentação de minha experiência de atuação docente como estagiário realizada entre os meses de Abril e Junho do ano de 2014, cujo relatório é tomado como documento de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27020373" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O presente trabalho divide-se em quatro partes. A primeira é uma apresentação de minha experiência de atuação docente como estagiário realizada entre os meses de Abril e Junho do ano de 2014, cujo relatório é tomado como documento de análise, e cujas atividades principais são apresentadas utilizando-se do modelo C(L)A(S)P como referência organizacional. A segunda parte deste trabalho apresentará algumas das concepções de educação musical de Hans-Joachim Koellreutter, relacionando-as com as experiências práticas no estágio. Na terceira parte são apresentadas algumas reflexões a respeito da Rítmica, proposta de educação musical de Emile Jaques-Dalcroze, do mesmo modo que são propostas algumas relações da Rítmica com a prática pedagógica experienciada no estágio. A quarta parte destina-se a refletir a respeito do conceito do “método” musical, sendo que este é identificado como termo central para o entendimento das propostas de Koellreutter e de Dalcroze. O trabalho é fruto de uma busca por maior coerência na relação entre teoria e prática pedagógica, podendo ser assim uma contribuição neste âmbito, visto a dificuldade encontrada por estudantes de licenciatura em música na construção desta relação teórico-prática.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27020373" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b8ef56601251dbf510e606b9f7b5781" rel="nofollow" data-download="{"attachment_id":47279333,"asset_id":27020373,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47279333/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11300914" href="https://udesc.academia.edu/RafaelPrimMeurer">Rafael P Meurer</a><script data-card-contents-for-user="11300914" type="text/json">{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"}</script></span></span></li><li class="js-paper-rank-work_27020373 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27020373"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27020373, container: ".js-paper-rank-work_27020373", }); });</script></li><li class="js-percentile-work_27020373 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 27020373; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_27020373"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_27020373 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="27020373"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27020373; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=27020373]").text(description); $(".js-view-count-work_27020373").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27020373").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27020373"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="60597" rel="nofollow" href="https://www.academia.edu/Documents/in/Orff_and_Dalcroze_Activities">Orff and Dalcroze Activities</a>, <script data-card-contents-for-ri="60597" type="text/json">{"id":60597,"name":"Orff and Dalcroze Activities","url":"https://www.academia.edu/Documents/in/Orff_and_Dalcroze_Activities?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113424" rel="nofollow" href="https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical">Educação Musical</a>, <script data-card-contents-for-ri="113424" type="text/json">{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="205643" rel="nofollow" href="https://www.academia.edu/Documents/in/Koellreutter">Koellreutter</a><script data-card-contents-for-ri="205643" type="text/json">{"id":205643,"name":"Koellreutter","url":"https://www.academia.edu/Documents/in/Koellreutter?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27020373]'), work: {"id":27020373,"title":"Koellreutter e Dalcroze: reflexões sobre questões do \"método\" a partir de uma experiência de estágio, TCC, 2014.","created_at":"2016-07-15T18:23:34.208-07:00","url":"https://www.academia.edu/27020373/Koellreutter_e_Dalcroze_reflex%C3%B5es_sobre_quest%C3%B5es_do_m%C3%A9todo_a_partir_de_uma_experi%C3%AAncia_de_est%C3%A1gio_TCC_2014?f_ri=919","dom_id":"work_27020373","summary":"O presente trabalho divide-se em quatro partes. A primeira é uma apresentação de minha experiência de atuação docente como estagiário realizada entre os meses de Abril e Junho do ano de 2014, cujo relatório é tomado como documento de análise, e cujas atividades principais são apresentadas utilizando-se do modelo C(L)A(S)P como referência organizacional. A segunda parte deste trabalho apresentará algumas das concepções de educação musical de Hans-Joachim Koellreutter, relacionando-as com as experiências práticas no estágio. Na terceira parte são apresentadas algumas reflexões a respeito da Rítmica, proposta de educação musical de Emile Jaques-Dalcroze, do mesmo modo que são propostas algumas relações da Rítmica com a prática pedagógica experienciada no estágio. A quarta parte destina-se a refletir a respeito do conceito do “método” musical, sendo que este é identificado como termo central para o entendimento das propostas de Koellreutter e de Dalcroze. O trabalho é fruto de uma busca por maior coerência na relação entre teoria e prática pedagógica, podendo ser assim uma contribuição neste âmbito, visto a dificuldade encontrada por estudantes de licenciatura em música na construção desta relação teórico-prática. ","downloadable_attachments":[{"id":47279333,"asset_id":27020373,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":60597,"name":"Orff and Dalcroze Activities","url":"https://www.academia.edu/Documents/in/Orff_and_Dalcroze_Activities?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":205643,"name":"Koellreutter","url":"https://www.academia.edu/Documents/in/Koellreutter?f_ri=919","nofollow":true},{"id":738939,"name":"Jacques Dalcroze","url":"https://www.academia.edu/Documents/in/Jacques_Dalcroze?f_ri=919"},{"id":1155553,"name":"Hans-Joachim Koellreutter","url":"https://www.academia.edu/Documents/in/Hans-Joachim_Koellreutter?f_ri=919"},{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919"},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_71730977" data-work_id="71730977" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/71730977/Unearthing_the_Artist_An_Autoethnographic_Investigation">Unearthing the Artist: An Autoethnographic Investigation</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper I address how autoethnography was utilized to research the role and value of arts practice research in Western classical music professional training and practice, by a classically trained professional violinist. As a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_71730977" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper I address how autoethnography was utilized to research the role and value of arts practice research in Western classical music professional training and practice, by a classically trained professional violinist. As a researcher, I use the philosophy and method of Dalcroze Eurhythmics as a framework to excavate the multiple layers of my own practice and investigate whether there is wider potential resonance for other professional performers. I utilize a mixed-mode approach, combining artistic practice with a number of documenting strategies, in particular using autoethnography as a tool for documentation and reflection. I propose key findings concerning the value of arts practice, and how an autoethnographic journey facilitated the emergence of the self as artist, within the Western classical music culture. The processes of excavation, enabled by autoethnography, attempt to unearth the holistic artist within the performing musician.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/71730977" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f56f477f28ea07826164da60c99f3fa2" rel="nofollow" data-download="{"attachment_id":80953524,"asset_id":71730977,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/80953524/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36545133" href="https://independent.academia.edu/DianeDaly">Diane Daly</a><script data-card-contents-for-user="36545133" type="text/json">{"id":36545133,"first_name":"Diane","last_name":"Daly","domain_name":"independent","page_name":"DianeDaly","display_name":"Diane Daly","profile_url":"https://independent.academia.edu/DianeDaly?f_ri=919","photo":"https://0.academia-photos.com/36545133/20470847/20120743/s65_diane.daly.jpeg"}</script></span></span></li><li class="js-paper-rank-work_71730977 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="71730977"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 71730977, container: ".js-paper-rank-work_71730977", }); });</script></li><li class="js-percentile-work_71730977 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 71730977; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_71730977"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_71730977 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="71730977"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 71730977; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=71730977]").text(description); $(".js-view-count-work_71730977").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_71730977").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="71730977"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1751" rel="nofollow" href="https://www.academia.edu/Documents/in/Creativity">Creativity</a>, <script data-card-contents-for-ri="1751" type="text/json">{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5737" rel="nofollow" href="https://www.academia.edu/Documents/in/Autoethnography">Autoethnography</a>, <script data-card-contents-for-ri="5737" type="text/json">{"id":5737,"name":"Autoethnography","url":"https://www.academia.edu/Documents/in/Autoethnography?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20168" rel="nofollow" href="https://www.academia.edu/Documents/in/Artistic_Research">Artistic Research</a><script data-card-contents-for-ri="20168" type="text/json">{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=71730977]'), work: {"id":71730977,"title":"Unearthing the Artist: An Autoethnographic Investigation","created_at":"2022-02-16T23:05:16.865-08:00","url":"https://www.academia.edu/71730977/Unearthing_the_Artist_An_Autoethnographic_Investigation?f_ri=919","dom_id":"work_71730977","summary":"In this paper I address how autoethnography was utilized to research the role and value of arts practice research in Western classical music professional training and practice, by a classically trained professional violinist. As a researcher, I use the philosophy and method of Dalcroze Eurhythmics as a framework to excavate the multiple layers of my own practice and investigate whether there is wider potential resonance for other professional performers. I utilize a mixed-mode approach, combining artistic practice with a number of documenting strategies, in particular using autoethnography as a tool for documentation and reflection. I propose key findings concerning the value of arts practice, and how an autoethnographic journey facilitated the emergence of the self as artist, within the Western classical music culture. The processes of excavation, enabled by autoethnography, attempt to unearth the holistic artist within the performing musician.","downloadable_attachments":[{"id":80953524,"asset_id":71730977,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36545133,"first_name":"Diane","last_name":"Daly","domain_name":"independent","page_name":"DianeDaly","display_name":"Diane Daly","profile_url":"https://independent.academia.edu/DianeDaly?f_ri=919","photo":"https://0.academia-photos.com/36545133/20470847/20120743/s65_diane.daly.jpeg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=919","nofollow":true},{"id":5737,"name":"Autoethnography","url":"https://www.academia.edu/Documents/in/Autoethnography?f_ri=919","nofollow":true},{"id":20168,"name":"Artistic Research","url":"https://www.academia.edu/Documents/in/Artistic_Research?f_ri=919","nofollow":true},{"id":31041,"name":"Embodied musical experience","url":"https://www.academia.edu/Documents/in/Embodied_musical_experience?f_ri=919"},{"id":96288,"name":"The qualitative report","url":"https://www.academia.edu/Documents/in/The_qualitative_report?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31146701" data-work_id="31146701" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31146701/Rytmikens_och_solf%C3%A8gens_ursprung_Emile_Jaques_Dalcroze_och_hans_samtid_The_origin_of_Dalcroze_Eurhythmics_and_solf%C3%A8ge_Emile_Jaques_Dalcroze_and_his_time">Rytmikens och solfègens ursprung: Emile Jaques-Dalcroze och hans samtid | The origin of Dalcroze Eurhythmics and solfège: Emile Jaques-Dalcroze and his time.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">During his lifetime the Swiss musician and pedagogue Emile Jaques-Dalcroze developed Dalcroze-Eurhythmics, a movement-based methodology in music education. The purpose of the present study is to explore the early development of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31146701" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">During his lifetime the Swiss musician and pedagogue Emile Jaques-Dalcroze developed Dalcroze-Eurhythmics, a movement-based methodology in music education. The purpose of the present study is to explore the early development of Jaques-Dalcroze’s original Eurhythmics and especially solfège – movement based aural training – which is one of its main fields. This study aims to fathom Jaques-Dalcrozes life up to the year 1906, as well as the cultural, pedagogical and other societal tendencies during the 19th century to investigate how Jaques-Dalcroze’s personal history influenced his choice of pedagogical emphasis for his aural training, and how contemporary society in his time influenced the development and reception of Eurhythmics and solfège. The methodological basis of the study is historical with a hermeneutic perspective. The result is partly presented in a biographical form. The study shows that Jaques-Dalcroze was without doubt influenced by the world of his time, and was affected by people in his milieu, particularly his piano teachers de Senger, Prosnitz and Lussy, the virtuoso violinist Ysaÿe, the psychologist Claparède and the colleges of Jaques-Dalcroze Gorter, Boepple and Chassevant. Pestalozzi, Nägeli and Fröbel were pedagogues whose ideas were mirrored in the method of Jaques-Dalcroze. These different influences, in synergy with his own personal history and preconditions, led to the development of Dalcroze-Eurhythmics.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31146701" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7b8fd364ccca5e3e7de8d045d20373e7" rel="nofollow" data-download="{"attachment_id":51581394,"asset_id":31146701,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51581394/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3391758" href="https://kmh.academia.edu/InccaRasmusson">Incca Rasmusson</a><script data-card-contents-for-user="3391758" type="text/json">{"id":3391758,"first_name":"Incca","last_name":"Rasmusson","domain_name":"kmh","page_name":"InccaRasmusson","display_name":"Incca Rasmusson","profile_url":"https://kmh.academia.edu/InccaRasmusson?f_ri=919","photo":"https://0.academia-photos.com/3391758/1145902/19109904/s65_incca.rasmusson.jpg"}</script></span></span></li><li class="js-paper-rank-work_31146701 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31146701"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31146701, container: ".js-paper-rank-work_31146701", }); 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$(".js-view-count[data-work-id=31146701]").text(description); $(".js-view-count-work_31146701").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31146701").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31146701"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31146701]'), work: {"id":31146701,"title":"Rytmikens och solfègens ursprung: Emile Jaques-Dalcroze och hans samtid | The origin of Dalcroze Eurhythmics and solfège: Emile Jaques-Dalcroze and his time.","created_at":"2017-02-01T04:26:36.000-08:00","url":"https://www.academia.edu/31146701/Rytmikens_och_solf%C3%A8gens_ursprung_Emile_Jaques_Dalcroze_och_hans_samtid_The_origin_of_Dalcroze_Eurhythmics_and_solf%C3%A8ge_Emile_Jaques_Dalcroze_and_his_time?f_ri=919","dom_id":"work_31146701","summary":"During his lifetime the Swiss musician and pedagogue Emile Jaques-Dalcroze developed Dalcroze-Eurhythmics, a movement-based methodology in music education. The purpose of the present study is to explore the early development of Jaques-Dalcroze’s original Eurhythmics and especially solfège – movement based aural training – which is one of its main fields. This study aims to fathom Jaques-Dalcrozes life up to the year 1906, as well as the cultural, pedagogical and other societal tendencies during the 19th century to investigate how Jaques-Dalcroze’s personal history influenced his choice of pedagogical emphasis for his aural training, and how contemporary society in his time influenced the development and reception of Eurhythmics and solfège. The methodological basis of the study is historical with a hermeneutic perspective. The result is partly presented in a biographical form. The study shows that Jaques-Dalcroze was without doubt influenced by the world of his time, and was affected by people in his milieu, particularly his piano teachers de Senger, Prosnitz and Lussy, the virtuoso violinist Ysaÿe, the psychologist Claparède and the colleges of Jaques-Dalcroze Gorter, Boepple and Chassevant. Pestalozzi, Nägeli and Fröbel were pedagogues whose ideas were mirrored in the method of Jaques-Dalcroze. These different influences, in synergy with his own personal history and preconditions, led to the development of Dalcroze-Eurhythmics.","downloadable_attachments":[{"id":51581394,"asset_id":31146701,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3391758,"first_name":"Incca","last_name":"Rasmusson","domain_name":"kmh","page_name":"InccaRasmusson","display_name":"Incca Rasmusson","profile_url":"https://kmh.academia.edu/InccaRasmusson?f_ri=919","photo":"https://0.academia-photos.com/3391758/1145902/19109904/s65_incca.rasmusson.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_64554863" data-work_id="64554863" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/64554863/%D0%94%D0%B2%D0%B8%D0%B6%D0%B5%D0%BD%D0%B8%D0%B5_%D0%BA_%D1%81%D0%B8%D0%BD%D0%B5%D1%81%D1%82%D0%B5%D0%B7%D0%B8%D0%B8_%D0%A1%D0%B2%D0%BE%D0%B1%D0%BE%D0%B4%D0%BD%D1%8B%D0%B9_%D1%82%D0%B0%D0%BD%D0%B5%D1%86_%D0%B2_%D1%82%D0%B2%D0%BE%D1%80%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5_%D0%AD_%D0%94%D0%B0%D0%BB%D1%8C%D0%BA%D1%80%D0%BE%D0%B7%D0%B0_%D0%A0_%D0%A8%D1%82%D0%B0%D0%B9%D0%BD%D0%B5%D1%80%D0%B0_%D0%A0_%D0%9B%D0%B0%D0%B1%D0%B0%D0%BD%D0%B0">Движение к синестезии. Свободный танец в творчестве Э. Далькроза, Р. Штайнера, Р. Лабана</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Проблемы синестезии в искусстве ХХ века особенно актуальны для осмысления такого явления как свободный танец, связанного с деятельностью Э. Далькроза, Р. Штайнера, Р. Лабана, которые через разнообразные подходы, используемые ими в... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_64554863" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Проблемы синестезии в искусстве ХХ века особенно актуальны для осмысления такого явления как свободный танец, связанного с деятельностью Э. Далькроза, Р. Штайнера, Р. Лабана, которые через  разнообразные подходы, используемые ими в практике музыкального движения, осуществляли художественные проекты, определяемые многосенсорным восприятием через звук, изображение, телесные  ощущения.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/64554863" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6363535ec7327693be4e2b71a887151c" rel="nofollow" data-download="{"attachment_id":76534459,"asset_id":64554863,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/76534459/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="161505799" href="https://independent.academia.edu/ValeriyaNFedotova">Valeriya N. Fedotova</a><script data-card-contents-for-user="161505799" type="text/json">{"id":161505799,"first_name":"Valeriya N.","last_name":"Fedotova","domain_name":"independent","page_name":"ValeriyaNFedotova","display_name":"Valeriya N. Fedotova","profile_url":"https://independent.academia.edu/ValeriyaNFedotova?f_ri=919","photo":"https://0.academia-photos.com/161505799/51345722/39414032/s65_valeriya_n..fedotova.jpeg"}</script></span></span></li><li class="js-paper-rank-work_64554863 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="64554863"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 64554863, container: ".js-paper-rank-work_64554863", }); });</script></li><li class="js-percentile-work_64554863 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 64554863; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_64554863"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_64554863 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="64554863"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 64554863; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=64554863]").text(description); $(".js-view-count-work_64554863").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_64554863").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="64554863"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3562" rel="nofollow" href="https://www.academia.edu/Documents/in/Rudolf_Steiner">Rudolf Steiner</a>, <script data-card-contents-for-ri="3562" type="text/json">{"id":3562,"name":"Rudolf Steiner","url":"https://www.academia.edu/Documents/in/Rudolf_Steiner?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="35772" rel="nofollow" href="https://www.academia.edu/Documents/in/Synesthesia">Synesthesia</a>, <script data-card-contents-for-ri="35772" type="text/json">{"id":35772,"name":"Synesthesia","url":"https://www.academia.edu/Documents/in/Synesthesia?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="148414" rel="nofollow" href="https://www.academia.edu/Documents/in/Labanotation">Labanotation</a><script data-card-contents-for-ri="148414" type="text/json">{"id":148414,"name":"Labanotation","url":"https://www.academia.edu/Documents/in/Labanotation?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=64554863]'), work: {"id":64554863,"title":"Движение к синестезии. Свободный танец в творчестве Э. Далькроза, Р. Штайнера, Р. Лабана","created_at":"2021-12-16T07:34:08.831-08:00","url":"https://www.academia.edu/64554863/%D0%94%D0%B2%D0%B8%D0%B6%D0%B5%D0%BD%D0%B8%D0%B5_%D0%BA_%D1%81%D0%B8%D0%BD%D0%B5%D1%81%D1%82%D0%B5%D0%B7%D0%B8%D0%B8_%D0%A1%D0%B2%D0%BE%D0%B1%D0%BE%D0%B4%D0%BD%D1%8B%D0%B9_%D1%82%D0%B0%D0%BD%D0%B5%D1%86_%D0%B2_%D1%82%D0%B2%D0%BE%D1%80%D1%87%D0%B5%D1%81%D1%82%D0%B2%D0%B5_%D0%AD_%D0%94%D0%B0%D0%BB%D1%8C%D0%BA%D1%80%D0%BE%D0%B7%D0%B0_%D0%A0_%D0%A8%D1%82%D0%B0%D0%B9%D0%BD%D0%B5%D1%80%D0%B0_%D0%A0_%D0%9B%D0%B0%D0%B1%D0%B0%D0%BD%D0%B0?f_ri=919","dom_id":"work_64554863","summary":"Проблемы синестезии в искусстве ХХ века особенно актуальны для осмысления такого явления как свободный танец, связанного с деятельностью Э. Далькроза, Р. Штайнера, Р. Лабана, которые через разнообразные подходы, используемые ими в практике музыкального движения, осуществляли художественные проекты, определяемые многосенсорным восприятием через звук, изображение, телесные ощущения. ","downloadable_attachments":[{"id":76534459,"asset_id":64554863,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":161505799,"first_name":"Valeriya N.","last_name":"Fedotova","domain_name":"independent","page_name":"ValeriyaNFedotova","display_name":"Valeriya N. 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$(".js-view-count[data-work-id=6369900]").text(description); $(".js-view-count-work_6369900").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6369900").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6369900"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113424" rel="nofollow" href="https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical">Educação Musical</a>, <script data-card-contents-for-ri="113424" type="text/json">{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1298376" rel="nofollow" href="https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical">Métodos Ativos em Educação Musical</a>, <script data-card-contents-for-ri="1298376" type="text/json">{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1321152" rel="nofollow" href="https://www.academia.edu/Documents/in/Metodo_Dalcroze">Método Dalcroze</a><script data-card-contents-for-ri="1321152" type="text/json">{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6369900]'), work: {"id":6369900,"title":"Método Dalcroze - educação musical para o corpo e a mente (monografia)","created_at":"2014-03-11T00:31:55.489-07:00","url":"https://www.academia.edu/6369900/M%C3%A9todo_Dalcroze_educa%C3%A7%C3%A3o_musical_para_o_corpo_e_a_mente_monografia_?f_ri=919","dom_id":"work_6369900","summary":null,"downloadable_attachments":[{"id":33187279,"asset_id":6369900,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":108593,"first_name":"Ana Lucia","last_name":"Gaborim-Moreira","domain_name":"ufms","page_name":"AnaLuciaGaborimMoreira","display_name":"Ana Lucia I Gaborim-Moreira","profile_url":"https://ufms.academia.edu/AnaLuciaGaborimMoreira?f_ri=919","photo":"https://0.academia-photos.com/108593/29720/16859924/s65_ana.lucia_gaborim-moreira.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919","nofollow":true},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44610593" data-work_id="44610593" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44610593/Dalcroze_Eurhythmics_a_method_an_approach_a_pedagogy_or_a_philosophy">Dalcroze Eurhythmics -a method, an approach, a pedagogy, or a philosophy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In my keynote presentation in the second International Conference of Dalcroze Studies in Vienna 2015, I argued that Dalcroze Eurhythmics is not a method. This aroused several opposite opinions and many interesting discussions. In this... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44610593" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In my keynote presentation in the second International Conference of Dalcroze Studies in Vienna 2015, I argued that Dalcroze Eurhythmics is not a method. This aroused several opposite opinions and many interesting discussions. In this article, I want to continue the discussion and consider what using the word method implies, and what the other options of talking about Dalcroze Eurhythmics are, based on my previous studies. I will also discuss how a method, an approach, or any similar such system or framework should be applied according to the current understanding of teaching as reflective practice. Moreover, I will address the recent scholarly debate and critique in music education regarding so-called teaching methods, such as Dalcroze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44610593" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1161315932b18c10d2f66cce0d2f6b93" rel="nofollow" data-download="{"attachment_id":65075284,"asset_id":44610593,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65075284/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_44610593 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44610593"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44610593, container: ".js-paper-rank-work_44610593", }); 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$(".js-view-count[data-work-id=44610593]").text(description); $(".js-view-count-work_44610593").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44610593").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44610593"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44610593]'), work: {"id":44610593,"title":"Dalcroze Eurhythmics -a method, an approach, a pedagogy, or a philosophy","created_at":"2020-11-30T23:42:57.845-08:00","url":"https://www.academia.edu/44610593/Dalcroze_Eurhythmics_a_method_an_approach_a_pedagogy_or_a_philosophy?f_ri=919","dom_id":"work_44610593","summary":"In my keynote presentation in the second International Conference of Dalcroze Studies in Vienna 2015, I argued that Dalcroze Eurhythmics is not a method. This aroused several opposite opinions and many interesting discussions. In this article, I want to continue the discussion and consider what using the word method implies, and what the other options of talking about Dalcroze Eurhythmics are, based on my previous studies. I will also discuss how a method, an approach, or any similar such system or framework should be applied according to the current understanding of teaching as reflective practice. Moreover, I will address the recent scholarly debate and critique in music education regarding so-called teaching methods, such as Dalcroze.","downloadable_attachments":[{"id":65075284,"asset_id":44610593,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12710539" data-work_id="12710539" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12710539/Psicomotricidade_e_educa%C3%A7%C3%A3o_musical_reflex%C3%B5es_para_o_desenvolvimento_psicomotor_da_crian%C3%A7a_atrav%C3%A9s_do_m%C3%A9todo_de_Dalcroze">Psicomotricidade e educação musical: reflexões para o desenvolvimento psicomotor da criança através do método de Dalcroze</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12710539" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6cb369cf01a7302e58ac226c99642fd5" rel="nofollow" data-download="{"attachment_id":37790220,"asset_id":12710539,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37790220/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1261809" href="https://unoeste.academia.edu/AugustoRibeiro">Augusto Paulucci Ribeiro</a><script data-card-contents-for-user="1261809" type="text/json">{"id":1261809,"first_name":"Augusto","last_name":"Paulucci Ribeiro","domain_name":"unoeste","page_name":"AugustoRibeiro","display_name":"Augusto Paulucci Ribeiro","profile_url":"https://unoeste.academia.edu/AugustoRibeiro?f_ri=919","photo":"https://0.academia-photos.com/1261809/461940/36391850/s65_augusto.paulucci_ribeiro.jpg"}</script></span></span></li><li class="js-paper-rank-work_12710539 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12710539"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12710539, container: ".js-paper-rank-work_12710539", }); });</script></li><li class="js-percentile-work_12710539 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12710539; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12710539"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12710539 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12710539"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12710539; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12710539]").text(description); $(".js-view-count-work_12710539").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12710539").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12710539"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="922" rel="nofollow" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113424" rel="nofollow" href="https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical">Educação Musical</a><script data-card-contents-for-ri="113424" type="text/json">{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12710539]'), work: {"id":12710539,"title":"Psicomotricidade e educação musical: reflexões para o desenvolvimento psicomotor da criança através do método de Dalcroze","created_at":"2015-05-31T19:29:53.098-07:00","url":"https://www.academia.edu/12710539/Psicomotricidade_e_educa%C3%A7%C3%A3o_musical_reflex%C3%B5es_para_o_desenvolvimento_psicomotor_da_crian%C3%A7a_atrav%C3%A9s_do_m%C3%A9todo_de_Dalcroze?f_ri=919","dom_id":"work_12710539","summary":null,"downloadable_attachments":[{"id":37790220,"asset_id":12710539,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1261809,"first_name":"Augusto","last_name":"Paulucci Ribeiro","domain_name":"unoeste","page_name":"AugustoRibeiro","display_name":"Augusto Paulucci Ribeiro","profile_url":"https://unoeste.academia.edu/AugustoRibeiro?f_ri=919","photo":"https://0.academia-photos.com/1261809/461940/36391850/s65_augusto.paulucci_ribeiro.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39225809" data-work_id="39225809" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39225809/SOMA_LITERATE_DESIGN_Recentering_the_Interstitiality_of_Experience">SOMA LITERATE DESIGN Recentering the Interstitiality of Experience</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The domain of Interaction Design (IxD) strives for rich interactions yet continues to work with both a shallow definition of gestalt experience and a meager palette of experiential variables from which to pull. The presence of the body in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39225809" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The domain of Interaction Design (IxD) strives for rich interactions yet continues to work with both a shallow definition of gestalt experience and a meager palette of experiential variables from which to pull. The presence of the body in human experience is noted, but poorly understood or utilized when making design moves. Through a turning of attention to the visceral variables of experience, this thesis presents the first comprehensive definition and taxonomy of Soma Literacy to reveal an expanded palette of variables to the design fields. Interventions into worlds through such a tactile and personal lens challenge many entrenched beliefs and reframes the very nature of interaction and experience. This new framing and set of priorities applicable to designing for engagement of the felt-sense provides both a timely provocation, and a much-needed practical aid to designers and educators.<br />Influenced by interaction aesthetics, somaesthetics, pragmatic philosophy, and the theoretical and pedagogical principles of Émile Jaques-Dalcroze’s Eurhythmics, I present the sentient body (soma) as the core of experiential perception. I introduce the soma tier of experience and discuss to what extents Design can offer interventions to reveal, nudge, magnify, or diminish experiential gestalts through the manipulatible variables of the soma tier, thus offering interaction design not just a renewed and expanded palette, but also a clarification of the fundamental palette of human interaction factors. The human experience is analog. It is the actual, visceral, flesh and bone, breathing, beating body that is the only translator of experience that we possess. It is only through this lens that we might come to know and thereby design meaningful interactions.<br />This thesis re-presents the feeling body as the single fundamental constant for IxD, a playground for all participation, engagement, and felt-experience. Soma Literacy is introduced as an encompassing and organizing field of study that frames this renewed attention and offers a path to analyze, interpret, reveal, and make meaning through the bodied content present in experience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39225809" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e023a276e59912b91b094f1acc88e1b1" rel="nofollow" data-download="{"attachment_id":59356023,"asset_id":39225809,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59356023/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4576235" href="https://cmu.academia.edu/StephenNeely">Stephen Neely</a><script data-card-contents-for-user="4576235" type="text/json">{"id":4576235,"first_name":"Stephen","last_name":"Neely","domain_name":"cmu","page_name":"StephenNeely","display_name":"Stephen Neely","profile_url":"https://cmu.academia.edu/StephenNeely?f_ri=919","photo":"https://0.academia-photos.com/4576235/1902493/165282319/s65_stephen.neely.jpg"}</script></span></span></li><li class="js-paper-rank-work_39225809 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39225809"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39225809, container: ".js-paper-rank-work_39225809", }); 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$(".js-view-count[data-work-id=39225809]").text(description); $(".js-view-count-work_39225809").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39225809").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39225809"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="472" rel="nofollow" href="https://www.academia.edu/Documents/in/Human_Computer_Interaction">Human Computer Interaction</a>, <script data-card-contents-for-ri="472" type="text/json">{"id":472,"name":"Human Computer Interaction","url":"https://www.academia.edu/Documents/in/Human_Computer_Interaction?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="808" rel="nofollow" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1903" rel="nofollow" href="https://www.academia.edu/Documents/in/Design_education">Design education</a><script data-card-contents-for-ri="1903" type="text/json">{"id":1903,"name":"Design education","url":"https://www.academia.edu/Documents/in/Design_education?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39225809]'), work: {"id":39225809,"title":"SOMA LITERATE DESIGN Recentering the Interstitiality of Experience","created_at":"2019-05-22T08:27:08.295-07:00","url":"https://www.academia.edu/39225809/SOMA_LITERATE_DESIGN_Recentering_the_Interstitiality_of_Experience?f_ri=919","dom_id":"work_39225809","summary":"The domain of Interaction Design (IxD) strives for rich interactions yet continues to work with both a shallow definition of gestalt experience and a meager palette of experiential variables from which to pull. The presence of the body in human experience is noted, but poorly understood or utilized when making design moves. Through a turning of attention to the visceral variables of experience, this thesis presents the first comprehensive definition and taxonomy of Soma Literacy to reveal an expanded palette of variables to the design fields. Interventions into worlds through such a tactile and personal lens challenge many entrenched beliefs and reframes the very nature of interaction and experience. This new framing and set of priorities applicable to designing for engagement of the felt-sense provides both a timely provocation, and a much-needed practical aid to designers and educators.\nInfluenced by interaction aesthetics, somaesthetics, pragmatic philosophy, and the theoretical and pedagogical principles of Émile Jaques-Dalcroze’s Eurhythmics, I present the sentient body (soma) as the core of experiential perception. I introduce the soma tier of experience and discuss to what extents Design can offer interventions to reveal, nudge, magnify, or diminish experiential gestalts through the manipulatible variables of the soma tier, thus offering interaction design not just a renewed and expanded palette, but also a clarification of the fundamental palette of human interaction factors. The human experience is analog. It is the actual, visceral, flesh and bone, breathing, beating body that is the only translator of experience that we possess. It is only through this lens that we might come to know and thereby design meaningful interactions.\nThis thesis re-presents the feeling body as the single fundamental constant for IxD, a playground for all participation, engagement, and felt-experience. Soma Literacy is introduced as an encompassing and organizing field of study that frames this renewed attention and offers a path to analyze, interpret, reveal, and make meaning through the bodied content present in experience.","downloadable_attachments":[{"id":59356023,"asset_id":39225809,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4576235,"first_name":"Stephen","last_name":"Neely","domain_name":"cmu","page_name":"StephenNeely","display_name":"Stephen Neely","profile_url":"https://cmu.academia.edu/StephenNeely?f_ri=919","photo":"https://0.academia-photos.com/4576235/1902493/165282319/s65_stephen.neely.jpg"}],"research_interests":[{"id":472,"name":"Human Computer Interaction","url":"https://www.academia.edu/Documents/in/Human_Computer_Interaction?f_ri=919","nofollow":true},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1903,"name":"Design education","url":"https://www.academia.edu/Documents/in/Design_education?f_ri=919","nofollow":true},{"id":4416,"name":"Interaction Design","url":"https://www.academia.edu/Documents/in/Interaction_Design?f_ri=919"},{"id":5281,"name":"Design Theory","url":"https://www.academia.edu/Documents/in/Design_Theory?f_ri=919"},{"id":9432,"name":"Experience Design","url":"https://www.academia.edu/Documents/in/Experience_Design?f_ri=919"},{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=919"},{"id":9720,"name":"Philosophy of Music","url":"https://www.academia.edu/Documents/in/Philosophy_of_Music?f_ri=919"},{"id":10482,"name":"Haptics","url":"https://www.academia.edu/Documents/in/Haptics?f_ri=919"},{"id":22278,"name":"Design Theory and 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Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="922" rel="nofollow" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3429" rel="nofollow" href="https://www.academia.edu/Documents/in/Educational_Research">Educational Research</a>, <script data-card-contents-for-ri="3429" type="text/json">{"id":3429,"name":"Educational Research","url":"https://www.academia.edu/Documents/in/Educational_Research?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3753" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Childhood_Education">Early Childhood Education</a><script 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class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5555350" data-work_id="5555350" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5555350/Embodiment_in_Dalcroze_Eurhythmics_Doctoral_thesis">Embodiment in Dalcroze Eurhythmics. Doctoral thesis. </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis is based on the following articles, which are referred to in the text by their Roman numerals: I Juntunen Marja-Leena (2002a) From the bodily experience towards internalized musical understanding: how the Dalcroze master... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5555350" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis is based on the following articles, which are referred to in the text by their Roman numerals: I Juntunen Marja-Leena (2002a) From the bodily experience towards internalized musical understanding: how the Dalcroze master teachers articulate their pedagogical content knowledge of the approach.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5555350" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9dcd9a45d506d9b2e7b5dc347b385bb0" rel="nofollow" data-download="{"attachment_id":32648554,"asset_id":5555350,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32648554/download_file?st=MTc0MDU2NjUyMCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5555350 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5555350"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5555350, container: ".js-paper-rank-work_5555350", }); 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$(".js-view-count[data-work-id=5555350]").text(description); $(".js-view-count-work_5555350").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5555350").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5555350"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5044" rel="nofollow" href="https://www.academia.edu/Documents/in/Embodiment">Embodiment</a><script data-card-contents-for-ri="5044" type="text/json">{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5555350]'), work: {"id":5555350,"title":"Embodiment in Dalcroze Eurhythmics. Doctoral thesis. ","created_at":"2013-12-29T17:30:52.497-08:00","url":"https://www.academia.edu/5555350/Embodiment_in_Dalcroze_Eurhythmics_Doctoral_thesis?f_ri=919","dom_id":"work_5555350","summary":"This thesis is based on the following articles, which are referred to in the text by their Roman numerals: I Juntunen Marja-Leena (2002a) From the bodily experience towards internalized musical understanding: how the Dalcroze master teachers articulate their pedagogical content knowledge of the approach.","downloadable_attachments":[{"id":32648554,"asset_id":5555350,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5555322" data-work_id="5555322" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5555322/The_practical_applications_of_Dalcroze_Eurhythmics">The practical applications of Dalcroze Eurhythmics.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper examines Dalcroze applications in the field of music education. There are as many variations in the teaching of Dalcroze Eurhythmics as there are teachers. Even so, there are also many commonly shared aspects. In most of its... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5555322" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper examines Dalcroze applications in the field of music education. There are as many variations in the teaching of Dalcroze Eurhythmics as there are teachers. Even so, there are also many commonly shared aspects. In most of its practical applications, Dalcroze Eurhythmics supports other musical studies. The approach is applied to teaching musical behaviour and to deepening the experience and understanding of a musical event or musical concept through bodily movement prior to, or in conjunction with, the development of instrumental or vocal skills. It aims at creating a dynamic partnership between sensing, musical actions, thinking, feeling, and bodily movement. It especially develops creative expression, inner hearing and a sense of rhythm together with a kinaesthetic awareness of musical sounds and it also encourages active involvement and concentration on the part of the students. According to the teacher and the particular application, emphasis is either put on rhythmic movement, ear-training or improvisation. In the professional training of musicians, the Dalcroze approach is applied to various subjects: to solfège, music theory, rhythm, instrumental, conducting, and performance studies. It is also widely used with young children in kindergartens as well as in elementary and music schools.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5555322" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4827120f2491996fe74c426c9b05cd2c" rel="nofollow" data-download="{"attachment_id":32648535,"asset_id":5555322,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32648535/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5555322 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5555322"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5555322, container: ".js-paper-rank-work_5555322", }); });</script></li><li class="js-percentile-work_5555322 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5555322; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5555322"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5555322 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5555322"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5555322; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5555322]").text(description); $(".js-view-count-work_5555322").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5555322").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5555322"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5555322]'), work: {"id":5555322,"title":"The practical applications of Dalcroze Eurhythmics.","created_at":"2013-12-29T17:24:59.360-08:00","url":"https://www.academia.edu/5555322/The_practical_applications_of_Dalcroze_Eurhythmics?f_ri=919","dom_id":"work_5555322","summary":"This paper examines Dalcroze applications in the field of music education. There are as many variations in the teaching of Dalcroze Eurhythmics as there are teachers. Even so, there are also many commonly shared aspects. In most of its practical applications, Dalcroze Eurhythmics supports other musical studies. The approach is applied to teaching musical behaviour and to deepening the experience and understanding of a musical event or musical concept through bodily movement prior to, or in conjunction with, the development of instrumental or vocal skills. It aims at creating a dynamic partnership between sensing, musical actions, thinking, feeling, and bodily movement. It especially develops creative expression, inner hearing and a sense of rhythm together with a kinaesthetic awareness of musical sounds and it also encourages active involvement and concentration on the part of the students. According to the teacher and the particular application, emphasis is either put on rhythmic movement, ear-training or improvisation. In the professional training of musicians, the Dalcroze approach is applied to various subjects: to solfège, music theory, rhythm, instrumental, conducting, and performance studies. It is also widely used with young children in kindergartens as well as in elementary and music schools.","downloadable_attachments":[{"id":32648535,"asset_id":5555322,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29557909" data-work_id="29557909" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29557909/The_Dalcroze_Approach_Experiencing_and_Knowing_Music_Through_Embodied_Exploration">The Dalcroze Approach Experiencing and Knowing Music Through Embodied Exploration</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This chapter addresses the aims, content areas, principles, and applications of the Dalcroze pedagogy, an approach of music education that integrates rhythmic movement, ear-training, and improvisation and recommends that elements of music... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29557909" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This chapter addresses the aims, content areas, principles, and applications of the Dalcroze pedagogy, an approach of music education that integrates rhythmic movement, ear-training, and improvisation and recommends that elements of music are effectively experienced, expressed, understood, and learnt through body movement – ideas that recent neuroscience research has begun to verify. The approach builds on a constructivist view of learning; facilitates learning through kinaesthetic experiences; and aims at developing students’ general bodily skills and (bodily) knowing, musical understanding, expression, and a sense of self. Drawing on the recent research, this chapter suggests that the Dalcroze pedagogy offers an example of a practice in music education that acknowledges the meaning and importance of holistic mind-body experiences for musical knowing and personal development. It challenges us, as (music) educators, to recognize the importance of embodiment in knowing and learning in general. It concludes that the possibilities and challenges of the Dalcroze approach, as of any, should be discussed reflectively and critically.<br /><br />Keywords: Dalcroze pedagogy, Emile Jaques-Dalcroze, music and movement, embodiment, experience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29557909" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a262e7c255bc17ac6efc71b466af338b" rel="nofollow" data-download="{"attachment_id":50001291,"asset_id":29557909,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50001291/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_29557909 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29557909"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29557909, container: ".js-paper-rank-work_29557909", }); });</script></li><li class="js-percentile-work_29557909 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29557909; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29557909"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29557909 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29557909"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29557909; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29557909]").text(description); $(".js-view-count-work_29557909").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29557909").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29557909"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5044" rel="nofollow" href="https://www.academia.edu/Documents/in/Embodiment">Embodiment</a>, <script data-card-contents-for-ri="5044" type="text/json">{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="843100" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_and_Movement_Education">Music and Movement Education</a><script data-card-contents-for-ri="843100" type="text/json">{"id":843100,"name":"Music and Movement Education","url":"https://www.academia.edu/Documents/in/Music_and_Movement_Education?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29557909]'), work: {"id":29557909,"title":"The Dalcroze Approach Experiencing and Knowing Music Through Embodied Exploration","created_at":"2016-10-31T02:54:29.361-07:00","url":"https://www.academia.edu/29557909/The_Dalcroze_Approach_Experiencing_and_Knowing_Music_Through_Embodied_Exploration?f_ri=919","dom_id":"work_29557909","summary":"This chapter addresses the aims, content areas, principles, and applications of the Dalcroze pedagogy, an approach of music education that integrates rhythmic movement, ear-training, and improvisation and recommends that elements of music are effectively experienced, expressed, understood, and learnt through body movement – ideas that recent neuroscience research has begun to verify. The approach builds on a constructivist view of learning; facilitates learning through kinaesthetic experiences; and aims at developing students’ general bodily skills and (bodily) knowing, musical understanding, expression, and a sense of self. Drawing on the recent research, this chapter suggests that the Dalcroze pedagogy offers an example of a practice in music education that acknowledges the meaning and importance of holistic mind-body experiences for musical knowing and personal development. It challenges us, as (music) educators, to recognize the importance of embodiment in knowing and learning in general. It concludes that the possibilities and challenges of the Dalcroze approach, as of any, should be discussed reflectively and critically.\n\nKeywords: Dalcroze pedagogy, Emile Jaques-Dalcroze, music and movement, embodiment, experience.\n","downloadable_attachments":[{"id":50001291,"asset_id":29557909,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true},{"id":843100,"name":"Music and Movement Education","url":"https://www.academia.edu/Documents/in/Music_and_Movement_Education?f_ri=919","nofollow":true},{"id":865465,"name":"Jaques-Dalcroze Education","url":"https://www.academia.edu/Documents/in/Jaques-Dalcroze_Education?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49040417" data-work_id="49040417" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49040417/4th_International_Conference_of_Dalcroze_Studies_The_listening_body_in_action_Habron_2019_">4th International Conference of Dalcroze Studies, 'The listening body in action' (Habron, 2019)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The 4th International Conference of Dalcroze Studies brought together more than 220 delegates from all over the world to share their work in the overlapping fields of pedagogy, performance, therapy and research. Following successful... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49040417" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The 4th International Conference of Dalcroze Studies brought together more than 220 delegates from all over the world to share their work in the overlapping fields of pedagogy, performance, therapy and research. <br /><br />Following successful conferences in Coventry (2013), Vienna (2015) and Quebec City (2017), ICDS4 continues to be the premiere platform for exchange in Dalcroze studies, an evolving transdisciplinary endeavour. Over  five days, delegates from twenty-five countries engaged with a wealth of papers, workshops, symposia, roundtables, posters, research training seminars, keynote addresses, talking circles, discussion groups and performances. In 2019, the Eurhythmics speciality at the Karol Szymanowski Academy of Music celebrated its 30th anniversary, making it a very fitting host.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49040417" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="efb562900ac5b2251718b7b523cbbac7" rel="nofollow" data-download="{"attachment_id":67423825,"asset_id":49040417,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67423825/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65710839" href="https://rncm.academia.edu/JohnHabron">John Habron-James</a><script data-card-contents-for-user="65710839" type="text/json">{"id":65710839,"first_name":"John","last_name":"Habron-James","domain_name":"rncm","page_name":"JohnHabron","display_name":"John Habron-James","profile_url":"https://rncm.academia.edu/JohnHabron?f_ri=919","photo":"https://0.academia-photos.com/65710839/17195118/17332458/s65_john.habron.jpg"}</script></span></span></li><li class="js-paper-rank-work_49040417 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49040417"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49040417, container: ".js-paper-rank-work_49040417", }); 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$(".js-view-count[data-work-id=49040417]").text(description); $(".js-view-count-work_49040417").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49040417").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49040417"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" rel="nofollow" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a><script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49040417]'), work: {"id":49040417,"title":"4th International Conference of Dalcroze Studies, 'The listening body in action' (Habron, 2019)","created_at":"2021-05-24T23:21:09.751-07:00","url":"https://www.academia.edu/49040417/4th_International_Conference_of_Dalcroze_Studies_The_listening_body_in_action_Habron_2019_?f_ri=919","dom_id":"work_49040417","summary":"The 4th International Conference of Dalcroze Studies brought together more than 220 delegates from all over the world to share their work in the overlapping fields of pedagogy, performance, therapy and research. \n\nFollowing successful conferences in Coventry (2013), Vienna (2015) and Quebec City (2017), ICDS4 continues to be the premiere platform for exchange in Dalcroze studies, an evolving transdisciplinary endeavour. Over five days, delegates from twenty-five countries engaged with a wealth of papers, workshops, symposia, roundtables, posters, research training seminars, keynote addresses, talking circles, discussion groups and performances. In 2019, the Eurhythmics speciality at the Karol Szymanowski Academy of Music celebrated its 30th anniversary, making it a very fitting host.","downloadable_attachments":[{"id":67423825,"asset_id":49040417,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65710839,"first_name":"John","last_name":"Habron-James","domain_name":"rncm","page_name":"JohnHabron","display_name":"John Habron-James","profile_url":"https://rncm.academia.edu/JohnHabron?f_ri=919","photo":"https://0.academia-photos.com/65710839/17195118/17332458/s65_john.habron.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=919","nofollow":true},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true},{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=919"},{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=919"},{"id":16234,"name":"Dance History","url":"https://www.academia.edu/Documents/in/Dance_History?f_ri=919"},{"id":19947,"name":"Music Therapy","url":"https://www.academia.edu/Documents/in/Music_Therapy?f_ri=919"},{"id":21264,"name":"Embodied Music Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Music_Cognition?f_ri=919"},{"id":255640,"name":"Embodied knowledge","url":"https://www.academia.edu/Documents/in/Embodied_knowledge?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_26609839" data-work_id="26609839" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/26609839/%C3%89MILE_JAQUES_DALCROZE_L_EURITMICA_NELLA_SCIENZA_DELL_EURITMIA_DI_RUDOLF_STEINER">ÉMILE JAQUES DALCROZE: L’EURITMICA NELLA SCIENZA DELL’EURITMIA DI RUDOLF STEINER</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">UNIVERSITA’ DEGLI STUDI DI TORINO - DIPARTIMENTO DI FILOSOFIA E SCIENZE DELL’EDUCAZIONE, Corso di laurea triennale in filosofia<br />Dissertazione finale, luglio 2015 (voto 103/110)<br />RELATORE: Prof. A. Poma</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26609839" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f2afbac949fb634bf61c96fbcb58e33c" rel="nofollow" data-download="{"attachment_id":46896092,"asset_id":26609839,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46896092/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50581953" href="https://independent.academia.edu/ElisaZeppa">Elisa Zeppa</a><script data-card-contents-for-user="50581953" type="text/json">{"id":50581953,"first_name":"Elisa","last_name":"Zeppa","domain_name":"independent","page_name":"ElisaZeppa","display_name":"Elisa Zeppa","profile_url":"https://independent.academia.edu/ElisaZeppa?f_ri=919","photo":"https://0.academia-photos.com/50581953/13350257/14590912/s65_elisa.zeppa.jpg"}</script></span></span></li><li class="js-paper-rank-work_26609839 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26609839"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26609839, container: ".js-paper-rank-work_26609839", }); });</script></li><li class="js-percentile-work_26609839 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 26609839; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_26609839"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_26609839 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="26609839"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26609839; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=26609839]").text(description); $(".js-view-count-work_26609839").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_26609839").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="26609839"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">21</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="803" rel="nofollow" href="https://www.academia.edu/Documents/in/Philosophy">Philosophy</a>, <script data-card-contents-for-ri="803" type="text/json">{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2310" rel="nofollow" href="https://www.academia.edu/Documents/in/Dance_Movement_Therapy">Dance/Movement Therapy</a><script data-card-contents-for-ri="2310" type="text/json">{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=26609839]'), work: {"id":26609839,"title":"ÉMILE JAQUES DALCROZE: L’EURITMICA NELLA SCIENZA DELL’EURITMIA DI RUDOLF STEINER","created_at":"2016-06-29T13:49:34.721-07:00","url":"https://www.academia.edu/26609839/%C3%89MILE_JAQUES_DALCROZE_L_EURITMICA_NELLA_SCIENZA_DELL_EURITMIA_DI_RUDOLF_STEINER?f_ri=919","dom_id":"work_26609839","summary":"UNIVERSITA’ DEGLI STUDI DI TORINO - DIPARTIMENTO DI FILOSOFIA E SCIENZE DELL’EDUCAZIONE, Corso di laurea triennale in filosofia\nDissertazione finale, luglio 2015 (voto 103/110)\nRELATORE: Prof. A. Poma \n","downloadable_attachments":[{"id":46896092,"asset_id":26609839,"asset_type":"Work","always_allow_download":false},{"id":46895942,"asset_id":26609839,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50581953,"first_name":"Elisa","last_name":"Zeppa","domain_name":"independent","page_name":"ElisaZeppa","display_name":"Elisa Zeppa","profile_url":"https://independent.academia.edu/ElisaZeppa?f_ri=919","photo":"https://0.academia-photos.com/50581953/13350257/14590912/s65_elisa.zeppa.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=919","nofollow":true},{"id":6915,"name":"Unesco","url":"https://www.academia.edu/Documents/in/Unesco?f_ri=919"},{"id":9720,"name":"Philosophy of Music","url":"https://www.academia.edu/Documents/in/Philosophy_of_Music?f_ri=919"},{"id":28039,"name":"Philosophy of Music Education","url":"https://www.academia.edu/Documents/in/Philosophy_of_Music_Education?f_ri=919"},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=919"},{"id":99301,"name":"Música","url":"https://www.academia.edu/Documents/in/M%C3%BAsica?f_ri=919"},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919"},{"id":130005,"name":"Educazione","url":"https://www.academia.edu/Documents/in/Educazione?f_ri=919"},{"id":173374,"name":"Danza","url":"https://www.academia.edu/Documents/in/Danza?f_ri=919"},{"id":343467,"name":"Musical Education","url":"https://www.academia.edu/Documents/in/Musical_Education?f_ri=919"},{"id":395956,"name":"Filosofia della musica","url":"https://www.academia.edu/Documents/in/Filosofia_della_musica?f_ri=919"},{"id":444238,"name":"Music and philosophy","url":"https://www.academia.edu/Documents/in/Music_and_philosophy?f_ri=919"},{"id":738939,"name":"Jacques Dalcroze","url":"https://www.academia.edu/Documents/in/Jacques_Dalcroze?f_ri=919"},{"id":806264,"name":"Didattica Della Musica","url":"https://www.academia.edu/Documents/in/Didattica_Della_Musica?f_ri=919"},{"id":843100,"name":"Music and Movement Education","url":"https://www.academia.edu/Documents/in/Music_and_Movement_Education?f_ri=919"},{"id":865465,"name":"Jaques-Dalcroze Education","url":"https://www.academia.edu/Documents/in/Jaques-Dalcroze_Education?f_ri=919"},{"id":1308688,"name":"Educazione Musicale","url":"https://www.academia.edu/Documents/in/Educazione_Musicale?f_ri=919"},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12378295" data-work_id="12378295" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12378295/Music_Education_and_Transferrable_Skills_An_Investigation_Into_The_Usage_of_Early_Music_Education_Theories_Kodaly_Dalcroze_Suzuki_and_Orff_in_the_Present_Day_Primary_School_Classroom">Music Education & Transferrable Skills: An Investigation Into The Usage of Early Music Education Theories Kodaly, Dalcroze, Suzuki & Orff in the Present Day Primary School Classroom.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Music teachers, therapists, scientists and musicians have acknowledged music education as being a core subject for the development of the whole self for many years. The Kodály, Dalcroze, Suzuki, and Orff Methods of musical learning have... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12378295" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Music teachers, therapists, scientists and musicians have acknowledged music education as being a core subject for the development of the whole self for many years. The Kodály, Dalcroze, Suzuki, and Orff Methods of musical learning have shaped the way children are taught in schools, community centres, and the home. But, are they still used in music education today?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12378295" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6c4aa93912c0a15e8d8a0b6925f36050" rel="nofollow" data-download="{"attachment_id":37630537,"asset_id":12378295,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37630537/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19666148" href="https://hull-college.academia.edu/LouiseButler">Louise Butler</a><script data-card-contents-for-user="19666148" type="text/json">{"id":19666148,"first_name":"Louise","last_name":"Butler","domain_name":"hull-college","page_name":"LouiseButler","display_name":"Louise Butler","profile_url":"https://hull-college.academia.edu/LouiseButler?f_ri=919","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_12378295 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12378295"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12378295, container: ".js-paper-rank-work_12378295", }); 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The Kodály, Dalcroze, Suzuki, and Orff Methods of musical learning have shaped the way children are taught in schools, community centres, and the home. But, are they still used in music education today? ","downloadable_attachments":[{"id":37630537,"asset_id":12378295,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":19666148,"first_name":"Louise","last_name":"Butler","domain_name":"hull-college","page_name":"LouiseButler","display_name":"Louise Butler","profile_url":"https://hull-college.academia.edu/LouiseButler?f_ri=919","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":8276,"name":"Suzuki Technique","url":"https://www.academia.edu/Documents/in/Suzuki_Technique?f_ri=919","nofollow":true},{"id":19947,"name":"Music Therapy","url":"https://www.academia.edu/Documents/in/Music_Therapy?f_ri=919","nofollow":true},{"id":33206,"name":"Early Years (Education)","url":"https://www.academia.edu/Documents/in/Early_Years_Education_?f_ri=919"},{"id":172276,"name":"Early years music education","url":"https://www.academia.edu/Documents/in/Early_years_music_education?f_ri=919"},{"id":653367,"name":"Orff Schulwerk, Early Intervention, Early Childhood Education","url":"https://www.academia.edu/Documents/in/Orff_Schulwerk_Early_Intervention_Early_Childhood_Education?f_ri=919"},{"id":996258,"name":"Kodály Method","url":"https://www.academia.edu/Documents/in/Kodaly_Method?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49040351" data-work_id="49040351" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49040351/3rd_International_Conference_of_Dalcroze_Studies_The_living_moment_Exploring_improvisational_practice_Habron_and_Mathieu_2017_">3rd International Conference of Dalcroze Studies, 'The living moment: Exploring improvisational practice' (Habron & Mathieu, 2017)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Following the success of the conferences in Coventry (2013) and Vienna (2015), ICDS3 took on the role of presenting the best practice, theory, research and debate within the growing interdisciplinary field of Dalcroze studies. Being... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49040351" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Following the success of the conferences in Coventry (2013) and Vienna (2015), ICDS3 took on the role of presenting the best practice, theory, research and debate within the growing interdisciplinary field of Dalcroze studies. Being outside Europe for the first time, this conference established ICDS as a truly international event.<br /><br />Over five days, delegates from more than twenty-five countries and every corner of the globe shared a wealth of papers, workshops, symposia, roundtables, posters, research training seminars, keynote addresses and performances. For the first time, the conference included keynotes focused on showcasing practice, allowing delegates to participate and highlighting the embodied, experiential nature of the knowledge that Dalcroze studies investigates.<br /><br />With its long tradition of Dalcroze training, Université Laval was a fitting host and, being in the beautiful UNESCO World Heritage city of Québec, ICDS3 was a conference to remember.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49040351" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a8b37f159fb8f68e42f90821775ec24b" rel="nofollow" data-download="{"attachment_id":67423747,"asset_id":49040351,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67423747/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65710839" href="https://rncm.academia.edu/JohnHabron">John Habron-James</a><script data-card-contents-for-user="65710839" type="text/json">{"id":65710839,"first_name":"John","last_name":"Habron-James","domain_name":"rncm","page_name":"JohnHabron","display_name":"John Habron-James","profile_url":"https://rncm.academia.edu/JohnHabron?f_ri=919","photo":"https://0.academia-photos.com/65710839/17195118/17332458/s65_john.habron.jpg"}</script></span></span></li><li class="js-paper-rank-work_49040351 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49040351"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49040351, container: ".js-paper-rank-work_49040351", }); 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Being outside Europe for the first time, this conference established ICDS as a truly international event.\n\nOver five days, delegates from more than twenty-five countries and every corner of the globe shared a wealth of papers, workshops, symposia, roundtables, posters, research training seminars, keynote addresses and performances. For the first time, the conference included keynotes focused on showcasing practice, allowing delegates to participate and highlighting the embodied, experiential nature of the knowledge that Dalcroze studies investigates.\n\nWith its long tradition of Dalcroze training, Université Laval was a fitting host and, being in the beautiful UNESCO World Heritage city of Québec, ICDS3 was a conference to remember.","downloadable_attachments":[{"id":67423747,"asset_id":49040351,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65710839,"first_name":"John","last_name":"Habron-James","domain_name":"rncm","page_name":"JohnHabron","display_name":"John Habron-James","profile_url":"https://rncm.academia.edu/JohnHabron?f_ri=919","photo":"https://0.academia-photos.com/65710839/17195118/17332458/s65_john.habron.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":2310,"name":"Dance/Movement Therapy","url":"https://www.academia.edu/Documents/in/Dance_Movement_Therapy?f_ri=919","nofollow":true},{"id":4420,"name":"Embodied Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Cognition?f_ri=919","nofollow":true},{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=919"},{"id":19947,"name":"Music Therapy","url":"https://www.academia.edu/Documents/in/Music_Therapy?f_ri=919"},{"id":21264,"name":"Embodied Music Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Music_Cognition?f_ri=919"},{"id":31041,"name":"Embodied musical experience","url":"https://www.academia.edu/Documents/in/Embodied_musical_experience?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3118794" 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33703520/2nd_International_Conference_of_Dalcroze_Studies_The_movement_connection_Habron_2015_">2nd International Conference of Dalcroze Studies, 'The movement connection' (Habron, 2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">The 2nd International Conference of Dalcroze Studies (ICDS2) took place at the University for Music and Performing Arts Vienna, Austria, 24-26 July 2015.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33703520" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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$(".js-view-count[data-work-id=33703520]").text(description); $(".js-view-count-work_33703520").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33703520").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33703520"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" rel="nofollow" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9684" rel="nofollow" href="https://www.academia.edu/Documents/in/Somatics">Somatics</a><script data-card-contents-for-ri="9684" type="text/json">{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33703520]'), work: {"id":33703520,"title":"2nd International Conference of Dalcroze Studies, 'The movement connection' (Habron, 2015)","created_at":"2017-06-29T09:27:23.374-07:00","url":"https://www.academia.edu/33703520/2nd_International_Conference_of_Dalcroze_Studies_The_movement_connection_Habron_2015_?f_ri=919","dom_id":"work_33703520","summary":"The 2nd International Conference of Dalcroze Studies (ICDS2) took place at the University for Music and Performing Arts Vienna, Austria, 24-26 July 2015.","downloadable_attachments":[{"id":53703507,"asset_id":33703520,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65710839,"first_name":"John","last_name":"Habron-James","domain_name":"rncm","page_name":"JohnHabron","display_name":"John Habron-James","profile_url":"https://rncm.academia.edu/JohnHabron?f_ri=919","photo":"https://0.academia-photos.com/65710839/17195118/17332458/s65_john.habron.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true},{"id":9684,"name":"Somatics","url":"https://www.academia.edu/Documents/in/Somatics?f_ri=919","nofollow":true},{"id":19947,"name":"Music Therapy","url":"https://www.academia.edu/Documents/in/Music_Therapy?f_ri=919"},{"id":843100,"name":"Music and Movement Education","url":"https://www.academia.edu/Documents/in/Music_and_Movement_Education?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28037659" data-work_id="28037659" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28037659/Dalcroze_uma_breve_revis%C3%A3o_bibliogr%C3%A1fica_2016">Dalcroze: uma breve revisão bibliográfica, 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumo: Este texto apresenta uma breve revisão de textos em português sobre Emile Jaques-Dalcroze e a sua proposição de educação musical que parte da movimentação corporal, à qual chamou de Rítmica. A realização da pesquisa revelou a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28037659" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo: Este texto apresenta uma breve revisão de textos em português sobre Emile Jaques-Dalcroze e a sua proposição de educação musical que parte da movimentação corporal, à qual chamou de Rítmica. A realização da pesquisa revelou a escassez de textos e principalmente de práticas dalcrozianas no Brasil. Inicialmente, trago informações acerca do próprio Dalcroze buscando contextualizá-lo culturalmente. Em seguida, apresento aspectos do discurso que permeia a prática dalcroziana. E por último, apresento considerações sobre a presença ou a não presença da Rítmica Dalcroze no Brasil, relacionando-a com certa ausência dos " métodos ativos " em nosso país. Com esta breve revisão, pretendo informar as principais fontes escritas em território nacional para posterior aprofundamento do(a) leitor(a) interessado(a) na Rítmica Dalcroze. Palavras-chave: Dalcroze. Rítmica Dalcroze. Rítmica Dalcroze no Brasil.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28037659" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="26c3ff50434f273cc1928add7385886a" rel="nofollow" data-download="{"attachment_id":48344704,"asset_id":28037659,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48344704/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11300914" href="https://udesc.academia.edu/RafaelPrimMeurer">Rafael P Meurer</a><script data-card-contents-for-user="11300914" type="text/json">{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"}</script></span></span></li><li class="js-paper-rank-work_28037659 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28037659"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28037659, container: ".js-paper-rank-work_28037659", }); 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$(".js-view-count[data-work-id=28037659]").text(description); $(".js-view-count-work_28037659").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28037659").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28037659"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113424" rel="nofollow" href="https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical">Educação Musical</a>, <script data-card-contents-for-ri="113424" type="text/json">{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1321152" rel="nofollow" href="https://www.academia.edu/Documents/in/Metodo_Dalcroze">Método Dalcroze</a><script data-card-contents-for-ri="1321152" type="text/json">{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28037659]'), work: {"id":28037659,"title":"Dalcroze: uma breve revisão bibliográfica, 2016","created_at":"2016-08-26T16:12:16.746-07:00","url":"https://www.academia.edu/28037659/Dalcroze_uma_breve_revis%C3%A3o_bibliogr%C3%A1fica_2016?f_ri=919","dom_id":"work_28037659","summary":"Resumo: Este texto apresenta uma breve revisão de textos em português sobre Emile Jaques-Dalcroze e a sua proposição de educação musical que parte da movimentação corporal, à qual chamou de Rítmica. A realização da pesquisa revelou a escassez de textos e principalmente de práticas dalcrozianas no Brasil. Inicialmente, trago informações acerca do próprio Dalcroze buscando contextualizá-lo culturalmente. Em seguida, apresento aspectos do discurso que permeia a prática dalcroziana. E por último, apresento considerações sobre a presença ou a não presença da Rítmica Dalcroze no Brasil, relacionando-a com certa ausência dos \" métodos ativos \" em nosso país. Com esta breve revisão, pretendo informar as principais fontes escritas em território nacional para posterior aprofundamento do(a) leitor(a) interessado(a) na Rítmica Dalcroze. Palavras-chave: Dalcroze. Rítmica Dalcroze. Rítmica Dalcroze no Brasil.","downloadable_attachments":[{"id":48344704,"asset_id":28037659,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5032444" data-work_id="5032444" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5032444/6_reviews_of_Richard_A_Etlin_Art_Culture_and_Media_under_the_Third_Reich_edited_volume_2002_">6 reviews of Richard A. Etlin, Art, Culture, and Media under the Third Reich (edited volume) (2002) </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">University Press, zoo4), 276 pp., $zS.qS bb), ISBN o8o+Z+3zZ+. Peter Paret, An Artist against the Third Reich: Ernst Barlaeh, ryy-ry3| (Cambridge: Cambridge University Press, zoo3), I9r pp., dz5.oo (hb), ISBN o5zr8zr38X. Frederick Spotts,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5032444" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">University Press, zoo4), 276 pp., $zS.qS bb), ISBN o8o+Z+3zZ+. Peter Paret, An Artist against the Third Reich: Ernst Barlaeh, ryy-ry3| (Cambridge: Cambridge University Press, zoo3), I9r pp., dz5.oo (hb), ISBN o5zr8zr38X. Frederick Spotts, Hitler and the Power of Aesthetics (London: Hutchinson, zooz), 488 pp., dz5.oo (hb), ISBN oo9r793947.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5032444" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51b3bca44d2430bf19f806d2f4dd0047" rel="nofollow" data-download="{"attachment_id":32263729,"asset_id":5032444,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32263729/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4427973" href="https://umd.academia.edu/RichardEtlin">Richard Etlin</a><script data-card-contents-for-user="4427973" type="text/json">{"id":4427973,"first_name":"Richard","last_name":"Etlin","domain_name":"umd","page_name":"RichardEtlin","display_name":"Richard Etlin","profile_url":"https://umd.academia.edu/RichardEtlin?f_ri=919","photo":"https://0.academia-photos.com/4427973/1826432/2174335/s65_richard.etlin.jpg"}</script></span></span></li><li class="js-paper-rank-work_5032444 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5032444"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5032444, container: ".js-paper-rank-work_5032444", }); 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$(".js-view-count[data-work-id=5032444]").text(description); $(".js-view-count-work_5032444").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5032444").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5032444"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">55</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="135" rel="nofollow" href="https://www.academia.edu/Documents/in/Intellectual_History">Intellectual History</a>, <script data-card-contents-for-ri="135" type="text/json">{"id":135,"name":"Intellectual History","url":"https://www.academia.edu/Documents/in/Intellectual_History?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="136" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="788" rel="nofollow" href="https://www.academia.edu/Documents/in/Mythology">Mythology</a>, <script data-card-contents-for-ri="788" type="text/json">{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="870" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_propaganda">Visual propaganda</a><script data-card-contents-for-ri="870" type="text/json">{"id":870,"name":"Visual propaganda","url":"https://www.academia.edu/Documents/in/Visual_propaganda?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5032444]'), work: {"id":5032444,"title":"6 reviews of Richard A. Etlin, Art, Culture, and Media under the Third Reich (edited volume) (2002) ","created_at":"2013-11-08T04:21:18.983-08:00","url":"https://www.academia.edu/5032444/6_reviews_of_Richard_A_Etlin_Art_Culture_and_Media_under_the_Third_Reich_edited_volume_2002_?f_ri=919","dom_id":"work_5032444","summary":"University Press, zoo4), 276 pp., $zS.qS bb), ISBN o8o+Z+3zZ+. Peter Paret, An Artist against the Third Reich: Ernst Barlaeh, ryy-ry3| (Cambridge: Cambridge University Press, zoo3), I9r pp., dz5.oo (hb), ISBN o5zr8zr38X. Frederick Spotts, Hitler and the Power of Aesthetics (London: Hutchinson, zooz), 488 pp., dz5.oo (hb), ISBN oo9r793947.","downloadable_attachments":[{"id":32263729,"asset_id":5032444,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4427973,"first_name":"Richard","last_name":"Etlin","domain_name":"umd","page_name":"RichardEtlin","display_name":"Richard Etlin","profile_url":"https://umd.academia.edu/RichardEtlin?f_ri=919","photo":"https://0.academia-photos.com/4427973/1826432/2174335/s65_richard.etlin.jpg"}],"research_interests":[{"id":135,"name":"Intellectual History","url":"https://www.academia.edu/Documents/in/Intellectual_History?f_ri=919","nofollow":true},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=919","nofollow":true},{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?f_ri=919","nofollow":true},{"id":870,"name":"Visual propaganda","url":"https://www.academia.edu/Documents/in/Visual_propaganda?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919"},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=919"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=919"},{"id":3356,"name":"Propaganda","url":"https://www.academia.edu/Documents/in/Propaganda?f_ri=919"},{"id":4058,"name":"Ritual","url":"https://www.academia.edu/Documents/in/Ritual?f_ri=919"},{"id":5531,"name":"Antisemitism (Prejudice)","url":"https://www.academia.edu/Documents/in/Antisemitism_Prejudice_?f_ri=919"},{"id":5781,"name":"Fascism","url":"https://www.academia.edu/Documents/in/Fascism?f_ri=919"},{"id":7232,"name":"Landscape History","url":"https://www.academia.edu/Documents/in/Landscape_History-1?f_ri=919"},{"id":7370,"name":"Symbolism","url":"https://www.academia.edu/Documents/in/Symbolism?f_ri=919"},{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=919"},{"id":7680,"name":"Avant-Garde Theater","url":"https://www.academia.edu/Documents/in/Avant-Garde_Theater?f_ri=919"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=919"},{"id":12704,"name":"Degenerate Art","url":"https://www.academia.edu/Documents/in/Degenerate_Art?f_ri=919"},{"id":12742,"name":"Holocaust Studies","url":"https://www.academia.edu/Documents/in/Holocaust_Studies?f_ri=919"},{"id":13606,"name":"Museums and Exhibition Design","url":"https://www.academia.edu/Documents/in/Museums_and_Exhibition_Design?f_ri=919"},{"id":14067,"name":"Literature and Visual 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Breker","url":"https://www.academia.edu/Documents/in/Arno_Breker?f_ri=919"},{"id":400810,"name":"Nazi architecture","url":"https://www.academia.edu/Documents/in/Nazi_architecture?f_ri=919"},{"id":572946,"name":"Dalcroze","url":"https://www.academia.edu/Documents/in/Dalcroze?f_ri=919"},{"id":588655,"name":"Landscape and Land-use-history","url":"https://www.academia.edu/Documents/in/Landscape_and_Land-use-history?f_ri=919"},{"id":599608,"name":"Weimar","url":"https://www.academia.edu/Documents/in/Weimar?f_ri=919"},{"id":643699,"name":"Heinrich Tessenow","url":"https://www.academia.edu/Documents/in/Heinrich_Tessenow?f_ri=919"},{"id":659880,"name":"Music in Nazi Germany","url":"https://www.academia.edu/Documents/in/Music_in_Nazi_Germany?f_ri=919"},{"id":710088,"name":"Walter Gropius","url":"https://www.academia.edu/Documents/in/Walter_Gropius?f_ri=919"},{"id":859761,"name":"Albert Speer","url":"https://www.academia.edu/Documents/in/Albert_Speer?f_ri=919"},{"id":1033648,"name":"History of Italian Fascism and Fascisms","url":"https://www.academia.edu/Documents/in/History_of_Italian_Fascism_and_Fascisms?f_ri=919"},{"id":1115174,"name":"The Ideology of National Socialism and the Circulation of National Socialist Ideas In Europe","url":"https://www.academia.edu/Documents/in/The_Ideology_of_National_Socialism_and_the_Circulation_of_National_Socialist_Ideas_In_Europe?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9422301" data-work_id="9422301" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9422301/Uprzestrzennienia_cia%C5%82a_uciele%C5%9Bnienia_rytmu_Katarzyna_Kobro_Emil_Jaques_Dalcroze_Rudolf_Laban_Wsiewo%C5%82od_Meyerhold_Oskar_Schlemmer_Dialog_11_2014_696_">Uprzestrzennienia ciała – ucieleśnienia rytmu. Katarzyna Kobro, Emil Jaques-Dalcroze, Rudolf Laban, Wsiewołod Meyerhold, Oskar Schlemmer (Dialog 11/2014 (696)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Katarzyna Słoboda, Uprzestrzennienia ciała - ucieleśnienia rytmu. Katarzyna Kobro, Emil Jaques-Dalcroze, Rudolf Laban, Wsiewołod Meyerhold, Oskar Schlemmer Tekst jest próbą odpowiedzi na pytanie o cielesne umocowanie praktyki i... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9422301" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Katarzyna Słoboda, Uprzestrzennienia ciała - ucieleśnienia rytmu. Katarzyna Kobro, Emil Jaques-Dalcroze, Rudolf Laban, Wsiewołod Meyerhold, Oskar Schlemmer <br /> <br />  Tekst jest próbą odpowiedzi na pytanie o cielesne umocowanie praktyki i teorii artystycznej rzeźbiarki Katarzyny Kobro dzięki przywołaniu poglądów takich twórców, jak Emil Jaques-Dalcroze, Rudolf Laban, Wsiewołod Meyerhold, Oskar Schlemmer. Każdy z nich na swój własny sposób rozwijał idee ciała jako mechanizmu funkcjonującego według zasad wyznaczanych przez rytm. Badali relacje sił fizycznych i psychicznych dających się przełożyć na celowe działania zarówno w życiu codziennym, jak i na scenie. Jednak o ile Kobro pracowała z materią rzeźbiarską, pozostali bohaterowie tekstu pracowali z ciałem, które siłą rzeczy wprowadzało różnice w powtarzalne następstwo  rytmicznej dynamiki.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9422301" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0d1844714ef6390838f0991d64f758d3" rel="nofollow" data-download="{"attachment_id":35666173,"asset_id":9422301,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35666173/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="346683" href="https://akademiasztuki.academia.edu/KatarzynaSloboda">Katarzyna Sloboda</a><script data-card-contents-for-user="346683" type="text/json">{"id":346683,"first_name":"Katarzyna","last_name":"Sloboda","domain_name":"akademiasztuki","page_name":"KatarzynaSloboda","display_name":"Katarzyna Sloboda","profile_url":"https://akademiasztuki.academia.edu/KatarzynaSloboda?f_ri=919","photo":"https://0.academia-photos.com/346683/2659860/3096474/s65_katarzyna.sloboda.jpg"}</script></span></span></li><li class="js-paper-rank-work_9422301 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9422301"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9422301, container: ".js-paper-rank-work_9422301", }); 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Badali relacje sił fizycznych i psychicznych dających się przełożyć na celowe działania zarówno w życiu codziennym, jak i na scenie. Jednak o ile Kobro pracowała z materią rzeźbiarską, pozostali bohaterowie tekstu pracowali z ciałem, które siłą rzeczy wprowadzało różnice w powtarzalne następstwo rytmicznej dynamiki.","downloadable_attachments":[{"id":35666173,"asset_id":9422301,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":346683,"first_name":"Katarzyna","last_name":"Sloboda","domain_name":"akademiasztuki","page_name":"KatarzynaSloboda","display_name":"Katarzyna Sloboda","profile_url":"https://akademiasztuki.academia.edu/KatarzynaSloboda?f_ri=919","photo":"https://0.academia-photos.com/346683/2659860/3096474/s65_katarzyna.sloboda.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":10976,"name":"Laban Movement Analysis","url":"https://www.academia.edu/Documents/in/Laban_Movement_Analysis?f_ri=919","nofollow":true},{"id":148414,"name":"Labanotation","url":"https://www.academia.edu/Documents/in/Labanotation?f_ri=919","nofollow":true},{"id":298059,"name":"Oskar Schlemmer","url":"https://www.academia.edu/Documents/in/Oskar_Schlemmer?f_ri=919","nofollow":true},{"id":308852,"name":"Rudolf Laban","url":"https://www.academia.edu/Documents/in/Rudolf_Laban?f_ri=919"},{"id":1218461,"name":"Katarzyna Kobro","url":"https://www.academia.edu/Documents/in/Katarzyna_Kobro?f_ri=919"},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30185216" data-work_id="30185216" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30185216/Translation_of_Bode_R_Rhythm_and_its_Importance_for_Education_Body_and_Society_20_3_and_4_pp_51_74_ISSN_Print_1357_034X">Translation of: Bode, R. Rhythm and its Importance for Education. Body and Society, 20 (3&4), pp. 51-74 ISSN (Print) 1357-034X.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30185216" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully connect such diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30185216" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="212628" href="https://independentresearcher.academia.edu/PaolaCrespi">Paola Crespi</a><script data-card-contents-for-user="212628" type="text/json">{"id":212628,"first_name":"Paola","last_name":"Crespi","domain_name":"independentresearcher","page_name":"PaolaCrespi","display_name":"Paola Crespi","profile_url":"https://independentresearcher.academia.edu/PaolaCrespi?f_ri=919","photo":"https://0.academia-photos.com/212628/48841/43773360/s65_paola.crespi.jpg"}</script></span></span></li><li class="js-paper-rank-work_30185216 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30185216"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30185216, container: ".js-paper-rank-work_30185216", }); 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Rhythm and its Importance for Education. Body and Society, 20 (3\u00264), pp. 51-74 ISSN (Print) 1357-034X.","created_at":"2016-11-30T14:01:22.605-08:00","url":"https://www.academia.edu/30185216/Translation_of_Bode_R_Rhythm_and_its_Importance_for_Education_Body_and_Society_20_3_and_4_pp_51_74_ISSN_Print_1357_034X?f_ri=919","dom_id":"work_30185216","summary":"Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully connect such diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’. ","downloadable_attachments":[],"ordered_authors":[{"id":212628,"first_name":"Paola","last_name":"Crespi","domain_name":"independentresearcher","page_name":"PaolaCrespi","display_name":"Paola Crespi","profile_url":"https://independentresearcher.academia.edu/PaolaCrespi?f_ri=919","photo":"https://0.academia-photos.com/212628/48841/43773360/s65_paola.crespi.jpg"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=919","nofollow":true},{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true},{"id":2337,"name":"Performance 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Philosophy","url":"https://www.academia.edu/Documents/in/Performance_Philosophy?f_ri=919"},{"id":897711,"name":"Philosophy of performance","url":"https://www.academia.edu/Documents/in/Philosophy_of_performance?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2759575" data-work_id="2759575" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2759575/Proceedings_of_the_2nd_International_Conference_on_Security_of_Information_and_Networks_SIN_2009_Gazimagusa_North_Cyprus_October_6_10_2009">Proceedings of the 2nd International Conference on Security of Information and Networks, SIN 2009, Gazimagusa, North Cyprus, October 6-10, 2009</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x 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2009","created_at":"2013-02-27T15:47:22.982-08:00","url":"https://www.academia.edu/2759575/Proceedings_of_the_2nd_International_Conference_on_Security_of_Information_and_Networks_SIN_2009_Gazimagusa_North_Cyprus_October_6_10_2009?f_ri=919","dom_id":"work_2759575","summary":null,"downloadable_attachments":[{"id":50549714,"asset_id":2759575,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2602580,"first_name":"Mehmet","last_name":"Orgun","domain_name":"mq","page_name":"MOrgun","display_name":"Mehmet 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77672437/Dalcroze_Eurhythmics_a_Method_an_Approach_a_Pedagogy_or_a_Philosophy">Dalcroze Eurhythmics a Method an Approach a Pedagogy or a Philosophy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier issues of the journal have presented valuable contributions concerning theoretical and scientific fundamentals. We have decided to intensify... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_77672437" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier issues of the journal have presented valuable contributions concerning theoretical and scientific fundamentals. We have decided to intensify this emphasis. Happily, we received a great response to our request for theoretically-based professional articles, enabling us to offer a multifaceted spectrum of authors from Canada, the US,</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77672437" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7d8efa4f248e8543a6ec0fffe438a127" rel="nofollow" data-download="{"attachment_id":84979527,"asset_id":77672437,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84979527/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_77672437 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77672437"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77672437, container: ".js-paper-rank-work_77672437", }); });</script></li><li class="js-percentile-work_77672437 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77672437; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_77672437"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_77672437 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="77672437"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77672437; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77672437]").text(description); $(".js-view-count-work_77672437").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_77672437").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="77672437"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77672437]'), work: {"id":77672437,"title":"Dalcroze Eurhythmics a Method an Approach a Pedagogy or a Philosophy","created_at":"2022-04-26T06:29:17.316-07:00","url":"https://www.academia.edu/77672437/Dalcroze_Eurhythmics_a_Method_an_Approach_a_Pedagogy_or_a_Philosophy?f_ri=919","dom_id":"work_77672437","summary":"With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier issues of the journal have presented valuable contributions concerning theoretical and scientific fundamentals. We have decided to intensify this emphasis. Happily, we received a great response to our request for theoretically-based professional articles, enabling us to offer a multifaceted spectrum of authors from Canada, the US,","downloadable_attachments":[{"id":84979527,"asset_id":77672437,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36293764" data-work_id="36293764" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36293764/Pragmatist_Ironist_Analysis_and_Embodied_Interactivity_Experimental_Approaches_to_Sensor_Based_Interactive_Music_Systems_Inspired_by_Music_Analysis">Pragmatist Ironist Analysis and Embodied Interactivity: Experimental Approaches to Sensor-Based Interactive Music Systems Inspired by Music Analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36293764" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present.  The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36293764" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="625ea7e75b15f2fb96ab512902666b41" rel="nofollow" data-download="{"attachment_id":58072476,"asset_id":36293764,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58072476/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="279897" href="https://columbia.academia.edu/JoshuaMailman">Joshua B Mailman</a><script data-card-contents-for-user="279897" type="text/json">{"id":279897,"first_name":"Joshua","last_name":"Mailman","domain_name":"columbia","page_name":"JoshuaMailman","display_name":"Joshua B Mailman","profile_url":"https://columbia.academia.edu/JoshuaMailman?f_ri=919","photo":"https://0.academia-photos.com/279897/54429/50176/s65_joshua_b..mailman.jpg"}</script></span></span></li><li class="js-paper-rank-work_36293764 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36293764"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36293764, container: ".js-paper-rank-work_36293764", }); 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The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present. The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.","downloadable_attachments":[{"id":58072476,"asset_id":36293764,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":279897,"first_name":"Joshua","last_name":"Mailman","domain_name":"columbia","page_name":"JoshuaMailman","display_name":"Joshua B 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45098032/%D0%9F%D0%BE_%D1%87%D0%B5%D1%82%D0%B2%D0%B5%D1%80%D1%82%D0%BE%D0%BC%D1%83_%D0%BF%D1%83%D1%82%D0%B8">По четвертому пути</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Глава 4 из книги: Ирина Сироткина. Шестое чувство авангарда: танец, движение и кинестезия в жизни поэтов и художников. Науч.ред. А.А. Россомахин. Изд. 2-е, испр. и доп. СПб: Издательство Европейского университета в Санкт-Петербурге, 2016.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45098032" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Глава 4 из книги: Ирина Сироткина. Шестое чувство авангарда: танец, движение и кинестезия в жизни поэтов и художников. Науч.ред. А.А. Россомахин. Изд. 2-е, испр. и доп. СПб: Издательство Европейского университета в Санкт-Петербурге, 2016. 232 стр. с илл. (Сер. AVANT-GARDE; вып. 6)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45098032" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="73fd1cbdb168b83c934bd41cae743466" rel="nofollow" data-download="{"attachment_id":65660899,"asset_id":45098032,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65660899/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="26961368" href="https://ucl.academia.edu/IrinaSirotkina">Irina Sirotkina</a><script data-card-contents-for-user="26961368" type="text/json">{"id":26961368,"first_name":"Irina","last_name":"Sirotkina","domain_name":"ucl","page_name":"IrinaSirotkina","display_name":"Irina Sirotkina","profile_url":"https://ucl.academia.edu/IrinaSirotkina?f_ri=919","photo":"https://0.academia-photos.com/26961368/8187635/20010256/s65_irina.sirotkina.jpg"}</script></span></span></li><li class="js-paper-rank-work_45098032 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45098032"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45098032, container: ".js-paper-rank-work_45098032", }); 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$(".js-view-count[data-work-id=45098032]").text(description); $(".js-view-count-work_45098032").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45098032").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45098032"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1556" rel="nofollow" href="https://www.academia.edu/Documents/in/Dance_Studies">Dance Studies</a>, <script data-card-contents-for-ri="1556" type="text/json">{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23903" rel="nofollow" href="https://www.academia.edu/Documents/in/Russian_avant-garde_art">Russian avant-garde art</a>, <script data-card-contents-for-ri="23903" type="text/json">{"id":23903,"name":"Russian avant-garde art","url":"https://www.academia.edu/Documents/in/Russian_avant-garde_art?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="109781" rel="nofollow" href="https://www.academia.edu/Documents/in/European_Avant_Garde">European Avant Garde</a><script data-card-contents-for-ri="109781" type="text/json">{"id":109781,"name":"European Avant Garde","url":"https://www.academia.edu/Documents/in/European_Avant_Garde?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45098032]'), work: {"id":45098032,"title":"По четвертому пути","created_at":"2021-02-11T00:06:59.250-08:00","url":"https://www.academia.edu/45098032/%D0%9F%D0%BE_%D1%87%D0%B5%D1%82%D0%B2%D0%B5%D1%80%D1%82%D0%BE%D0%BC%D1%83_%D0%BF%D1%83%D1%82%D0%B8?f_ri=919","dom_id":"work_45098032","summary":"Глава 4 из книги: Ирина Сироткина. Шестое чувство авангарда: танец, движение и кинестезия в жизни поэтов и художников. Науч.ред. А.А. Россомахин. Изд. 2-е, испр. и доп. СПб: Издательство Европейского университета в Санкт-Петербурге, 2016. 232 стр. с илл. (Сер. AVANT-GARDE; вып. 6)","downloadable_attachments":[{"id":65660899,"asset_id":45098032,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":26961368,"first_name":"Irina","last_name":"Sirotkina","domain_name":"ucl","page_name":"IrinaSirotkina","display_name":"Irina Sirotkina","profile_url":"https://ucl.academia.edu/IrinaSirotkina?f_ri=919","photo":"https://0.academia-photos.com/26961368/8187635/20010256/s65_irina.sirotkina.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=919","nofollow":true},{"id":23903,"name":"Russian avant-garde art","url":"https://www.academia.edu/Documents/in/Russian_avant-garde_art?f_ri=919","nofollow":true},{"id":109781,"name":"European Avant Garde","url":"https://www.academia.edu/Documents/in/European_Avant_Garde?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28366085 coauthored" data-work_id="28366085" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28366085/Koellreutter_e_Dalcroze_quando_o_m%C3%A9todo_%C3%A9_n%C3%A3o_ter_m%C3%A9todo_qual_o_espa%C3%A7o_para_os_m%C3%A9todos_ativos_Koellreutter_e_Dalcroze_when_the_method_is_to_have_not_a_method_which_would_be_the_place_for_the_active_methods_2016">Koellreutter e Dalcroze: quando o método é não ter método, qual o espaço para os "métodos ativos"? Koellreutter e Dalcroze: when the method is to have not a method, which would be the place for the “active methods”? 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Resumo: Este artigo traz reflexões acerca dos distanciamentos ou aproximações entre a proposta de educação musical de Hans-Joachim Koellreutter, no que se refere essencialmente à sua crítica ao método, e os chamados “métodos ativos” de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28366085" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Resumo: Este artigo traz reflexões acerca dos distanciamentos ou aproximações entre a proposta de educação musical de Hans-Joachim Koellreutter, no que se refere essencialmente à sua crítica ao método, e os chamados “métodos ativos” de educação musical. Aqui, a “análise de discurso” é utilizada como apoio para se compreender o significado do termo “método” para Koellreutter e para Emile Jaques-Dalcroze, enquanto sujeitos inseridos na história. Para tanto, apresentamos uma breve contextualização histórica sobre a instituição do “método conservatorial” (la méthode), onde propomos um contraponto<br />entre este e as propostas de Koellreutter e os “métodos ativos” (tomando Dalcroze como exemplo). Também propomos a reflexão acerca da utilização do termo “método” como referência à Rítmica Dalcroze. Como desfecho, consideramos que, apesar do caráter de reação ao “método conservatorial” presente nos “métodos ativos”, a crítica de Koellreutter também pode se referir a estes, quando compreendidos e “aplicados” de maneira inflexível. Isso não justificaria o desconhecimento dos “métodos ativos” por parte dos professores de música em formação. Pelo contrário, aponta para a necessidade de reflexão acerca dos discursos de educação musical, de modo a melhor conhecer as ideologias existentes neles, tomando consciência de suas<br />possíveis repercussões práticas.<br /><br />Abstract: The present article proposes reflections on differences and similarities in the musical education approach as suggested by Hans-Joachim Koellreutter, basically regarding criticism on such method<br />and the so-called “active methods”. Discourse Analysis is used as a framework to understand the meaning of the term “method” in Koellreutter’s and Emile Jaques-Dalcroze’s views while historical<br />subjects. First, a brief historical contextualization of the construction of the “conservatorial method” (la méthode) is presented, therefore, stating a counterpoint among this method, Koellreutter’s proposal, and the active methods. To do so, Dalcroze’s will be given as an example. Second, there is a discussion on the use of the term “method” when referring to Dalcroze’s music education proposal. Finally, there is a consideration that even when reacting to the conservational method<br />observable too in the active methods, Koellreutter’s criticism may also<br />refer to them when comprehended and “applied” rigidly. This fact does not justify the lack of knowledge on the “active methods” on the part of music teachers in their formative process. On the contrary, this work emphasizes the need to reflect on the type of musical education discourses used so as to understand the ideologies therein better and, to become more aware of their possible practical repercussions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28366085" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fb7fae98400097c5138541e4416c6e03" rel="nofollow" data-download="{"attachment_id":48699992,"asset_id":28366085,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48699992/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11300914" href="https://udesc.academia.edu/RafaelPrimMeurer">Rafael P Meurer</a><script data-card-contents-for-user="11300914" type="text/json">{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-28366085">+1</span><div class="hidden js-additional-users-28366085"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/ValeriaBittar">Valeria Bittar</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-28366085'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-28366085').html(); 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Koellreutter e Dalcroze: when the method is to have not a method, which would be the place for the “active methods”? 2016","created_at":"2016-09-09T05:41:20.369-07:00","url":"https://www.academia.edu/28366085/Koellreutter_e_Dalcroze_quando_o_m%C3%A9todo_%C3%A9_n%C3%A3o_ter_m%C3%A9todo_qual_o_espa%C3%A7o_para_os_m%C3%A9todos_ativos_Koellreutter_e_Dalcroze_when_the_method_is_to_have_not_a_method_which_would_be_the_place_for_the_active_methods_2016?f_ri=919","dom_id":"work_28366085","summary":"Resumo: Este artigo traz reflexões acerca dos distanciamentos ou aproximações entre a proposta de educação musical de Hans-Joachim Koellreutter, no que se refere essencialmente à sua crítica ao método, e os chamados “métodos ativos” de educação musical. Aqui, a “análise de discurso” é utilizada como apoio para se compreender o significado do termo “método” para Koellreutter e para Emile Jaques-Dalcroze, enquanto sujeitos inseridos na história. Para tanto, apresentamos uma breve contextualização histórica sobre a instituição do “método conservatorial” (la méthode), onde propomos um contraponto\nentre este e as propostas de Koellreutter e os “métodos ativos” (tomando Dalcroze como exemplo). Também propomos a reflexão acerca da utilização do termo “método” como referência à Rítmica Dalcroze. Como desfecho, consideramos que, apesar do caráter de reação ao “método conservatorial” presente nos “métodos ativos”, a crítica de Koellreutter também pode se referir a estes, quando compreendidos e “aplicados” de maneira inflexível. Isso não justificaria o desconhecimento dos “métodos ativos” por parte dos professores de música em formação. Pelo contrário, aponta para a necessidade de reflexão acerca dos discursos de educação musical, de modo a melhor conhecer as ideologias existentes neles, tomando consciência de suas\npossíveis repercussões práticas.\n\nAbstract: The present article proposes reflections on differences and similarities in the musical education approach as suggested by Hans-Joachim Koellreutter, basically regarding criticism on such method\nand the so-called “active methods”. Discourse Analysis is used as a framework to understand the meaning of the term “method” in Koellreutter’s and Emile Jaques-Dalcroze’s views while historical\nsubjects. First, a brief historical contextualization of the construction of the “conservatorial method” (la méthode) is presented, therefore, stating a counterpoint among this method, Koellreutter’s proposal, and the active methods. To do so, Dalcroze’s will be given as an example. Second, there is a discussion on the use of the term “method” when referring to Dalcroze’s music education proposal. Finally, there is a consideration that even when reacting to the conservational method\nobservable too in the active methods, Koellreutter’s criticism may also\nrefer to them when comprehended and “applied” rigidly. This fact does not justify the lack of knowledge on the “active methods” on the part of music teachers in their formative process. On the contrary, this work emphasizes the need to reflect on the type of musical education discourses used so as to understand the ideologies therein better and, to become more aware of their possible practical repercussions.","downloadable_attachments":[{"id":48699992,"asset_id":28366085,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11300914,"first_name":"Rafael","last_name":"Meurer","domain_name":"udesc","page_name":"RafaelPrimMeurer","display_name":"Rafael P Meurer","profile_url":"https://udesc.academia.edu/RafaelPrimMeurer?f_ri=919","photo":"https://0.academia-photos.com/11300914/3366070/39819053/s65_rafael.meurer.jpg"},{"id":30189543,"first_name":"Valeria","last_name":"Bittar","domain_name":"independent","page_name":"ValeriaBittar","display_name":"Valeria Bittar","profile_url":"https://independent.academia.edu/ValeriaBittar?f_ri=919","photo":"https://0.academia-photos.com/30189543/8731676/9752482/s65_valeria.bittar.jpg_oh_2190b69e6fbfc5a30870b49090778075_oe_55d9cb32___gda___1439804845_86f87a7334693aaae3065e535fa8648d"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":738938,"name":"Métodos de musicalização","url":"https://www.academia.edu/Documents/in/Metodos_de_musicalizacao?f_ri=919","nofollow":true},{"id":865465,"name":"Jaques-Dalcroze Education","url":"https://www.academia.edu/Documents/in/Jaques-Dalcroze_Education?f_ri=919","nofollow":true},{"id":1155553,"name":"Hans-Joachim Koellreutter","url":"https://www.academia.edu/Documents/in/Hans-Joachim_Koellreutter?f_ri=919"},{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919"},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33555180" data-work_id="33555180" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33555180/Aural_training_in_the_Dalcroze_practice_Dohs_fixed_and_moveable_pdf">Aural training in the Dalcroze practice – Doh's fixed and moveable.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Aural Training {ear training, *clfa or solf}ge a$ it is alsa sornetimes called) is one of the three principle branches of Dalcroze Eurtrythmic$. Althaugh often neglected today, the developrnent of acute auralperception and the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33555180" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Aural Training {ear training, *clfa or solf}ge a$ it is alsa sornetimes called) is one of the three principle branches of Dalcroze Eurtrythmic$. Althaugh often neglected today, the developrnent of acute auralperception and the understaoding of tonal relationships should be central to the training of all musicians.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33555180" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="184661a1eab2088ac505d08dd372109e" rel="nofollow" data-download="{"attachment_id":53582462,"asset_id":33555180,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53582462/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36528259" href="https://rncm.academia.edu/KGreenhead">Karin Greenhead</a><script data-card-contents-for-user="36528259" type="text/json">{"id":36528259,"first_name":"Karin","last_name":"Greenhead","domain_name":"rncm","page_name":"KGreenhead","display_name":"Karin Greenhead","profile_url":"https://rncm.academia.edu/KGreenhead?f_ri=919","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33555180 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33555180"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33555180, container: ".js-paper-rank-work_33555180", }); });</script></li><li class="js-percentile-work_33555180 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33555180; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_33555180"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_33555180 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="33555180"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33555180; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33555180]").text(description); $(".js-view-count-work_33555180").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33555180").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33555180"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33555180]'), work: {"id":33555180,"title":"Aural training in the Dalcroze practice – Doh's fixed and moveable.pdf","created_at":"2017-06-19T09:16:38.228-07:00","url":"https://www.academia.edu/33555180/Aural_training_in_the_Dalcroze_practice_Dohs_fixed_and_moveable_pdf?f_ri=919","dom_id":"work_33555180","summary":"Aural Training {ear training, *clfa or solf}ge a$ it is alsa sornetimes called) is one of the three principle branches of Dalcroze Eurtrythmic$. Althaugh often neglected today, the developrnent of acute auralperception and the understaoding of tonal relationships should be central to the training of all musicians.","downloadable_attachments":[{"id":53582462,"asset_id":33555180,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36528259,"first_name":"Karin","last_name":"Greenhead","domain_name":"rncm","page_name":"KGreenhead","display_name":"Karin Greenhead","profile_url":"https://rncm.academia.edu/KGreenhead?f_ri=919","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44176000" data-work_id="44176000" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44176000/O_Ritmo_a_M%C3%BAsica_e_a_Educa%C3%A7%C3%A3o">O Ritmo, a Música e a Educação</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Émile Henri Jaques nasceu na terra da música, Viena, em 1865, sob a regência da Lua. Seus pais eram suíços e retornaram ao país de origem no ano de 1875. Dalcroze foi um nome criado e adotado profissionalmente por Émile Jaques que esteve... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44176000" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Émile Henri Jaques nasceu na terra da música, Viena, em 1865, sob a regência da Lua. Seus pais eram suíços e retornaram ao país de origem no ano de 1875. Dalcroze foi um nome criado e adotado profissionalmente por Émile Jaques que esteve sempre envolvido pela música, arte que reunia os interesses mais caros de sua modesta família burguesa. Suas andanças foram muitas e delas ele retirou o fôlego para compor um brilhante pensamento sobre a formação musical da crian-ça e a educação da sociedade. Ele foi se pode negar, coreógrafo. Nesta obra, intitulada originalmente Le Rythme, la Musique et l'Éducation e publicada pela primeira vez em 1920 1 , Dalcroze apresenta os fundamentos estéti-cos e filosóficos de seu sistema de educação musical denominado Rítmica. Tal "método" contrapunha-se à arritmia da sociedade, cujos indivíduos caminhavam em descompasso com a própria organicidade. A Rítmica tinha como propósito integrar os ortodoxos estudos da música (solfejo, métrica, intervalos, duração, contraponto, harmonia) com a expressão do corpo, experimentado em sua intei-reza. Dalcroze revela um nostálgico desejo de recuperar o sentido clássico da música: 2 .</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44176000" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0e8cd9ef427f875a83f5c2366b4d2359" rel="nofollow" data-download="{"attachment_id":64535975,"asset_id":44176000,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64535975/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="172016904" href="https://ifb.academia.edu/FranciscaLara">Francisca Lara</a><script data-card-contents-for-user="172016904" type="text/json">{"id":172016904,"first_name":"Francisca","last_name":"Lara","domain_name":"ifb","page_name":"FranciscaLara","display_name":"Francisca Lara","profile_url":"https://ifb.academia.edu/FranciscaLara?f_ri=919","photo":"https://0.academia-photos.com/172016904/126127969/115500243/s65_francisca.lara.jpeg"}</script></span></span></li><li class="js-paper-rank-work_44176000 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44176000"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44176000, container: ".js-paper-rank-work_44176000", }); 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$(".js-view-count[data-work-id=44176000]").text(description); $(".js-view-count-work_44176000").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44176000").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44176000"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="113424" rel="nofollow" href="https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical">Educação Musical</a>, <script data-card-contents-for-ri="113424" type="text/json">{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="738939" rel="nofollow" href="https://www.academia.edu/Documents/in/Jacques_Dalcroze">Jacques Dalcroze</a>, <script data-card-contents-for-ri="738939" type="text/json">{"id":738939,"name":"Jacques Dalcroze","url":"https://www.academia.edu/Documents/in/Jacques_Dalcroze?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1298376" rel="nofollow" href="https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical">Métodos Ativos em Educação Musical</a><script data-card-contents-for-ri="1298376" type="text/json">{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44176000]'), work: {"id":44176000,"title":"O Ritmo, a Música e a Educação","created_at":"2020-09-27T12:11:28.953-07:00","url":"https://www.academia.edu/44176000/O_Ritmo_a_M%C3%BAsica_e_a_Educa%C3%A7%C3%A3o?f_ri=919","dom_id":"work_44176000","summary":"Émile Henri Jaques nasceu na terra da música, Viena, em 1865, sob a regência da Lua. Seus pais eram suíços e retornaram ao país de origem no ano de 1875. Dalcroze foi um nome criado e adotado profissionalmente por Émile Jaques que esteve sempre envolvido pela música, arte que reunia os interesses mais caros de sua modesta família burguesa. Suas andanças foram muitas e delas ele retirou o fôlego para compor um brilhante pensamento sobre a formação musical da crian-ça e a educação da sociedade. Ele foi se pode negar, coreógrafo. Nesta obra, intitulada originalmente Le Rythme, la Musique et l'Éducation e publicada pela primeira vez em 1920 1 , Dalcroze apresenta os fundamentos estéti-cos e filosóficos de seu sistema de educação musical denominado Rítmica. Tal \"método\" contrapunha-se à arritmia da sociedade, cujos indivíduos caminhavam em descompasso com a própria organicidade. A Rítmica tinha como propósito integrar os ortodoxos estudos da música (solfejo, métrica, intervalos, duração, contraponto, harmonia) com a expressão do corpo, experimentado em sua intei-reza. Dalcroze revela um nostálgico desejo de recuperar o sentido clássico da música: 2 .","downloadable_attachments":[{"id":64535975,"asset_id":44176000,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":172016904,"first_name":"Francisca","last_name":"Lara","domain_name":"ifb","page_name":"FranciscaLara","display_name":"Francisca Lara","profile_url":"https://ifb.academia.edu/FranciscaLara?f_ri=919","photo":"https://0.academia-photos.com/172016904/126127969/115500243/s65_francisca.lara.jpeg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":113424,"name":"Educação Musical","url":"https://www.academia.edu/Documents/in/Educa%C3%A7%C3%A3o_Musical?f_ri=919","nofollow":true},{"id":738939,"name":"Jacques Dalcroze","url":"https://www.academia.edu/Documents/in/Jacques_Dalcroze?f_ri=919","nofollow":true},{"id":1298376,"name":"Métodos Ativos em Educação Musical","url":"https://www.academia.edu/Documents/in/Metodos_Ativos_em_Educacao_Musical?f_ri=919","nofollow":true},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5555335" data-work_id="5555335" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5555335/From_the_bodily_experience_towards_internalized_musical_understanding_How_the_Dalcroze_master_teachers_articulate_their_pedagogical_content_knowledge_of_the_approach">From the bodily experience towards internalized musical understanding – How the Dalcroze master teachers articulate their pedagogical content knowledge of the approach. </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5555335" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7bceef314674771aba78c5db5a9b7b29" rel="nofollow" data-download="{"attachment_id":32648547,"asset_id":5555335,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32648547/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5555335 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5555335"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5555335, container: ".js-paper-rank-work_5555335", }); });</script></li><li class="js-percentile-work_5555335 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5555335; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5555335"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5555335 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5555335"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5555335; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5555335]").text(description); $(".js-view-count-work_5555335").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5555335").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5555335"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="71598" rel="nofollow" href="https://www.academia.edu/Documents/in/Pedagogical_Content_Knowledge">Pedagogical Content Knowledge</a><script data-card-contents-for-ri="71598" type="text/json">{"id":71598,"name":"Pedagogical Content Knowledge","url":"https://www.academia.edu/Documents/in/Pedagogical_Content_Knowledge?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5555335]'), work: {"id":5555335,"title":"From the bodily experience towards internalized musical \tunderstanding – How the Dalcroze master teachers articulate their pedagogical content knowledge of the approach. ","created_at":"2013-12-29T17:27:18.883-08:00","url":"https://www.academia.edu/5555335/From_the_bodily_experience_towards_internalized_musical_understanding_How_the_Dalcroze_master_teachers_articulate_their_pedagogical_content_knowledge_of_the_approach?f_ri=919","dom_id":"work_5555335","summary":null,"downloadable_attachments":[{"id":32648547,"asset_id":5555335,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":71598,"name":"Pedagogical Content Knowledge","url":"https://www.academia.edu/Documents/in/Pedagogical_Content_Knowledge?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44189641" data-work_id="44189641" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44189641/Ways_to_enhance_embodied_learning_in_Dalcroze_inspired_music_education">Ways to enhance embodied learning in Dalcroze-inspired music education</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Drawing on the phenomenology of embodied learning, this article presents suggestions for ways that embodied learning can be enhanced in Dalcroze-inspired music education. Here, embodied learning refers to learning from interactional... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44189641" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Drawing on the phenomenology of embodied learning, this article presents suggestions for ways that embodied learning can be enhanced in Dalcroze-inspired music education. Here, embodied learning refers to learning from interactional experiences of the self with the physical and social environment through senses, perceptions and mind-body action and reaction. It is suggested that embodied learning can be efficiently facilitated through teaching that promotes multisensory perceptions , images, integration and experiences, while also motivating physical, social, emotional and intellectual participation. Furthermore, promoting social interaction as well as interaction between perceptions, thoughts, emotions and actions could be regarded essential. Embodied learning can be reinforced by pedagogi-cal actions, such as advancing awareness and a sense of self, triggering mental images, integrating different functions, building a balance between mental and physical activities, and fostering positive emotions and experiences in learning situations. By reflecting on experience, embodied learning becomes more explicit and shareable.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44189641" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7c3dbfbc0372fc083bec0a8e2488e957" rel="nofollow" data-download="{"attachment_id":64551188,"asset_id":44189641,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64551188/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_44189641 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44189641"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44189641, container: ".js-paper-rank-work_44189641", }); });</script></li><li class="js-percentile-work_44189641 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44189641; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44189641"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44189641 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44189641"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44189641; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44189641]").text(description); $(".js-view-count-work_44189641").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44189641").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44189641"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5044" rel="nofollow" href="https://www.academia.edu/Documents/in/Embodiment">Embodiment</a><script data-card-contents-for-ri="5044" type="text/json">{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44189641]'), work: {"id":44189641,"title":"Ways to enhance embodied learning in Dalcroze-inspired music education","created_at":"2020-09-29T04:09:33.207-07:00","url":"https://www.academia.edu/44189641/Ways_to_enhance_embodied_learning_in_Dalcroze_inspired_music_education?f_ri=919","dom_id":"work_44189641","summary":"Drawing on the phenomenology of embodied learning, this article presents suggestions for ways that embodied learning can be enhanced in Dalcroze-inspired music education. Here, embodied learning refers to learning from interactional experiences of the self with the physical and social environment through senses, perceptions and mind-body action and reaction. It is suggested that embodied learning can be efficiently facilitated through teaching that promotes multisensory perceptions , images, integration and experiences, while also motivating physical, social, emotional and intellectual participation. Furthermore, promoting social interaction as well as interaction between perceptions, thoughts, emotions and actions could be regarded essential. Embodied learning can be reinforced by pedagogi-cal actions, such as advancing awareness and a sense of self, triggering mental images, integrating different functions, building a balance between mental and physical activities, and fostering positive emotions and experiences in learning situations. By reflecting on experience, embodied learning becomes more explicit and shareable.","downloadable_attachments":[{"id":64551188,"asset_id":44189641,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34681512" data-work_id="34681512" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34681512/Soma_deep_as_a_Marker_for_Idealized_Experience">Soma-deep as a Marker for Idealized Experience</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">New haptic technologies have presented the field of modern design practice with new opportunities for body based interactions. In the following paper the author presents a case for a new focus of study, Soma Literacy, centered in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34681512" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">New haptic technologies have presented the field of modern design practice with new opportunities for body based interactions. In the following paper the author presents a case for a new focus of study, Soma Literacy, centered in the fields of Interaction Design and Experience. Pulling from the fields of somaesthetics (Shustermann), performance as practice (Schwiebert), and pragmatic philosophy (Dewey), the author presents a tier of experience, understood at the soma-level as the center of perception and action. The author proposes a study in soma-literacy, where the participant would be skilled to analyze, interpret, reveal, and make meaning through the bodied content present in all experience. The author then presents initial research in presenting the agenda in a participatory, body-in-motion, course format. <br /><br />Keywords: Soma Literacy · Interaction Design · Experience Design · somaesthetics · experience · tiers of experience · pedagogy · design education</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34681512" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a852bc1a27f4a04b902675a102623a43" rel="nofollow" data-download="{"attachment_id":54540729,"asset_id":34681512,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/54540729/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4576235" href="https://cmu.academia.edu/StephenNeely">Stephen Neely</a><script data-card-contents-for-user="4576235" type="text/json">{"id":4576235,"first_name":"Stephen","last_name":"Neely","domain_name":"cmu","page_name":"StephenNeely","display_name":"Stephen Neely","profile_url":"https://cmu.academia.edu/StephenNeely?f_ri=919","photo":"https://0.academia-photos.com/4576235/1902493/165282319/s65_stephen.neely.jpg"}</script></span></span></li><li class="js-paper-rank-work_34681512 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34681512"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34681512, container: ".js-paper-rank-work_34681512", }); 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In the following paper the author presents a case for a new focus of study, Soma Literacy, centered in the fields of Interaction Design and Experience. Pulling from the fields of somaesthetics (Shustermann), performance as practice (Schwiebert), and pragmatic philosophy (Dewey), the author presents a tier of experience, understood at the soma-level as the center of perception and action. The author proposes a study in soma-literacy, where the participant would be skilled to analyze, interpret, reveal, and make meaning through the bodied content present in all experience. The author then presents initial research in presenting the agenda in a participatory, body-in-motion, course format. \n\nKeywords: Soma Literacy · Interaction Design · Experience Design · somaesthetics · experience · tiers of experience · pedagogy · design education","downloadable_attachments":[{"id":54540729,"asset_id":34681512,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4576235,"first_name":"Stephen","last_name":"Neely","domain_name":"cmu","page_name":"StephenNeely","display_name":"Stephen Neely","profile_url":"https://cmu.academia.edu/StephenNeely?f_ri=919","photo":"https://0.academia-photos.com/4576235/1902493/165282319/s65_stephen.neely.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1903,"name":"Design education","url":"https://www.academia.edu/Documents/in/Design_education?f_ri=919","nofollow":true},{"id":4416,"name":"Interaction Design","url":"https://www.academia.edu/Documents/in/Interaction_Design?f_ri=919","nofollow":true},{"id":9432,"name":"Experience Design","url":"https://www.academia.edu/Documents/in/Experience_Design?f_ri=919","nofollow":true},{"id":34744,"name":"Somaesthetics","url":"https://www.academia.edu/Documents/in/Somaesthetics?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30091530" data-work_id="30091530" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30091530/Anacrusis">Anacrusis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An essay on anacrusis and  relevance in the natural world, art world and music.  With particular relevance to Dalcroze Eurhythmics.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30091530" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57aebf9651a853dc72b0c8c9a812d1ce" rel="nofollow" data-download="{"attachment_id":50547279,"asset_id":30091530,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50547279/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="57233172" href="https://independent.academia.edu/SuzanneNicholas">Suzanne Nicholas</a><script data-card-contents-for-user="57233172" type="text/json">{"id":57233172,"first_name":"Suzanne","last_name":"Nicholas","domain_name":"independent","page_name":"SuzanneNicholas","display_name":"Suzanne Nicholas","profile_url":"https://independent.academia.edu/SuzanneNicholas?f_ri=919","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_30091530 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30091530"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30091530, container: ".js-paper-rank-work_30091530", }); 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With particular relevance to Dalcroze Eurhythmics.","downloadable_attachments":[{"id":50547279,"asset_id":30091530,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":57233172,"first_name":"Suzanne","last_name":"Nicholas","domain_name":"independent","page_name":"SuzanneNicholas","display_name":"Suzanne Nicholas","profile_url":"https://independent.academia.edu/SuzanneNicholas?f_ri=919","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":60597,"name":"Orff and Dalcroze Activities","url":"https://www.academia.edu/Documents/in/Orff_and_Dalcroze_Activities?f_ri=919","nofollow":true},{"id":865465,"name":"Jaques-Dalcroze Education","url":"https://www.academia.edu/Documents/in/Jaques-Dalcroze_Education?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73170750" data-work_id="73170750" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73170750/Musica_e_movimento_Il_gesto_musicale_la_produzione_musicale">Musica e movimento. Il gesto musicale, la produzione musicale.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Una delle prime esperienze vissute dall'essere umano, prima ancora della nascita, è la percezione della pulsazione del battito cardiaco materno durante la gestazione: si tratta di un'esperienza ritmica, che si inserisce nell'ambito più... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73170750" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Una delle prime esperienze vissute dall'essere umano, prima ancora della nascita, è la percezione della pulsazione del battito cardiaco materno durante la gestazione: si tratta di un'esperienza ritmica, che si inserisce nell'ambito più vasto della percezione musicale prenatale e neonatale. La connessione tra suono e movimento è istintiva e avviene già nei primissimi mesi di vita. L'ascolto nei bambini, specialmente in quelli più piccoli, è sempre un 'ascolto corporeo', che non coinvolge solo l'organo uditivo ma il loro intero essere. La decodifica dell'evento sonoro avviene cioè attraverso diversi canali, tra cui il movimento corporeo è preminente, ma coinvolge anche l'aspetto emozionale e affettivo. <br />I movimenti corporei sincronizzati con la pulsazione o la struttura ritmica di un brano consentono ai bambini di sviluppare abilità che non sono soltanto di carattere musicale. Da un lato, infatti, l'educazione musicale riguarda la musica in se stessa e, nelle scuole dell'infanzia e primaria, ha (o dovrebbe avere) l'obiettivo di promuovere l'alfabetizzazione musicale, ovvero la padronanza degli elementi basilari della musica. Dall'altro essa è in grado di concorrere in maniera sostanziale alla formazione globale del bambino e allo sviluppo della sua personalità, e può costituire un potente mezzo di supporto ad altre discipline e alla formazione di competenze e abilità fondamentali per l'essere umano. Gli esercizi-gioco centrati sul ritmo, in particolare, possono essere proposti già a partire dal Nido e contribuiscono a sviluppare nel bambino la motricità grossa e fine, la propriocezione, la lateralità, il coordinamento motorio, senza dimenticare la gestione corporea dello spazio e quella mentale della successione temporale. Allo stesso tempo essi favoriscono la socializzazione, l'attenzione, la concentrazione e la memoria. <br />Dal punto di vista musicale, le attività didattiche centrate su suono e movimento, specialmente se proposte il più precocemente possibile, consentono l'acquisizione del 'senso ritmico', una delle abilità fondamentali per chi fa musica. Avere il senso del ritmo significa saper 'andare a tempo', cioè sincronizzare i gesti e i movimenti corporei al fine di produrre i suoni nel momento opportuno, con la voce, con il corpo o con gli strumenti musicali, ed essere in grado di ascoltare, comprendere, memorizzare e riprodurre ritmi via via sempre più articolati. <br /> Musica e movimento sono quindi esperienze che si collocano alle fondamenta della vita dell’essere umano e che sono profondamente interconnesse. Il presente articolo approfondisce questa correlazione analizzando l’approccio al ritmo dei maggiori didatti del XX secolo (Émile Jaques-Dalcroze, Carl Orff, Zoltán  Kodály, Edgar Willems, Maurice Martenot, Laura Bassi) per poi esaminare il rapporto tra ritmo e movimento nella didattica odierna. Il capitolo è arricchito da esempi concreti di attività didattiche centrate sul ritmo e sul movimento per le scuole dell’infanzia e primaria.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73170750" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cd6219bfee5fe0e464c8413815b4b3ba" rel="nofollow" data-download="{"attachment_id":81794739,"asset_id":73170750,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/81794739/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38938027" href="https://cdm-it.academia.edu/LuisaCuringa">Luisa Curinga</a><script data-card-contents-for-user="38938027" type="text/json">{"id":38938027,"first_name":"Luisa","last_name":"Curinga","domain_name":"cdm-it","page_name":"LuisaCuringa","display_name":"Luisa Curinga","profile_url":"https://cdm-it.academia.edu/LuisaCuringa?f_ri=919","photo":"https://0.academia-photos.com/38938027/10776387/107887591/s65_luisa.curinga.jpg"}</script></span></span></li><li class="js-paper-rank-work_73170750 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73170750"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73170750, container: ".js-paper-rank-work_73170750", }); 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$(".js-view-count[data-work-id=73170750]").text(description); $(".js-view-count-work_73170750").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73170750").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73170750"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="28040" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Teacher_Education">Music Teacher Education</a>, <script data-card-contents-for-ri="28040" type="text/json">{"id":28040,"name":"Music Teacher Education","url":"https://www.academia.edu/Documents/in/Music_Teacher_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="49158" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Didactics">Music Didactics</a><script data-card-contents-for-ri="49158" type="text/json">{"id":49158,"name":"Music Didactics","url":"https://www.academia.edu/Documents/in/Music_Didactics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73170750]'), work: {"id":73170750,"title":"Musica e movimento. Il gesto musicale, la produzione musicale.","created_at":"2022-03-06T02:51:02.891-08:00","url":"https://www.academia.edu/73170750/Musica_e_movimento_Il_gesto_musicale_la_produzione_musicale?f_ri=919","dom_id":"work_73170750","summary":"Una delle prime esperienze vissute dall'essere umano, prima ancora della nascita, è la percezione della pulsazione del battito cardiaco materno durante la gestazione: si tratta di un'esperienza ritmica, che si inserisce nell'ambito più vasto della percezione musicale prenatale e neonatale. La connessione tra suono e movimento è istintiva e avviene già nei primissimi mesi di vita. L'ascolto nei bambini, specialmente in quelli più piccoli, è sempre un 'ascolto corporeo', che non coinvolge solo l'organo uditivo ma il loro intero essere. La decodifica dell'evento sonoro avviene cioè attraverso diversi canali, tra cui il movimento corporeo è preminente, ma coinvolge anche l'aspetto emozionale e affettivo. \nI movimenti corporei sincronizzati con la pulsazione o la struttura ritmica di un brano consentono ai bambini di sviluppare abilità che non sono soltanto di carattere musicale. Da un lato, infatti, l'educazione musicale riguarda la musica in se stessa e, nelle scuole dell'infanzia e primaria, ha (o dovrebbe avere) l'obiettivo di promuovere l'alfabetizzazione musicale, ovvero la padronanza degli elementi basilari della musica. Dall'altro essa è in grado di concorrere in maniera sostanziale alla formazione globale del bambino e allo sviluppo della sua personalità, e può costituire un potente mezzo di supporto ad altre discipline e alla formazione di competenze e abilità fondamentali per l'essere umano. Gli esercizi-gioco centrati sul ritmo, in particolare, possono essere proposti già a partire dal Nido e contribuiscono a sviluppare nel bambino la motricità grossa e fine, la propriocezione, la lateralità, il coordinamento motorio, senza dimenticare la gestione corporea dello spazio e quella mentale della successione temporale. Allo stesso tempo essi favoriscono la socializzazione, l'attenzione, la concentrazione e la memoria. \nDal punto di vista musicale, le attività didattiche centrate su suono e movimento, specialmente se proposte il più precocemente possibile, consentono l'acquisizione del 'senso ritmico', una delle abilità fondamentali per chi fa musica. Avere il senso del ritmo significa saper 'andare a tempo', cioè sincronizzare i gesti e i movimenti corporei al fine di produrre i suoni nel momento opportuno, con la voce, con il corpo o con gli strumenti musicali, ed essere in grado di ascoltare, comprendere, memorizzare e riprodurre ritmi via via sempre più articolati. \n Musica e movimento sono quindi esperienze che si collocano alle fondamenta della vita dell’essere umano e che sono profondamente interconnesse. Il presente articolo approfondisce questa correlazione analizzando l’approccio al ritmo dei maggiori didatti del XX secolo (Émile Jaques-Dalcroze, Carl Orff, Zoltán Kodály, Edgar Willems, Maurice Martenot, Laura Bassi) per poi esaminare il rapporto tra ritmo e movimento nella didattica odierna. Il capitolo è arricchito da esempi concreti di attività didattiche centrate sul ritmo e sul movimento per le scuole dell’infanzia e primaria.","downloadable_attachments":[{"id":81794739,"asset_id":73170750,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38938027,"first_name":"Luisa","last_name":"Curinga","domain_name":"cdm-it","page_name":"LuisaCuringa","display_name":"Luisa Curinga","profile_url":"https://cdm-it.academia.edu/LuisaCuringa?f_ri=919","photo":"https://0.academia-photos.com/38938027/10776387/107887591/s65_luisa.curinga.jpg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":28040,"name":"Music Teacher Education","url":"https://www.academia.edu/Documents/in/Music_Teacher_Education?f_ri=919","nofollow":true},{"id":49158,"name":"Music Didactics","url":"https://www.academia.edu/Documents/in/Music_Didactics?f_ri=919","nofollow":true},{"id":371437,"name":"Carl Orff","url":"https://www.academia.edu/Documents/in/Carl_Orff?f_ri=919"},{"id":738940,"name":"Edgar Willems","url":"https://www.academia.edu/Documents/in/Edgar_Willems?f_ri=919"},{"id":806264,"name":"Didattica Della Musica","url":"https://www.academia.edu/Documents/in/Didattica_Della_Musica?f_ri=919"},{"id":996258,"name":"Kodály Method","url":"https://www.academia.edu/Documents/in/Kodaly_Method?f_ri=919"},{"id":1308688,"name":"Educazione Musicale","url":"https://www.academia.edu/Documents/in/Educazione_Musicale?f_ri=919"},{"id":1308915,"name":"Kodaly Pedagogy","url":"https://www.academia.edu/Documents/in/Kodaly_Pedagogy?f_ri=919"},{"id":1321152,"name":"Método Dalcroze","url":"https://www.academia.edu/Documents/in/Metodo_Dalcroze?f_ri=919"},{"id":1403837,"name":"Body Percussion","url":"https://www.academia.edu/Documents/in/Body_Percussion?f_ri=919"},{"id":1551387,"name":"Pedagogia musicale","url":"https://www.academia.edu/Documents/in/Pedagogia_musicale?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_73262101" data-work_id="73262101" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/73262101/Thinking_through_the_Body_Music_Theory_for_the_Performer">Thinking through the Body. Music Theory for the Performer</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">There is significant controversy between music theorists and performers about the value and relevance of the study of music theory for performers. As I argue in this paper, the dissatisfaction on the part of performers about the value of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_73262101" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">There is significant controversy between music theorists and performers about the value and relevance of the study of music theory for performers. As I argue in this paper, the dissatisfaction on the part of performers about the value of existing analytical methods stems from the fact that the majority of these methods do not address the particular needs of performers, who, unlike theorists, engage with music in a more bodily than intellectual way. The goal of this article is to propose new methods of analysis that promise to engage performer-students equally with the mind and the body. The methods proposed here share with Dalcroze Eurhythmics the belief that by experiencing music through the whole body, students develop important kinaesthetic skills necessary to understanding music more deeply and expressing themselves more musically. By revealing the connection between musical and physical movement, the two analytical representations proposed – the bouncing ball and gestural arrow – allow analysts to capture expressive movement while encouraging more bodily involvement in the analytical process. Structural analysis involves the exploration of both the expressive potential inherent in the notes of the musical score and the precise expressive effect of the way these notes are performed. The emphasis on rhythmic process and expressive nuance allows performer-analysts to engage with and become sensitized to qualities of music directly related to the act of performance.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/73262101" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f57b504aad6890a4a95823a15660a92d" rel="nofollow" data-download="{"attachment_id":81850530,"asset_id":73262101,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/81850530/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7292" href="https://independent.academia.edu/GeorgePapageorgiou">George Papageorgiou</a><script data-card-contents-for-user="7292" type="text/json">{"id":7292,"first_name":"George","last_name":"Papageorgiou","domain_name":"independent","page_name":"GeorgePapageorgiou","display_name":"George Papageorgiou","profile_url":"https://independent.academia.edu/GeorgePapageorgiou?f_ri=919","photo":"https://0.academia-photos.com/7292/2757/2751/s65_george.papageorgiou.jpeg"}</script></span></span></li><li class="js-paper-rank-work_73262101 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="73262101"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 73262101, container: ".js-paper-rank-work_73262101", }); });</script></li><li class="js-percentile-work_73262101 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 73262101; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_73262101"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_73262101 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="73262101"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 73262101; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=73262101]").text(description); $(".js-view-count-work_73262101").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_73262101").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="73262101"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3886" rel="nofollow" href="https://www.academia.edu/Documents/in/Rhythm">Rhythm</a>, <script data-card-contents-for-ri="3886" type="text/json">{"id":3886,"name":"Rhythm","url":"https://www.academia.edu/Documents/in/Rhythm?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11003" rel="nofollow" href="https://www.academia.edu/Documents/in/Musical_Expression">Musical Expression</a><script data-card-contents-for-ri="11003" type="text/json">{"id":11003,"name":"Musical Expression","url":"https://www.academia.edu/Documents/in/Musical_Expression?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=73262101]'), work: {"id":73262101,"title":"Thinking through the Body. Music Theory for the Performer","created_at":"2022-03-07T10:18:48.714-08:00","url":"https://www.academia.edu/73262101/Thinking_through_the_Body_Music_Theory_for_the_Performer?f_ri=919","dom_id":"work_73262101","summary":"There is significant controversy between music theorists and performers about the value and relevance of the study of music theory for performers. As I argue in this paper, the dissatisfaction on the part of performers about the value of existing analytical methods stems from the fact that the majority of these methods do not address the particular needs of performers, who, unlike theorists, engage with music in a more bodily than intellectual way. The goal of this article is to propose new methods of analysis that promise to engage performer-students equally with the mind and the body. The methods proposed here share with Dalcroze Eurhythmics the belief that by experiencing music through the whole body, students develop important kinaesthetic skills necessary to understanding music more deeply and expressing themselves more musically. By revealing the connection between musical and physical movement, the two analytical representations proposed – the bouncing ball and gestural arrow – allow analysts to capture expressive movement while encouraging more bodily involvement in the analytical process. Structural analysis involves the exploration of both the expressive potential inherent in the notes of the musical score and the precise expressive effect of the way these notes are performed. The emphasis on rhythmic process and expressive nuance allows performer-analysts to engage with and become sensitized to qualities of music directly related to the act of performance.","downloadable_attachments":[{"id":81850530,"asset_id":73262101,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7292,"first_name":"George","last_name":"Papageorgiou","domain_name":"independent","page_name":"GeorgePapageorgiou","display_name":"George Papageorgiou","profile_url":"https://independent.academia.edu/GeorgePapageorgiou?f_ri=919","photo":"https://0.academia-photos.com/7292/2757/2751/s65_george.papageorgiou.jpeg"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true},{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":3886,"name":"Rhythm","url":"https://www.academia.edu/Documents/in/Rhythm?f_ri=919","nofollow":true},{"id":11003,"name":"Musical Expression","url":"https://www.academia.edu/Documents/in/Musical_Expression?f_ri=919","nofollow":true},{"id":21264,"name":"Embodied Music Cognition","url":"https://www.academia.edu/Documents/in/Embodied_Music_Cognition?f_ri=919"},{"id":28879,"name":"Music analysis","url":"https://www.academia.edu/Documents/in/Music_analysis?f_ri=919"},{"id":213404,"name":"Musical Performance","url":"https://www.academia.edu/Documents/in/Musical_Performance?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6821026" data-work_id="6821026" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6821026/Movement_as_an_effective_tool_in_early_years_music_provision">Movement as an effective tool in early years music provision</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6821026" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9b61ffd9e9b1a7d4c59aac9f37a0b627" rel="nofollow" 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From influences, development and fragmentation to the practice of Dalcroze Eurhythmics today: a personal selection of ideas, applications and intentions.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">has a backgro.unq in pe.rformance as a singer, pianist, harpsichordist and violinist.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33555144" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c00d23e9f80e990d598c3effdfe4f174" rel="nofollow" data-download="{"attachment_id":53582416,"asset_id":33555144,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53582416/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36528259" href="https://rncm.academia.edu/KGreenhead">Karin Greenhead</a><script data-card-contents-for-user="36528259" type="text/json">{"id":36528259,"first_name":"Karin","last_name":"Greenhead","domain_name":"rncm","page_name":"KGreenhead","display_name":"Karin Greenhead","profile_url":"https://rncm.academia.edu/KGreenhead?f_ri=919","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33555144 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33555144"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33555144, container: ".js-paper-rank-work_33555144", }); });</script></li><li class="js-percentile-work_33555144 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33555144; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_33555144"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_33555144 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="33555144"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33555144; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33555144]").text(description); $(".js-view-count-work_33555144").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33555144").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33555144"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33555144]'), work: {"id":33555144,"title":"Drawing threads together. From influences, development and fragmentation to the practice of Dalcroze Eurhythmics today: a personal selection of ideas, applications and intentions.pdf","created_at":"2017-06-19T09:12:55.465-07:00","url":"https://www.academia.edu/33555144/Drawing_threads_together_From_influences_development_and_fragmentation_to_the_practice_of_Dalcroze_Eurhythmics_today_a_personal_selection_of_ideas_applications_and_intentions_pdf?f_ri=919","dom_id":"work_33555144","summary":"has a backgro.unq in pe.rformance as a singer, pianist, harpsichordist and violinist.","downloadable_attachments":[{"id":53582416,"asset_id":33555144,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36528259,"first_name":"Karin","last_name":"Greenhead","domain_name":"rncm","page_name":"KGreenhead","display_name":"Karin Greenhead","profile_url":"https://rncm.academia.edu/KGreenhead?f_ri=919","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28702352" data-work_id="28702352" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28702352/%D0%9A%D0%BD%D1%8F%D0%B7%D1%8C_%D0%92%D0%BE%D0%BB%D0%BA%D0%BE%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D0%B8_%D0%93%D0%B0%D0%B1%D0%B8%D0%BC%D0%B0_%D0%A0%D1%83%D1%81%D1%81%D0%BA%D0%B8%D0%B9_%D0%B0%D0%BA%D1%86%D0%B5%D0%BD%D1%82_%D0%BD%D0%B0_%D0%B8%D0%B2%D1%80%D0%B8%D1%82%D1%81%D0%BA%D0%BE%D0%B9_%D1%81%D1%86%D0%B5%D0%BD%D0%B5">Князь Волконский и Габима: Русский акцент на ивритской сцене.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Volkonsky's Lessons in Habima and their Impact on the Hebrew Theater' Speech Tradition. [Prince Volkonsky and Habima: a Russian Accent on the Hebrew Stage] The Russian theatre culture had considerable impact on the Jewish theatre in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28702352" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Volkonsky's Lessons in Habima and their Impact on the Hebrew Theater' Speech Tradition. [Prince Volkonsky and Habima: a Russian Accent on the Hebrew Stage]<br />The Russian theatre culture had considerable impact on the Jewish theatre in general, and on the theatre in Hebrew in particular. The first professional Hebrew theatre, Habima, set out on its artistic road in Moscow in 1917. The first Habima actors were trained by the greatest Russian theatre figures of the period.<br />The article is devoted to specific aspect of the Russian culture influence on the Hebrew Theatre: the influence of the Russian Prince Sergey Volkonsky on the speaking style of Habima.<br />The speech lessons taught to the Habima first actors and their impact upon them are analyzed, beginning with a description of Volkonsky's theatrical approach, and followed by a recap of his lessons and an examination of how deep his students were able to absorb them.<br />The influence of Volkonsky's lessons on the formation of Habima's acting style was three-fold: 1) He instilled into his students an awareness of the great importance of the means of outward expression in the theatre and the absolute necessity of developing and practicing the actor's physical tools. For many years the conscious attitude to the scenic form, attention to word and gesture, pitch of voice and excellence of diction became the trademarks of Habima; 2) Volkonsky's lessons, combined with Stanislavsky's doctrines, prepared the ground for the unprecedented success of the Vakhtangov performance, The Dybbuk. The whole spoken, "audible", aspect of the performance was built upon the superior vocal technique developed in Volkonsky's courses; and 3) Volkonsky's influence was also noticeable in the characteristic accent of the first generation of Habima. The fact that the actors, whose mother tongue was largely Yiddish and whose stage language was Hebrew, learned “correct” speech on the basis of Russian, had a great impact on their manner of speaking. <br />Although the stage language of Habima had nothing in common with the contemporary spoken Hebrew, in the Russian period it completely suited the general style of the theatre and as well as the spirit of the times. Later, after settling in the Land of Israel in 1931, the actors of Habima sought to preserve their pronounce and speaking style, in spite of the fact that their pronunciation was perceived by the native Jews of the Land of Israel as a heavy Russian accent  and their speaking style – as a "Russian musicality".<br />Because of their dogmatic and fossilized understanding of the lessons, which they had learned in Russia, those very peculiarities that had previously been an advantage, became a drawback when their time had passed.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28702352" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7bdb119d7e58ecf8d5d6d97f6be414a2" rel="nofollow" data-download="{"attachment_id":49100658,"asset_id":28702352,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49100658/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50476763" href="https://telaviv.academia.edu/ElenaTartakovsky">Elena Tartakovsky</a><script data-card-contents-for-user="50476763" type="text/json">{"id":50476763,"first_name":"Elena","last_name":"Tartakovsky","domain_name":"telaviv","page_name":"ElenaTartakovsky","display_name":"Elena Tartakovsky","profile_url":"https://telaviv.academia.edu/ElenaTartakovsky?f_ri=919","photo":"https://0.academia-photos.com/50476763/16846611/17087387/s65_elena.tartakovsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_28702352 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28702352"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28702352, container: ".js-paper-rank-work_28702352", }); 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$(".js-view-count[data-work-id=28702352]").text(description); $(".js-view-count-work_28702352").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28702352").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28702352"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="88386" rel="nofollow" href="https://www.academia.edu/Documents/in/Leah_Goldberg">Leah Goldberg</a>, <script data-card-contents-for-ri="88386" type="text/json">{"id":88386,"name":"Leah Goldberg","url":"https://www.academia.edu/Documents/in/Leah_Goldberg?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="233411" rel="nofollow" href="https://www.academia.edu/Documents/in/Hebrew_Theatre">Hebrew Theatre</a>, <script data-card-contents-for-ri="233411" type="text/json">{"id":233411,"name":"Hebrew Theatre","url":"https://www.academia.edu/Documents/in/Hebrew_Theatre?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="241522" rel="nofollow" href="https://www.academia.edu/Documents/in/Stanislavski_System">Stanislavski System</a><script data-card-contents-for-ri="241522" type="text/json">{"id":241522,"name":"Stanislavski System","url":"https://www.academia.edu/Documents/in/Stanislavski_System?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28702352]'), work: {"id":28702352,"title":"Князь Волконский и Габима: Русский акцент на ивритской сцене.","created_at":"2016-09-25T02:02:00.820-07:00","url":"https://www.academia.edu/28702352/%D0%9A%D0%BD%D1%8F%D0%B7%D1%8C_%D0%92%D0%BE%D0%BB%D0%BA%D0%BE%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D0%B8_%D0%93%D0%B0%D0%B1%D0%B8%D0%BC%D0%B0_%D0%A0%D1%83%D1%81%D1%81%D0%BA%D0%B8%D0%B9_%D0%B0%D0%BA%D1%86%D0%B5%D0%BD%D1%82_%D0%BD%D0%B0_%D0%B8%D0%B2%D1%80%D0%B8%D1%82%D1%81%D0%BA%D0%BE%D0%B9_%D1%81%D1%86%D0%B5%D0%BD%D0%B5?f_ri=919","dom_id":"work_28702352","summary":"Volkonsky's Lessons in Habima and their Impact on the Hebrew Theater' Speech Tradition. [Prince Volkonsky and Habima: a Russian Accent on the Hebrew Stage]\nThe Russian theatre culture had considerable impact on the Jewish theatre in general, and on the theatre in Hebrew in particular. The first professional Hebrew theatre, Habima, set out on its artistic road in Moscow in 1917. The first Habima actors were trained by the greatest Russian theatre figures of the period.\nThe article is devoted to specific aspect of the Russian culture influence on the Hebrew Theatre: the influence of the Russian Prince Sergey Volkonsky on the speaking style of Habima.\nThe speech lessons taught to the Habima first actors and their impact upon them are analyzed, beginning with a description of Volkonsky's theatrical approach, and followed by a recap of his lessons and an examination of how deep his students were able to absorb them.\nThe influence of Volkonsky's lessons on the formation of Habima's acting style was three-fold: 1) He instilled into his students an awareness of the great importance of the means of outward expression in the theatre and the absolute necessity of developing and practicing the actor's physical tools. For many years the conscious attitude to the scenic form, attention to word and gesture, pitch of voice and excellence of diction became the trademarks of Habima; 2) Volkonsky's lessons, combined with Stanislavsky's doctrines, prepared the ground for the unprecedented success of the Vakhtangov performance, The Dybbuk. The whole spoken, \"audible\", aspect of the performance was built upon the superior vocal technique developed in Volkonsky's courses; and 3) Volkonsky's influence was also noticeable in the characteristic accent of the first generation of Habima. The fact that the actors, whose mother tongue was largely Yiddish and whose stage language was Hebrew, learned “correct” speech on the basis of Russian, had a great impact on their manner of speaking. \nAlthough the stage language of Habima had nothing in common with the contemporary spoken Hebrew, in the Russian period it completely suited the general style of the theatre and as well as the spirit of the times. Later, after settling in the Land of Israel in 1931, the actors of Habima sought to preserve their pronounce and speaking style, in spite of the fact that their pronunciation was perceived by the native Jews of the Land of Israel as a heavy Russian accent and their speaking style – as a \"Russian musicality\".\nBecause of their dogmatic and fossilized understanding of the lessons, which they had learned in Russia, those very peculiarities that had previously been an advantage, became a drawback when their time had passed. \n","downloadable_attachments":[{"id":49100658,"asset_id":28702352,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50476763,"first_name":"Elena","last_name":"Tartakovsky","domain_name":"telaviv","page_name":"ElenaTartakovsky","display_name":"Elena Tartakovsky","profile_url":"https://telaviv.academia.edu/ElenaTartakovsky?f_ri=919","photo":"https://0.academia-photos.com/50476763/16846611/17087387/s65_elena.tartakovsky.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":88386,"name":"Leah Goldberg","url":"https://www.academia.edu/Documents/in/Leah_Goldberg?f_ri=919","nofollow":true},{"id":233411,"name":"Hebrew Theatre","url":"https://www.academia.edu/Documents/in/Hebrew_Theatre?f_ri=919","nofollow":true},{"id":241522,"name":"Stanislavski System","url":"https://www.academia.edu/Documents/in/Stanislavski_System?f_ri=919","nofollow":true},{"id":277349,"name":"Stanislavski","url":"https://www.academia.edu/Documents/in/Stanislavski?f_ri=919"},{"id":303328,"name":"Hebrew Theater","url":"https://www.academia.edu/Documents/in/Hebrew_Theater?f_ri=919"},{"id":362847,"name":"Speaking Style","url":"https://www.academia.edu/Documents/in/Speaking_Style?f_ri=919"},{"id":409325,"name":"S. Ansky The Dybbuk","url":"https://www.academia.edu/Documents/in/S._Ansky_The_Dybbuk?f_ri=919"},{"id":1224670,"name":"Habima Theater","url":"https://www.academia.edu/Documents/in/Habima_Theater?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_77660171" data-work_id="77660171" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77660171/Music_Education_Research">Music Education Research</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Swiss educator, Émile Jaques-Dalcroze observed over 100 years ago that often music conservatoires focus primarily on the development of technique and repertoire, at the expense of musicianship. His embodied approach to music education... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_77660171" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Swiss educator, Émile Jaques-Dalcroze observed over 100 years ago that often music conservatoires focus primarily on the development of technique and repertoire, at the expense of musicianship. His embodied approach to music education aims to connect all our faculties, emotional, corporeal and intellectual, through experiencing music making, in and through movement. This arts practice research addresses how embodiment in classical music instrumental education can be enhanced by an embodied teaching method such as Dalcroze Eurhythmics. The research journey culminated with 'Dance of Shadows', a multidisciplinary , multi-sensorial interpretation of Eugène Ysaÿe's second sonata for solo violin, opus 27. To document the intrinsic reflexivity of the research, the researcher utilises the tools of artistic research and other arts practice methods. The findings of this investigation revealed not only an enhancement of the researcher's embodied preparation and performance practice but also a transformation in the experience of engagement for the audience.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77660171" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="637cf3a5b034e072382920f7ad94e74c" rel="nofollow" data-download="{"attachment_id":84969946,"asset_id":77660171,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84969946/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36551124" href="https://independent.academia.edu/DalyDiane">Diane K Daly</a><script data-card-contents-for-user="36551124" type="text/json">{"id":36551124,"first_name":"Diane","last_name":"Daly","domain_name":"independent","page_name":"DalyDiane","display_name":"Diane K Daly","profile_url":"https://independent.academia.edu/DalyDiane?f_ri=919","photo":"https://0.academia-photos.com/36551124/71755187/60206343/s65_diane.daly.jpg"}</script></span></span></li><li class="js-paper-rank-work_77660171 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77660171"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77660171, container: ".js-paper-rank-work_77660171", }); 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Araştırmada yöntem olarak “durum çalışması” deseni... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45260949" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Araştırma Milli Eğitime Bağlı Ortaokullarda Görev Yapan Müzik Öğretmenlerinin özel öğretim yöntemlerini derslerde kullanabilmeleriyle ilgili görüşlerini saptamak amacıyla yapılmıştır. Araştırmada yöntem olarak “durum çalışması” deseni kullanılmıştır. Veriler içim açık uçlu beş maddelik bir görüşme formu hazırlanmıştır. 24- 40 yaş aralığında bulunan 20 katılımcıyla yüz yüze görüşme yapılmış ve kendi derslerinde özel öğretim yöntemleri kullanmalarıyla ilgili beş maddelik formdaki sorular yöneltilmiştir. Veriler frekans analizi ve içerik çözümleme tekniği kullanılarak analiz edilmiştir. Çalışmada elde edilen veriler doğrultusunda öğretmenlerin en çok tercih ettikleri yöntemin Orff yöntemi olduğu ve bu yöntemleri en çok kullandıkları kazanımın Ritim-Tartım öğretimi olduğu, en sık karşılaştıkları problemlerin arasında Ders Süresinin Yetersiz Olması ve Öğrenci Velilerinin Müzik Dersine Olan Önyargıları gibi sonuçlara ulaşılmıştır.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45260949" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8b273bd3ba79cdabde6d167d7fc64748" rel="nofollow" data-download="{"attachment_id":65825481,"asset_id":45260949,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65825481/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4803279" href="https://independent.academia.edu/AybikeBeg%C3%BCmOkur">Aybike Begüm OKUR</a><script data-card-contents-for-user="4803279" type="text/json">{"id":4803279,"first_name":"Aybike Begüm","last_name":"OKUR","domain_name":"independent","page_name":"AybikeBegümOkur","display_name":"Aybike Begüm OKUR","profile_url":"https://independent.academia.edu/AybikeBeg%C3%BCmOkur?f_ri=919","photo":"https://0.academia-photos.com/4803279/2047498/35767081/s65_aybike_beg_m.okur.jpg"}</script></span></span></li><li class="js-paper-rank-work_45260949 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45260949"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45260949, container: ".js-paper-rank-work_45260949", }); 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$(".js-view-count[data-work-id=45260949]").text(description); $(".js-view-count-work_45260949").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45260949").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45260949"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20861" rel="nofollow" href="https://www.academia.edu/Documents/in/Orff_Schulwerk">Orff Schulwerk</a>, <script data-card-contents-for-ri="20861" type="text/json">{"id":20861,"name":"Orff Schulwerk","url":"https://www.academia.edu/Documents/in/Orff_Schulwerk?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="327585" rel="nofollow" href="https://www.academia.edu/Documents/in/M%C3%BCzik">Müzik</a>, <script data-card-contents-for-ri="327585" type="text/json">{"id":327585,"name":"Müzik","url":"https://www.academia.edu/Documents/in/M%C3%BCzik?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="996258" rel="nofollow" href="https://www.academia.edu/Documents/in/Kodaly_Method">Kodály Method</a><script data-card-contents-for-ri="996258" type="text/json">{"id":996258,"name":"Kodály Method","url":"https://www.academia.edu/Documents/in/Kodaly_Method?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45260949]'), work: {"id":45260949,"title":"MİLLİ EĞİTİME BAĞLI ORTAOKULLARDA GÖREV YAPAN MÜZİK ÖĞRETMENLERİNİN ÖZEL ÖĞRETİM YÖNTEMLERİNİ KULLANABİLMELERİYLE İLGİLİ GÖRÜŞLERİ","created_at":"2021-02-28T13:14:43.682-08:00","url":"https://www.academia.edu/45260949/M%C4%B0LL%C4%B0_E%C4%9E%C4%B0T%C4%B0ME_BA%C4%9ELI_ORTAOKULLARDA_G%C3%96REV_YAPAN_M%C3%9CZ%C4%B0K_%C3%96%C4%9ERETMENLER%C4%B0N%C4%B0N_%C3%96ZEL_%C3%96%C4%9ERET%C4%B0M_Y%C3%96NTEMLER%C4%B0N%C4%B0_KULLANAB%C4%B0LMELER%C4%B0YLE_%C4%B0LG%C4%B0L%C4%B0_G%C3%96R%C3%9C%C5%9ELER%C4%B0?f_ri=919","dom_id":"work_45260949","summary":"Araştırma Milli Eğitime Bağlı Ortaokullarda Görev Yapan Müzik Öğretmenlerinin özel öğretim yöntemlerini derslerde kullanabilmeleriyle ilgili görüşlerini saptamak amacıyla yapılmıştır. Araştırmada yöntem olarak “durum çalışması” deseni kullanılmıştır. Veriler içim açık uçlu beş maddelik bir görüşme formu hazırlanmıştır. 24- 40 yaş aralığında bulunan 20 katılımcıyla yüz yüze görüşme yapılmış ve kendi derslerinde özel öğretim yöntemleri kullanmalarıyla ilgili beş maddelik formdaki sorular yöneltilmiştir. Veriler frekans analizi ve içerik çözümleme tekniği kullanılarak analiz edilmiştir. Çalışmada elde edilen veriler doğrultusunda öğretmenlerin en çok tercih ettikleri yöntemin Orff yöntemi olduğu ve bu yöntemleri en çok kullandıkları kazanımın Ritim-Tartım öğretimi olduğu, en sık karşılaştıkları problemlerin arasında Ders Süresinin Yetersiz Olması ve Öğrenci Velilerinin Müzik Dersine Olan Önyargıları gibi sonuçlara ulaşılmıştır. ","downloadable_attachments":[{"id":65825481,"asset_id":45260949,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4803279,"first_name":"Aybike Begüm","last_name":"OKUR","domain_name":"independent","page_name":"AybikeBegümOkur","display_name":"Aybike Begüm OKUR","profile_url":"https://independent.academia.edu/AybikeBeg%C3%BCmOkur?f_ri=919","photo":"https://0.academia-photos.com/4803279/2047498/35767081/s65_aybike_beg_m.okur.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":20861,"name":"Orff Schulwerk","url":"https://www.academia.edu/Documents/in/Orff_Schulwerk?f_ri=919","nofollow":true},{"id":327585,"name":"Müzik","url":"https://www.academia.edu/Documents/in/M%C3%BCzik?f_ri=919","nofollow":true},{"id":996258,"name":"Kodály Method","url":"https://www.academia.edu/Documents/in/Kodaly_Method?f_ri=919","nofollow":true},{"id":1002924,"name":"Müzik Eğitimi Anabilim Dalları","url":"https://www.academia.edu/Documents/in/Muzik_Egitimi_Anabilim_Dallari?f_ri=919"},{"id":1409804,"name":"ÖZel ÖğRetim Yöntemleri","url":"https://www.academia.edu/Documents/in/OZel_OgRetim_Yontemleri?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5555455" data-work_id="5555455" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5555455/What_makes_Eurhythmics_Dalcroze_Eurhythmics">What makes Eurhythmics Dalcroze Eurhythmics?</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5555455" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09e14a90124424621fe26b65d37c355b" rel="nofollow" data-download="{"attachment_id":32648610,"asset_id":5555455,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32648610/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5555455 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5555455"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5555455, container: ".js-paper-rank-work_5555455", }); 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$(".js-view-count[data-work-id=5555455]").text(description); $(".js-view-count-work_5555455").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5555455").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5555455"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5555455]'), work: {"id":5555455,"title":"What makes Eurhythmics Dalcroze Eurhythmics?","created_at":"2013-12-29T17:46:04.277-08:00","url":"https://www.academia.edu/5555455/What_makes_Eurhythmics_Dalcroze_Eurhythmics?f_ri=919","dom_id":"work_5555455","summary":null,"downloadable_attachments":[{"id":32648610,"asset_id":5555455,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_68696481" data-work_id="68696481" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/68696481/Playing_With_the_Past_An_Autoethnography">Playing With the Past: An Autoethnography</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">What does it take to become an elite professional performer in the culture of Western Classical music? Successful performers usually begin lessons at an extremely early age, and many hours of childhood are given over to practice. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_68696481" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">What does it take to become an elite professional performer in the culture of Western Classical music?  Successful performers usually begin lessons at an extremely early age, and many hours of childhood are given over to practice. The research reveals how an autoethnographic exploration through music, improvisation, composition and somatic movement enabled the documentation and creation of a new work of artistic expression. This article presents how the research model provided the artist with a range of insights and discoveries that would have otherwise remained uncovered, highlighting the impact and value of autoethnography in producing new knowledge in the field of classical music education.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/68696481" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a5d7fc3a9c9eb0619727be5d3291e931" rel="nofollow" data-download="{"attachment_id":84970553,"asset_id":68696481,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84970553/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36551124" href="https://independent.academia.edu/DalyDiane">Diane K Daly</a><script data-card-contents-for-user="36551124" type="text/json">{"id":36551124,"first_name":"Diane","last_name":"Daly","domain_name":"independent","page_name":"DalyDiane","display_name":"Diane K Daly","profile_url":"https://independent.academia.edu/DalyDiane?f_ri=919","photo":"https://0.academia-photos.com/36551124/71755187/60206343/s65_diane.daly.jpg"}</script></span></span></li><li class="js-paper-rank-work_68696481 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="68696481"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 68696481, container: ".js-paper-rank-work_68696481", }); 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$(".js-view-count[data-work-id=68696481]").text(description); $(".js-view-count-work_68696481").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_68696481").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="68696481"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5044" rel="nofollow" href="https://www.academia.edu/Documents/in/Embodiment">Embodiment</a>, <script data-card-contents-for-ri="5044" type="text/json">{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5737" rel="nofollow" href="https://www.academia.edu/Documents/in/Autoethnography">Autoethnography</a>, <script data-card-contents-for-ri="5737" type="text/json">{"id":5737,"name":"Autoethnography","url":"https://www.academia.edu/Documents/in/Autoethnography?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14197" rel="nofollow" href="https://www.academia.edu/Documents/in/Autonomy">Autonomy</a><script data-card-contents-for-ri="14197" type="text/json">{"id":14197,"name":"Autonomy","url":"https://www.academia.edu/Documents/in/Autonomy?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=68696481]'), work: {"id":68696481,"title":"Playing With the Past: An Autoethnography","created_at":"2022-01-19T08:59:05.138-08:00","url":"https://www.academia.edu/68696481/Playing_With_the_Past_An_Autoethnography?f_ri=919","dom_id":"work_68696481","summary":"What does it take to become an elite professional performer in the culture of Western Classical music? Successful performers usually begin lessons at an extremely early age, and many hours of childhood are given over to practice. The research reveals how an autoethnographic exploration through music, improvisation, composition and somatic movement enabled the documentation and creation of a new work of artistic expression. This article presents how the research model provided the artist with a range of insights and discoveries that would have otherwise remained uncovered, highlighting the impact and value of autoethnography in producing new knowledge in the field of classical music education.","downloadable_attachments":[{"id":84970553,"asset_id":68696481,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":36551124,"first_name":"Diane","last_name":"Daly","domain_name":"independent","page_name":"DalyDiane","display_name":"Diane K Daly","profile_url":"https://independent.academia.edu/DalyDiane?f_ri=919","photo":"https://0.academia-photos.com/36551124/71755187/60206343/s65_diane.daly.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":5044,"name":"Embodiment","url":"https://www.academia.edu/Documents/in/Embodiment?f_ri=919","nofollow":true},{"id":5737,"name":"Autoethnography","url":"https://www.academia.edu/Documents/in/Autoethnography?f_ri=919","nofollow":true},{"id":14197,"name":"Autonomy","url":"https://www.academia.edu/Documents/in/Autonomy?f_ri=919","nofollow":true},{"id":40754,"name":"Classical Music","url":"https://www.academia.edu/Documents/in/Classical_Music?f_ri=919"},{"id":67760,"name":"Innovation and Creativity in Education","url":"https://www.academia.edu/Documents/in/Innovation_and_Creativity_in_Education?f_ri=919"},{"id":981587,"name":"Body Mapping","url":"https://www.academia.edu/Documents/in/Body_Mapping?f_ri=919"},{"id":1114754,"name":"Instrumental Performance","url":"https://www.academia.edu/Documents/in/Instrumental_Performance?f_ri=919"},{"id":1237343,"name":"String Teaching","url":"https://www.academia.edu/Documents/in/String_Teaching?f_ri=919"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42940004" data-work_id="42940004" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42940004/Dalcroze_and_Dynamic_Students">Dalcroze and Dynamic Students</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">14% of American public school students require special education services. Could Dalcroze Eurhythmics help music, and non-music, educators better serve the needs of these students?</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42940004" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="79f1987cd7648dfdce19ca6ab048c724" rel="nofollow" data-download="{"attachment_id":63193722,"asset_id":42940004,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63193722/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="38049797" href="https://independent.academia.edu/PatrickCerria">Patrick Cerria</a><script data-card-contents-for-user="38049797" type="text/json">{"id":38049797,"first_name":"Patrick","last_name":"Cerria","domain_name":"independent","page_name":"PatrickCerria","display_name":"Patrick Cerria","profile_url":"https://independent.academia.edu/PatrickCerria?f_ri=919","photo":"https://0.academia-photos.com/38049797/11451316/12772611/s65_patrick.cerria.jpg"}</script></span></span></li><li class="js-paper-rank-work_42940004 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42940004"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42940004, container: ".js-paper-rank-work_42940004", }); 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$(".js-view-count[data-work-id=42940004]").text(description); $(".js-view-count-work_42940004").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42940004").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42940004"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a>, <script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1062" rel="nofollow" href="https://www.academia.edu/Documents/in/Special_Education">Special Education</a>, <script data-card-contents-for-ri="1062" type="text/json">{"id":1062,"name":"Special Education","url":"https://www.academia.edu/Documents/in/Special_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4270" rel="nofollow" href="https://www.academia.edu/Documents/in/Autism_Spectrum_Disorders">Autism Spectrum Disorders</a>, <script data-card-contents-for-ri="4270" type="text/json">{"id":4270,"name":"Autism Spectrum Disorders","url":"https://www.academia.edu/Documents/in/Autism_Spectrum_Disorders?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="187354" rel="nofollow" href="https://www.academia.edu/Documents/in/Social_and_Emotional_Wellbeing">Social and Emotional Wellbeing</a><script data-card-contents-for-ri="187354" type="text/json">{"id":187354,"name":"Social and Emotional Wellbeing","url":"https://www.academia.edu/Documents/in/Social_and_Emotional_Wellbeing?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42940004]'), work: {"id":42940004,"title":"Dalcroze and Dynamic Students","created_at":"2020-05-04T08:49:42.359-07:00","url":"https://www.academia.edu/42940004/Dalcroze_and_Dynamic_Students?f_ri=919","dom_id":"work_42940004","summary":"14% of American public school students require special education services. Could Dalcroze Eurhythmics help music, and non-music, educators better serve the needs of these students? ","downloadable_attachments":[{"id":63193722,"asset_id":42940004,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":38049797,"first_name":"Patrick","last_name":"Cerria","domain_name":"independent","page_name":"PatrickCerria","display_name":"Patrick Cerria","profile_url":"https://independent.academia.edu/PatrickCerria?f_ri=919","photo":"https://0.academia-photos.com/38049797/11451316/12772611/s65_patrick.cerria.jpg"}],"research_interests":[{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true},{"id":1062,"name":"Special Education","url":"https://www.academia.edu/Documents/in/Special_Education?f_ri=919","nofollow":true},{"id":4270,"name":"Autism Spectrum Disorders","url":"https://www.academia.edu/Documents/in/Autism_Spectrum_Disorders?f_ri=919","nofollow":true},{"id":187354,"name":"Social and Emotional Wellbeing","url":"https://www.academia.edu/Documents/in/Social_and_Emotional_Wellbeing?f_ri=919","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9879923" data-work_id="9879923" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9879923/Science_and_art_of_body_percussion_a_review">Science & art of body percussion: a review</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The purpose of this paper is to provide a comprehensive review of Body Percussion from all areas, focusing on existing academic literature and the contribution of different authors. Existing ethnographic publications are reviewed, as are... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9879923" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The purpose of this paper is to provide a comprehensive review of Body Percussion from all areas, focusing on existing academic literature and the contribution of different authors. Existing ethnographic publications are reviewed, as are the links with traditional dances, musical pedagogy, neuroscientific aspects, handclapping songs, use in shows, the sound properties of body percussion and, most importantly, the main authors who have systematically structured and build the foundations of body percussion in a coherent manner and with new contributions.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9879923" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3fb9e4ee0c8a84910ceabc6ad530be61" rel="nofollow" data-download="{"attachment_id":36040077,"asset_id":9879923,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36040077/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9971666" href="https://alicante.academia.edu/FranciscoJavierRomeroNaranjo">Francisco Javier Romero-Naranjo</a><script data-card-contents-for-user="9971666" type="text/json">{"id":9971666,"first_name":"Francisco Javier","last_name":"Romero-Naranjo","domain_name":"alicante","page_name":"FranciscoJavierRomeroNaranjo","display_name":"Francisco Javier Romero-Naranjo","profile_url":"https://alicante.academia.edu/FranciscoJavierRomeroNaranjo?f_ri=919","photo":"https://0.academia-photos.com/9971666/3089539/17885071/s65_francisco_javier.romero-naranjo.png"}</script></span></span></li><li class="js-paper-rank-work_9879923 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9879923"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9879923, container: ".js-paper-rank-work_9879923", }); 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$(".js-view-count[data-work-id=9879923]").text(description); $(".js-view-count-work_9879923").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9879923").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9879923"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">27</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="683" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="684" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Theory_Pedagogy">Music Theory Pedagogy</a>, <script data-card-contents-for-ri="684" type="text/json">{"id":684,"name":"Music Theory Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Theory_Pedagogy?f_ri=919","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a><script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9879923]'), work: {"id":9879923,"title":"Science \u0026 art of body percussion: a review","created_at":"2014-12-23T12:38:50.053-08:00","url":"https://www.academia.edu/9879923/Science_and_art_of_body_percussion_a_review?f_ri=919","dom_id":"work_9879923","summary":"The purpose of this paper is to provide a comprehensive review of Body Percussion from all areas, focusing on existing academic literature and the contribution of different authors. 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itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5555425/Transformation_of_the_body_mind_through_L_%C3%A8ducation_par_le_rythme_et_pour_le_rythme_">Transformation of the body-mind through “L’èducation par le rythme et pour le rythme”. </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Reflection on Jaques-Dalcroze´s article (1910) by Marja-Leena Juntunen, Finland, <a href="mailto:mljuntun@cc.oulu.fi" rel="nofollow">mljuntun@cc.oulu.fi</a> I have been invited to respond to and reflect on Jaques-Dalcroze´s article L'èducation par le rythme et pour le rythme published in Le... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5555425" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Reflection on Jaques-Dalcroze´s article (1910) by Marja-Leena Juntunen, Finland, <a href="mailto:mljuntun@cc.oulu.fi" rel="nofollow">mljuntun@cc.oulu.fi</a> I have been invited to respond to and reflect on Jaques-Dalcroze´s article L'èducation par le rythme et pour le rythme published in Le Ryhtme 1910. In this article, Jaques-Dalcroze articulates the changes, or transformations, that one can experience in oneself (especially in one's mentality) and learn to appreciate, after practicing "la gymnastique rythmique" for some time. In the following, I will discuss these transformations that Jaques-Dalcroze describes as ends and/or advantages of his approach. In other words, I will examine as how, in Jaques-Dalcroze's understanding, the body affects the mind and vice versa through the training in and through the rhythm.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5555425" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3c40a27de7c877de6f9af607609cbbbb" rel="nofollow" data-download="{"attachment_id":32648599,"asset_id":5555425,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32648599/download_file?st=MTc0MDU2NjUyMSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2688507" href="https://uniarts.academia.edu/MarjaLeenaJuntunen">Marja-Leena Juntunen</a><script data-card-contents-for-user="2688507" type="text/json">{"id":2688507,"first_name":"Marja-Leena","last_name":"Juntunen","domain_name":"uniarts","page_name":"MarjaLeenaJuntunen","display_name":"Marja-Leena Juntunen","profile_url":"https://uniarts.academia.edu/MarjaLeenaJuntunen?f_ri=919","photo":"https://0.academia-photos.com/2688507/860285/28503682/s65_marja-leena.juntunen.jpg"}</script></span></span></li><li class="js-paper-rank-work_5555425 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5555425"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5555425, container: ".js-paper-rank-work_5555425", }); });</script></li><li class="js-percentile-work_5555425 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5555425; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5555425"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5555425 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5555425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5555425; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5555425]").text(description); $(".js-view-count-work_5555425").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5555425").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5555425"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="919" rel="nofollow" href="https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics">Dalcroze Eurhythmics</a><script data-card-contents-for-ri="919" type="text/json">{"id":919,"name":"Dalcroze Eurhythmics","url":"https://www.academia.edu/Documents/in/Dalcroze_Eurhythmics?f_ri=919","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5555425]'), work: {"id":5555425,"title":"Transformation of the body-mind through “L’èducation par le rythme et pour le rythme”. 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