- citati u SCIndeksu: [1]
- citati u CrossRef-u:[1]
- citati u Google Scholaru:[
]
- posete u poslednjih 30 dana:34
- preuzimanja u poslednjih 30 dana:17
|
|
2017, br. 5, str. 120-131
|
Otelovljenje, zvuk i vizualizacija - multimodalna perspektiva u muzičkom obrazovanju
Embodiment, sound and visualization: A multimodal perspective in music education
Conservatory of Music 'Licino Refice', Music Education Department Pedagogy of Music, Frosinone, Italy
e-adresa: sandrafortuna@tiscali.it
Sažetak
Mnoge studije su nedavno ukazale na ulogu pokreta tela u procesiranju, deljenju i davanju značenja muzike. Istovremeno, istraživanja neuronauke sugerišu da su različiti delovi mozga uključeni i aktivirani istim stimulansima: zvuci, na primer, mogu biti percipirani dodirom i mogu prizvati sliku, energiju, fluentnost i periodičnost. Ovakva interakcija auditivnih, vizuelnih i motornih osećaja može se naći u verbalnim opisima muzike i kod dece tokom njihovih spontanih igara. Pitanje koje se mora postaviti je da li bi višesenzorni i otelovljeni pristup mogao da redefiniše neka naša shvatanja o muzičkom obrazovanju. Nedavna istraživanja o otelovljenju i višemodalnoj percepciji u instrumentalnoj nastavi možda nagoveštavaju nove pravce u muzičkom obrazovanju. Možemo li smatrati da je integracija aktivnosti u kojima su uključeni pokreti tela, slušanje, metafore vizualizacije i pevanje efektnija za proces razumevanja muzike nego pristup koji je neotelovljen i fragmentovan.
Abstract
Recently, many studies have emphasized the role of body movements in processing, sharing and giving meaning to music. At the same time, neuroscience studies, suggest that different parts of the brain are integrated and activated by the same stimuli: sounds, for example, can be perceived by touch and can evoke imagery, energy, fluency and periodicity. This interaction of auditory, visual and motor senses can be found in the verbal descriptions of music and among children during their spontaneous games. The question to be asked is, if a more multisensory and embodied approach could redefine some of our assumptions regarding musical education. Recent research on embodiment and multimodal perception in instrumental teaching could suggest new directions in musical education. Can we consider the integration between the activities of body movement, listening, metaphor visualization, and singing, as more effective than a disembodied and fragmented approach for the process of musical understanding.
|
|
|
Reference
|
|
Abril, C.R. (2011) Music, Movement, and Learning. u: Colwell, Richard; Webster, Peter [ur.] MENC Handbook of Research on Music Learning, Oxford University Press, str. 92-129
|
|
Addessi, A.R., Maffioli, M., Anelli, F. (2015) The MIROR platform for young children's music and dance creativity: Reflexive interaction meets body-gesture, embodied cognition, and Laban educational dance. Perspectives, 10, 9-18
|
2
|
Bamberger, J. (1991) The mind behind the musical ear. Harvard University Press
|
|
Bamberger, J. (1982) Revisiting Children's Drawings of Simple Rhythms: A Function for Reflection-in-Action. u: U-shaped Behavioral Growth, Elsevier, str. 191-226
|
|
Barrett, M. (2002) Invented notations and mediated memory: A case-study of two children's use of invented notations. Bulletin of the Council for Research in Music Education, 153(4); 55-62
|
1
|
Barry, N.H. (2008) The Role of Integrated Curriculum in Music Teacher Education. Journal of Music Teacher Education, 18(1): 28-38
|
1
|
Chen, J.L., Penhune, V.B., Zatorre, R.J. (2008) Moving on Time: Brain Network for Auditory-Motor Synchronization is Modulated by Rhythm Complexity and Musical Training. Journal of Cognitive Neuroscience, 20(2): 226-239
|
|
Curwen, J. (1892) The standard course of lessons and exercises in the tonic Sol-fa method of teaching music. London: J. Curwen & Sons, 10th ed
|
|
Davidson, J.W. (2005) Bodily communication in musical performance. u: Miell, Dorothy; MacDonald, Raymond; Hargreaves, David J. [ur.] Musical Communication, Oxford University Press, str. 215-238
|
|
Davidson, J.W. (2012) The Role of Bodily Movement in Learning and Performing Music: Applications for Education. Oxford University Press
|
|
Davidson, L., Scripp, L. (1988) Young children's music representation: Windows on music cognition. u: Sloboda J. [ur.] Generative processes in music, Oxford
|
|
de Léonard, M. The judgment of humane actions. u: Forscher Weiss Susan; Murray Russell E. [ur.] Music Education in the Middle Ages and the Renaissance, Bloomington: Indiana University Press, 35-36, trans. John Reynolds (London: Bourne, 1629)
|
|
Galvao, A., Kemp, A. (1999) Kinaesthesia and Instrumental Music Instruction: Some Implications. Psychology of Music, 27(2): 129-137
|
25
|
Gardner, H. (1993) Frames of mind: A theory of multiple intelligences. New York: Basic Books
|
|
Gault, B. (2005) Music Learning Through All the Channels: Combining Aural, Visual, and Kinesthetic Strategies to Develop Musical Understanding. General Music Today, 19(1): 7-9
|
2
|
Gordon, E. (1997) A music learning theory newborn and young children. Chicago: GIA
|
|
Gromko, J.E. (1994) Children's Invented Notations as Measures of Musical Understanding. Psychology of Music, 22(2): 136-147
|
|
Gromko, J.E., Poorman, A.S. (1998) Developmental Trends and Relationships in Children's Aural Perception and Symbol Use. Journal of Research in Music Education, 46(1): 16-23
|
|
Heinz, W., Kaplan, B. (1963) Symbol formation. Hillsdale: Lawrence Erlbaum
|
|
Juntunen, M., Westerlund, H. (2001) Digging Dalcroze, or, Dissolving the Mind‐Body Dualism: Philosophical and practical remarks on the musical body in action. Music Education Research, 3(2): 203-214
|
|
Juntunen, M., Hyvnen, L. (2004) Embodiment in musical knowing: how body movement facilitates learning within Dalcroze Eurhythmics. British Journal of Music Education, 21(2): 199-214
|
|
Kerchner, J.L. (2014) Music across the sensess. Oxford: Oxford University Press
|
|
Kodály, Z. (1974) The selected writings of Zoltán Kodály. London: Boosey & Hawkes, Halápy L. and F. Macnicol trans
|
|
Küssner, M.B., Leech-Wilkinson, D. (2014) Investigating the influence of musical training on cross-modal correspondences and sensorimotor skills in a real-time drawing paradigm. Psychology of Music, 42(3): 448-469
|
1
|
Leman, M. (2008) Embodied music cognition and mediation technology. Cambridge, MA: MIT Press
|
|
Leman, M. (2010) An embodied approach to music semantics. Musicae Scientiae, 14(1_suppl): 43-67
|
|
Maerker, G.A. (2009) Singing and Moving: Teaching Strategies for Audiation in Children. Music Educators Journal, 95(4): 46-50
|
|
Maes, P., Leman, M. (2013) The Influence of Body Movements on Children's Perception of Music with an Ambiguous Expressive Character. PLoS One, 8(1): e54682
|
|
Manifold,, Lorreine, H. (2008) Applying Jaques-Dalcroze's method to teaching musical instruments and its effect on the learning process. online
|
|
Mariusz, K. (2015) Listeners' bodies in music analysis: Gestures, motor intentionality and models. Society for Music Theory, Volume 21, 9
|
3
|
Merleau-Ponty, M. (1962) Phenomenology of perception. London: Routledge & Kegan Paul
|
|
Nijs, L., Leman, M. (2014) Interactive technologies in the instrumental music classroom: A longitudinal study with the Music Paint Machine. Computers & Education, 73: 40-59
|
|
Nijs, L., Leman, M. (2015) Performing with the music paint machine: Provoking an embodied approach to educational technology. u: King A.; Himonides E. [ur.] Music, Technology & Education: Critical Perspective, London: Ashgate Psychology of Music Series
|
|
Orff, C., Keetman, G. (1950) Musik für Kinder. Mainz: Schott's Söhne, vol. I-V
|
|
Phillips-Silver, J. (2005) Feeling the Beat: Movement Influences Infant Rhythm Perception. Science, 308(5727): 1430-1430
|
|
Phillips-Silver, J., Trainor, L.J. (2007) Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105(3): 533-546
|
|
Rena, U. (1992) Can I play you my song?. Portsmouth, N. H: Heinemann
|
2
|
Spence, C. (2011) Crossmodal correspondences: A tutorial review. Attention, Perception, & Psychophysics, 73(4): 971-995
|
|
Tomlinson, M.M. (2013) Literacy and Music in Early Childhood. SAGE Open, 3(3): 215824401350249
|
|
Tuomas, E., Geoff, L., Toiviainen, P. (2006) An investigation of pre-schoolers' corporeal synchronization with music. u: International Conference on Music Perception & Cognition (ICMPC), Bologna, Italy, Proceeding, 472-476
|
|
Verschaffel, L., Reybrouck, M., Janssens, M., van Dooren, W. (2010) Using graphical notations to assess children's experiencing of simple and complex musical fragments. Psychology of Music, 38(3): 259-284
|
|
Vines, B.W., Krumhansl, C.L., Wanderley, M.M., Dalca, I.M., Levitin, D.J. (2011) Music to my eyes: Cross-modal interactions in the perception of emotions in musical performance. Cognition, 118(2): 157-170
|
|
Volpe, G., Varni, G., Addessi, A.R., Mazzarino, B. (2012) BeSound. u: Proceedings of the 11th International Conference on Interaction Design and Children - IDC '12, New York, NY: Association for Computing Machinery (ACM), str. 172
|
|
Vygotskij, L.S. (1990) Immaginazione e creatività nell'età infantile. Roma: Editori Riuniti
|
1
|
Zbikowski, L. (2008) Metaphor and music. u: Gibbs R.E.W.Jr [ur.] The Cambridge handbook of metaphor and thought, Cambridge: Cambridge University press, str 502-24
|
|
Zimmerman, E., Lahav, A. (2012) The multisensory brain and its ability to learn music. Annals of the New York Academy of Sciences, 1252(1): 179-184
|
|
|
|