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- posete u poslednjih 30 dana:34
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2017, br. 5, str. 120-131
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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.
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