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The theme of this book is presented in chapters covering basic principles in theory and practice. Three individuals with a hearing impairment report on their development, experience and personal approaches to music. These are followed by chapters on developmental topics, an overview of music in education and therapy, and insight into recent research on music perception. Different educational and therapeutic approaches using music and/or movement relevant to different age groups are described and extended in reports on music and movement with various groups - from preschool children and family projects, to school children and teenagers.
Music and dance for hard-of-hearing and deaf children is not yet offered as a matter of course or as an extra-curricular activity in European schools and has not been widely documented in German speaking countries. This volume focuses on presenting diverse approaches as well as the foundations for the use of music and movement. On the one hand, the importance of music and movement as developmental support or therapy is outlined and, on the other hand, the right to music and movement or dance for everyone is upheld. Within this context, approaches and principles from Germany and Austria as well as from Italy, England, Denmark and Canada are presented.
"Hearing - Feeling - Playing" refers to acoustic, vibratory, tactile, emotional and social stimuli as well as to their perception and their active realization. The importance and the possibilities of music-making and listening for all is described in the forward by the world famous percussionist Evelyn Glennie, who, after developing a hearing disorder in her childhood, learned to use her whole body as a source of resonance. The book examines the fundamentals of each approach as well as the diverse educational and therapeutic goals and methods. At the same time vital issues in the education of people with hearing loss, in music and movement education, music therapy and inclusive education are addressed.
The first chapters "Viva la Musica!" (Bartlmä, Wilberg, Whittaker) describe individual development and experience of music with deafness and hearing impairment and personal approaches to music, music-making and its importance. Theoretical Principles (Feuser, Köck-Hatzmann, Neira Zugasti) present important developmental topics, relevant to all children but especially so for those with hearing loss, as well as insights into music perception (Stelzhammer).
Diverse European approaches from educational and therapeutic fields relevant to different age-groups ranging from pre-school to teenagers, are introduced. Educational approaches (Salmon, Benari, Friedrich, Kiffmann-Duller) are complemented by chapters on Music Therapy and Musical Speech Therapy (Bang), Music Therapy (Cremaschi Trovesi), Orff Music Therapy (Neuhäusel / Sutter/ Tjarks), Music and Auditory-Verbal Therapy (Birkenshaw-Fleming), Improvisation (Jensen) and Nordoff-Robbins Music Therapy (Rocca) and reports on a European project 'Sign Language and Song' (Friedrich / Honka), family projects (Stelzhammer / Ferner) the use of play-songs in inclusive teaching (Salmon) and inclusive dance theatre (Stange).
This book aims to address, inform and inspire specialists from educational and therapeutic fields as well as parents and those with hearing loss. The central question in practical settings remains: which approach involving music and/or movement, which methods and which form of participation - be it in education, remedial help and support or therapy - can be of benefit to the children in question?
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Music and dance for hard-of-hearing and deaf children is not yet offered as a matter of course or as an extra-curricular activity in European schools and has not been widely documented in German speaking countries. This volume focuses on presenting diverse approaches as well as the foundations for the use of music and movement. On the one hand, the importance of music and movement as developmental support or therapy is outlined and, on the other hand, the right to music and movement or dance for everyone is upheld. Within this context, approaches and principles from Germany and Austria as well as from Italy, England, Denmark and Canada are presented.
"Hearing - Feeling - Playing" refers to acoustic, vibratory, tactile, emotional and social stimuli as well as to their perception and their active realization. The importance and the possibilities of music-making and listening for all is described in the forward by the world famous percussionist Evelyn Glennie, who, after developing a hearing disorder in her childhood, learned to use her whole body as a source of resonance. The book examines the fundamentals of each approach as well as the diverse educational and therapeutic goals and methods. At the same time vital issues in the education of people with hearing loss, in music and movement education, music therapy and inclusive education are addressed.
The first chapters "Viva la Musica!" (Bartlmä, Wilberg, Whittaker) describe individual development and experience of music with deafness and hearing impairment and personal approaches to music, music-making and its importance. Theoretical Principles (Feuser, Köck-Hatzmann, Neira Zugasti) present important developmental topics, relevant to all children but especially so for those with hearing loss, as well as insights into music perception (Stelzhammer).
Diverse European approaches from educational and therapeutic fields relevant to different age-groups ranging from pre-school to teenagers, are introduced. Educational approaches (Salmon, Benari, Friedrich, Kiffmann-Duller) are complemented by chapters on Music Therapy and Musical Speech Therapy (Bang), Music Therapy (Cremaschi Trovesi), Orff Music Therapy (Neuhäusel / Sutter/ Tjarks), Music and Auditory-Verbal Therapy (Birkenshaw-Fleming), Improvisation (Jensen) and Nordoff-Robbins Music Therapy (Rocca) and reports on a European project 'Sign Language and Song' (Friedrich / Honka), family projects (Stelzhammer / Ferner) the use of play-songs in inclusive teaching (Salmon) and inclusive dance theatre (Stange).
This book aims to address, inform and inspire specialists from educational and therapeutic fields as well as parents and those with hearing loss. The central question in practical settings remains: which approach involving music and/or movement, which methods and which form of participation - be it in education, remedial help and support or therapy - can be of benefit to the children in question?
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
"Overall "Hearing - Feeling - Playing" is a welcome addition and will provide music teachers with new strategies for the inclusion of students with hearing loss in music."
Kim McCord
In: Music Educators Journal. 97 (2011) 4. pp. 22.
----------------------------------
"This wonderful book, with a foreword by Dame Evelyn Glennie is an addition to literature that considers the relationship of music and people who engage in it with the sense of hearing developed in a different way. (...)
This is a book that is rich with detail and practical suggestion but that also captures the heart and soul and emotion that are fundamental to different ways of hearing. It is highly recommended."
Anne Power
In: Musicworks. Journal of the Australian Council of Orff Schulwerk. Volume 15 No. 1, 2010.
----------------------------------
"The purpose of this book of short essays is to introduce readers to practical approaches to music and movement with children affected by varying degrees of hearing loss, and some other conditions, supported by an outline of the theoretical principles underlining these approaches. It opens with the personal histories of three deaf musician-teachers, and closes with a series of reports of successful practice in a variety of environments with children of different ages. The Foreword is provided by the ever-generous Dame Evelyn Glennie. Teachers of children with special needs, music and speech/language therapists are likely to form the most appreciative audience for the book, but there is also much on offer for readers outside these professions, including students, parents, dancers and musicians. Originally published in German, the contributions of the 17 authors from
Austria, Denmark, Germany and Italy have been translated into English for this edition, which also includes five chapters by English-speaking writers. (...)
I have just used the word "working" but what comes over to the reader in chapter after chapter - and perhaps this is one of the most successful aspects of the book - is each author's commitment to "playful"communication through music and movement, and the ways in which this can best be facilitated so as to enable every individual, whatever their situation, to fulfil their potential for self-expression. While the achievements of deaf and hearing-impaired musicians and educators such as Glennie, Wilberg, Bartlmä and Whittaker may be seen as exceptional, as well as extraordinary, they also provide inspiration: with appropriate guidance - such as that outlined in this collection - many more young people may come to enjoy participation in musical and particularly social activity."
Jane Ginsborg
In: The British Journal of Music Education. Vol. 28 (2011) 1. pp. 108-111.
Kim McCord
In: Music Educators Journal. 97 (2011) 4. pp. 22.
----------------------------------
"This wonderful book, with a foreword by Dame Evelyn Glennie is an addition to literature that considers the relationship of music and people who engage in it with the sense of hearing developed in a different way. (...)
This is a book that is rich with detail and practical suggestion but that also captures the heart and soul and emotion that are fundamental to different ways of hearing. It is highly recommended."
Anne Power
In: Musicworks. Journal of the Australian Council of Orff Schulwerk. Volume 15 No. 1, 2010.
----------------------------------
"The purpose of this book of short essays is to introduce readers to practical approaches to music and movement with children affected by varying degrees of hearing loss, and some other conditions, supported by an outline of the theoretical principles underlining these approaches. It opens with the personal histories of three deaf musician-teachers, and closes with a series of reports of successful practice in a variety of environments with children of different ages. The Foreword is provided by the ever-generous Dame Evelyn Glennie. Teachers of children with special needs, music and speech/language therapists are likely to form the most appreciative audience for the book, but there is also much on offer for readers outside these professions, including students, parents, dancers and musicians. Originally published in German, the contributions of the 17 authors from
Austria, Denmark, Germany and Italy have been translated into English for this edition, which also includes five chapters by English-speaking writers. (...)
I have just used the word "working" but what comes over to the reader in chapter after chapter - and perhaps this is one of the most successful aspects of the book - is each author's commitment to "playful"communication through music and movement, and the ways in which this can best be facilitated so as to enable every individual, whatever their situation, to fulfil their potential for self-expression. While the achievements of deaf and hearing-impaired musicians and educators such as Glennie, Wilberg, Bartlmä and Whittaker may be seen as exceptional, as well as extraordinary, they also provide inspiration: with appropriate guidance - such as that outlined in this collection - many more young people may come to enjoy participation in musical and particularly social activity."
Jane Ginsborg
In: The British Journal of Music Education. Vol. 28 (2011) 1. pp. 108-111.