The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-Eurhythmics-is a practical guide for college instructors and students interested in integrating the moving body into the aural skills classroom.
The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-Eurhythmics-is a practical guide for college instructors and students interested in integrating the moving body into the aural skills classroom.
Diane Urista is on the music theory faculty at the Cleveland Institute of Music where she teaches undergraduate and graduate students. She holds a PhD in music theory from Columbia University and has studied with many Dalcroze-eurhythmics practitioners, most notably the late Robert Abramson from the Juilliard School. She has published articles and presented at numerous international and national conferences on the relationship between performance and analysis, aural skills pedagogy, and embodied musical understanding. Her background allows her to develop a discourse between the different, yet complementary, disciplines of Eurhythmics, music theory, and aural skills.
Inhaltsangabe
Introduction I. Purpose Why the Moving Body in the Aural Skills Classroom? Healing the Mind-Body Split in College Music Training Rhythms from the Body What is the Kinesthetic Sense or "Sixth Sense? " Traditional vs. Embodied Approach Musical Affect and Expressive Performance II. Methodology Experience before Analysis Spiral of Learning Sensation before Conceptualization Internalization and Automatisms Improvisation: Cultivating One's "Voice " Physiological Evidence Reflective Stillness: Movement is Not an End in Itself III. Getting Started (Notes to the Instructor) Pedagogical Tips Chapter 1: Basics I. Preliminary Considerations Physical Form (to the instructor) Movement Tenets (to the instructor and students) Overcoming Inhibitions (to the instructor) II. Five Fundamental Exercises (to the instructor and students) Quick Reaction Inhibition and Excitation Interference Imitation and Canon Disassociation Chapter 2: Warm ups Chapter 3: Rhythm I: Basic Rhythmic Concepts and Terminology (to the instructor and students) Time-Point vs. Gestural-Rhythm Beat Meter Rhythmic Nuance Definitions of Accents and Poetic Feet Expressing Gestural Rhythms Pedagogical Tips for Teaching Rhythm Exercises (to the instructor) II: Rhythmic Subjects 1. Beat, Pulse, and Tempo 2. Meter-Simple and Compound 3. Augmentation-Rhythmic Duration and Expansion 4. Subdivision in Simple and Compound Meters 5. Rests and Pauses-The Expression of Silence 6. Dotted Rhythm 7. Syncopation 8. Gestural Rhythmic Patterns 9. Cross Rhythms and Polyrhythms 10. Changing Meters 11. Uneven Meters 12. Additive Rhythms 13. Polymeters and Cross Rhythms Chapter 4: Pitch, Scale, and Melody 1. The Scale-to and from tonic 2. Tonal Centering, Retention, and Recall 3. Relative Pitch and Scale Degree Function 4. Scalar Fragments-The Scale's Inner workings 5. Intervals-A Contextualized Approach 6. C-to-C Scales-A Comparative Study of Scales 7. Modulation-Strategies for Singing, Hearing, and Improvising 8. Sight Singing and Inner Hearing Strategies Chapter 5: Harmony 1. Chords-Harmonic Building Blocks from the Scale 2. Inversions-Triads and Seventh Chords 3. Embodying Harmonic Function 4. Modulation 5. Embodying/Integrating Harmonic Progressions Chapter 6 1. Phrase 2. Forms 3. Plastique Animèe Additional Plastique Animée
Introduction I. Purpose Why the Moving Body in the Aural Skills Classroom? Healing the Mind-Body Split in College Music Training Rhythms from the Body What is the Kinesthetic Sense or "Sixth Sense? " Traditional vs. Embodied Approach Musical Affect and Expressive Performance II. Methodology Experience before Analysis Spiral of Learning Sensation before Conceptualization Internalization and Automatisms Improvisation: Cultivating One's "Voice " Physiological Evidence Reflective Stillness: Movement is Not an End in Itself III. Getting Started (Notes to the Instructor) Pedagogical Tips Chapter 1: Basics I. Preliminary Considerations Physical Form (to the instructor) Movement Tenets (to the instructor and students) Overcoming Inhibitions (to the instructor) II. Five Fundamental Exercises (to the instructor and students) Quick Reaction Inhibition and Excitation Interference Imitation and Canon Disassociation Chapter 2: Warm ups Chapter 3: Rhythm I: Basic Rhythmic Concepts and Terminology (to the instructor and students) Time-Point vs. Gestural-Rhythm Beat Meter Rhythmic Nuance Definitions of Accents and Poetic Feet Expressing Gestural Rhythms Pedagogical Tips for Teaching Rhythm Exercises (to the instructor) II: Rhythmic Subjects 1. Beat, Pulse, and Tempo 2. Meter-Simple and Compound 3. Augmentation-Rhythmic Duration and Expansion 4. Subdivision in Simple and Compound Meters 5. Rests and Pauses-The Expression of Silence 6. Dotted Rhythm 7. Syncopation 8. Gestural Rhythmic Patterns 9. Cross Rhythms and Polyrhythms 10. Changing Meters 11. Uneven Meters 12. Additive Rhythms 13. Polymeters and Cross Rhythms Chapter 4: Pitch, Scale, and Melody 1. The Scale-to and from tonic 2. Tonal Centering, Retention, and Recall 3. Relative Pitch and Scale Degree Function 4. Scalar Fragments-The Scale's Inner workings 5. Intervals-A Contextualized Approach 6. C-to-C Scales-A Comparative Study of Scales 7. Modulation-Strategies for Singing, Hearing, and Improvising 8. Sight Singing and Inner Hearing Strategies Chapter 5: Harmony 1. Chords-Harmonic Building Blocks from the Scale 2. Inversions-Triads and Seventh Chords 3. Embodying Harmonic Function 4. Modulation 5. Embodying/Integrating Harmonic Progressions Chapter 6 1. Phrase 2. Forms 3. Plastique Animèe Additional Plastique Animée
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