Elisabeth Danuser-Zogg Music and Movement

ACADEMIA

The Structure and Dynamics in Teaching

Elisabeth Danuser-Zogg

Music and Movement

Academia Sport 58

Translated by Britta Fietzke

Elisabeth Danuser-Zogg

Music and MovementThe Structure and Dynamics in Teaching

ACADEMIA

Academia Sport 58

Translated by Britta Fietzke

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ISBN 978-3-89665-938-5 (Print) 978-3-89665-939-2 (ePDF)

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978-3-89665-938-5 (Print) 978-3-89665-939-2 (ePDF)

Library of Congress Cataloging-in-Publication DataDanuser-Zogg, ElisabethMusic and MovementThe Structure and Dynamics in TeachingElisabeth Danuser-Zogg240 pp.Includes bibliographic references.

ISBN 978-3-89665-938-5 (Print) 978-3-89665-939-2 (ePDF)

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Content

1. Part: Structure 9

Preface 11

Introduction1 13Music and Movement / Rhythmicsa) 13Practical relevanceb) 14Terminologyc) 14The textd) 15Sourcese) 16Diagramsf) 17

The Connection Between Music and Movement2 21Translate music into movement and movement into musica) 21Time – Space – Strength – Form: first distinctionsb) 23Distinction of the four parameters within the polesc) 25Practical relevanced) 26

The Art of Working with Music and Movement3 27The six fieldsa) 27Structure and dynamicsb) 29The different sectionsc) 31The structures of the fields and sectionsd) 33The model as a basis for practicee) 33Practical relevancef) 35

Field I – Music4 37Music A: Being with music/Perceiving musica) 40Music B: Learning the basicsb) 42Music C: Differentiating musical parametersc) 44Music D: Relating music to the room, an object, a partner, the groupd) 46Music E: Discovering music as a personal languagee) 48

Field II – Movement5 51Movement A: Perception of body and body spacea) 54Movement B: Movement developmentb) 56Movement C: Distinctions of the movement rhythmsc) 58Movement D: Movement in relation to the room, a partner, an objectd) 60Movement E: Movement creationse) 62

Field III – Perception6 65Perception A1, developing proprioception: surface perceptiona) 67Perception A2, developing proprioception: depth perceptionb) 68Perception A3, developing proprioception: kinaesthetic perceptionc) 69Perception A4, developing proprioception: vestibular perceptiond) 70Perception C1: Distinctions in remote senses: auditive perceptione) 80Perception C2: Distinctions in proprioception: visual perceptionf) 81Perception D: Perception – Movement – Spaceg) 86


Field IV – Concept Formation7 93Concept formation A: Perceiving processes with all senses and putting theminto one’s own words

a)96

Concept formation B: Experiencing, recognising and naming the basics ofthe parameters, of cultural techniques and factual topics

b)98

Concept formation C: Differentiating, comparing, connecting, naming termsc) 100Concept formation D: Relating concepts to creation in Music and Movement,to material, to the room, to partners

d)102

Concept formation E: Personalising terms from everyday lifee) 104

Field V – Social Interaction8 107Social interaction A: “ME”, self-awareness as the basis for social awarenessa) 110Social Interaction B: “YOU and ME”, dealing with a partnerb) 112Social interaction C: “ME and US”, dealing with a groupc) 114Social interaction D: Me ‒ my partner ‒ the group in the room and/or withmaterials

d)116

Social interaction E: Social competence and creativitye) 118

Field VI – Personal expression9 121Personal expression A: Becoming self-awarea) 124Personal expression B: Using one’s own repertoire of personal abilitiesb) 126Personal expression C: Developing something new from made experiencesc) 128Personal expression D: Putting personal expressions in relation to materials,the group, a partner, the room

d)130

Personal expression E: Creativity in all fieldse) 132

Manifestations of rhythm10 135Definition of rhythma) 135Rhythm training in Music and Movementb) 136Rhythms of the bodyc) 137Rhythm as an expressive means of personal properties in everyday lifed) 138Timing and time researche) 139Personal definitionf) 140Rhythm as the dynamics between the poles of tension and relaxationg) 140The importance of rhythm for the human developmenth) 142

Material and Musical Instruments11 151Selection criteriaa) 151Rhythmics materialsb) 153Groove Packc) 154Musical instrumentsd) 154Everyday materials and objects for movemente) 154Handling of materials and instrumentsf) 154

Content


2. Part: Dynamics 157

The Aesthetics of Teaching Design12 159Qualitya) 159Two lessons in comparisonb) 160Learning successc) 160

The Aesthetic Learning Space13 163Creative processesa) 163Lesson dynamics within the four parametersb) 164Rhythm and rhythmisation in the lesson dynamicsc) 164The six fields as a design tool in the aesthetic learning spaced) 167Reactions as feedbacke) 169

Goal, Process and Topic14 171Goal and processa) 171Setting goalsb) 172Implementing goals ‒ achieving goalsc) 173Concrete setting of goalsd) 173Goal and topice) 174

Principles of Creation15 175Variationsa) 175The organic exercise developmentb) 179Mixed formsc) 180

Learning Process and Interaction16 181Rhythmised learning within the fieldsa) 181Resonance in the aesthetic learning spaceb) 182Resonance and inspirationc) 184Interaction patterns in the learning processd) 185

Planning Between Structure and Dynamics17 187Lesson structure: beginning – development – enda) 187Preparatory gridb) 190Planning a long-term processc) 192

Reflection and interaction18 197Lively preparation and reflectiona) 197Reflectionsb) 197Assessmentc) 200Evaluationsd) 202Observation of individual pupils using the modele) 202

Perception distinction in difficult pedagogical situations19 205Children learn (about) music with all their sensesa) 205Impact of a lack of differentiationb) 205Structural changes in the classroomc) 206Observing, analysing and changing difficult teaching situationsd) 211

Content


Heterogeneity is music20 215The chance of music in diversitya) 215Musical learning is a complex processb) 216The inclusive music lessons are designed to be perceptible and tangiblec) 217Clear pulse and rhythm movements support musical learningd) 218Composing the ‘aesthetic’ in a visual and auditive manner is part of thesuccess

e)219

The score of the inclusive music lesson has different partsf) 220

Beyond the model21 223Between the poles of art and pedagogya) 224The model and acquisition of competenciesb) 225Music – movement – learningc) 227The model as the basis for a specific concept developmentd) 228Experimental spacese) 230The relationship of creativity and learningf) 232Relationship and handiworkg) 233Innovative learningh) 233

Appendix: Information on literature and references 235

Content


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Elisabeth Danuser-Zogg Music and Movement