luc nijs postdoctoral researcher
TO MOVE OR NOT TO MOVE IS IT REALLY A QUESTION?
A movement-based approach to instrumental music teaching and learning
IPEM Ghent University
Embodied MusicCognition
m
Movement in Music education
Music Paint Machine
Prelude
Tristan moves
Igudesman moves
bodily motilityexpertiseexpertise ??bodily motility
some theoryembodied (music) cognition
My body is an original motility without which there would be neither space nor time
Cutrofello* (referring to Merleau-Ponty)
*Cutrofello, A. (2004). Continental philosophy: A contemporary introduction. London: RoutledgeBehnke, S. (1983). At the service of the Sonata: Music lessons with Merleau-Ponty. In: Somatics, 4(2): 23-29.
Leman, 2007
the body = the NATURAL mediator between
the world (e.g. music) and its subjective experience
&
(musical) meaning is grounded in bodily involvement
musicsubjective experiencephysical energy
decode
PATTERNS
musical parametersharmony
timbr
e articulation
dyna
mics
rhyth
m
tempometre
phrasemotivemelody
pitch
music as physical energym
tonality
e.g. Bidelman and Grall, 2014; Bigand et Al, 2014; Gill & Purves, 2009; Large, 2011e.g. Leman et al, 2013; McDougall & Moore, 2005; Van Noorden & Moelants, 1999
subjective experience of music
content
form
feelingsDESCRIBE
SHOW or ARTICULATEdance
cond
ucttap
ENKELE VOORBEELDEN ...
attunement or resonance
direct involvement
dynamic, fast and pre-reflective processes
effectivities & affordances
action-perception couplings
schemas (forward & inverse models)
subjective experience of music
prediction
musicsubjective experiencephysical energy
decode
skills experience knowledge
body
effectivities affordances
emotions goals
movement
a research example
Self-report task
Evaluative conditioning- 2 musical pieces - 3 groups of children (7-8 years, N=46)- 3 conditions (happy-sad-control)- 4 sessions
COSY%
ENERGETIC%
HAPPY%
CALM%
GLOOMY%
LONELY%
LAZY%
SAD%
BUSY%
MERRY%
1 52 3 4
SAD choreography HAPPY choreography
Maes, P. J., & Leman, M. (2013). The influence of body movements on childrens perception of music with an ambiguous expressive character. PloS one, 8(1), e54682.
N0.25
E. 1
N
0.33
N
0.50
N
0.67
N
1.00
N
1.50
Uh
2.00
B
3.00
Uv
4.00
N
E. 2
N N N N N N N Uv
N
E. 3
N N N Uh Uh Uv B Uh
N
E. 4
N N N N N B Uv N
N
E. 5
N N N N N Uv N N
N
E. 6
N N N N N Uv B Uh
Metric Layers x Excerpts (rows)
research example
Naveda, L. & Leman, M. (2009). A Cross-modal Heuristic for Periodic Pattern Analysis of Samba Music and Dance. Journal of New Music Research, 38(3), 255283.
decode
encode
musicsubjective experiencephysical energy
subjective experience of music
musical instrument
instrumentmusician music
mn*i i*mc
+
Nijs, L., M. Lesaffre & M. Leman (2013). The Musical Instrument as a Natural Extension of the Musician. In: Castellengo, M. & Genevois, H. Music and its instruments. Sampzon, Editions Delatour France.
There no longer exist relations between us. Some time ago I lost my sense of the border between us.
I've got two portraits of myself one from long ago created by Salvador Dali,
and another one made much later by Glikman, an amazing painter who lives in Germany, in his eighties now.
So, in the Dali there I was with my cello; I held it and all was excellent. In Glikman's portrait, however, there I was - and my cello became just a red
spot at my belly, like a dissected peritoneum. And actually, I feel it now in this manner, much like a singer seems to feel
his vocal chords. I experience no difficulty in playing sounds. Indeed, I give no report to myself on how I speak. Just so, I play music, involuntarily.
The cello is my tool no more. Does it not feel itself offended at being so dissolved?
Sure, it does! But so be it.(Mstislaw Rostropovich)
Chernov, V. (1994). Mstislav Rostropovich: Citizen of the world, man of Russia. Ogon'ok, no. 8
direct perceptionskill-based actingoptimal experience
bodily motility
incorporate the musical instrument
The musical instrument as a natural extension of the musician
direct involvement
embodied interaction
direct perception & skill-based acting
bodyschema
live the music, not think it!
action-perception couplings
corporeal imitation corporeal articulation
intuitive understanding expressive interaction
My body is an original motility without which there would be neither space nor time
bodily motility
I canmusical instrument
Personal styleGestures
Instrumental Gestures
ExpressiveGestures
skill
BodilyCommunication
culture
biology
instrumental genesis
instrumentationsubject changes
instrumentalizationsubject changes
attribute function
material adaptationutilization scheme
usage schemes instrument mediated action schemesinstrumental signsnon-instrumental signs = expressive affordances
instrumental gestures
expressive gestures
personal style gestures
incorporate the musical instrument
Trouche, 2005; Rabardel, 2002
an application of the theorythe Music Paint Machine
sound
movement
movement
painting
Overview of the system
musical creativity * playfulness * flow experience
embodied understanding * body movement * multimodality
optimal relationship with instrument * unity of body and instrument as controller
stimulate & facilitate learning to play a musical instrument
Objective of the Music Paint Machine
active role (controller)
4 features of the Music Paint Machine
beyond monitoring in function of merely providing information
motile body
incorporation of the instrument
Nijs, L & Leman, M.(2014). Interactive technologies in the instrumental music classroom: a longitudinal study with the Music Paint Machine. In: Computers and Education, 73, pp. 40-59
good practices
effectiveness
visual feedbackmovement
2 groups with MPM
4 x 3 children Grade 1-2
9 months of weekly 1 hour lesson
non-equivalent groups design
same lesson content
Study 2: Teaching with the MPM
Play some music while you turn freely from the left to the right
or vice versa
Make a painting with lots of colours
Free Exploration Games
Direct InstructionGuided Exploration
a few examples
The use of movement in instrumental music teaching and learning
a framework
where
who
what
what
how
Act of Embodyingmake changes in the perception of aordances
BodySpace
PersonalSpace
ExternalSpace
internalisation
SPACE AGENCY
External space
Personal space
Body space
surface internal
ACTIVE
PASSIVE
AGENCY
Audio
Foot pressure
Foot pressure to loudness
A. scale
B. long notes
1 2 3 4
A
P
Free Movement
musical body babbling
kinematic model of the music
mus
STRUCTURE
Patterns
meter
intervals, pitch
harmony
phrasing
move the upper
Personal style !!Corporeal articulation
Free Movement Patterns
Quality
Functional Expressive
To conclude
From the teachers point of view
From the researchers point of view
spontaneity handling the instrument improvising play by ear & heart
slower technical progress
variety of inspiring research BUT necessary to translate findings into practice empirical research in
Thank you!
looking forward to your questions, remarks,
[email protected] - ipem.lucnijs.be - www.musicpaintmachine.be
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