Hostname: page-component-cb9f654ff-65tv2 Total loading time: 0 Render date: 2025-08-21T07:59:57.522Z Has data issue: false hasContentIssue false
  • English
  • Français

Physical Movement: Its place in Music Education

Published online by Cambridge University Press:  18 December 2008

Susan Young
Get access Rights & Permissions [Opens in a new window]

Extract

The author calls for the physical, kinesthetic sense, to be recognised and understood for its role in all musical experience, on a par with our mental capacities, and also suggests that it is the missing, yet essentially vitalising part, of what might be called a ‘whole human’ response to and engagement with music. This thinking is applied to support an emerging theory of practice, which takes its original inspiration from the principles of Dalcroze Eurhythmics: principles which have been adapted and developed to meet the changing needs of contemporary education.

Information

Type
Research Article
Information
British Journal of Music Education , Volume 9 , Issue 3 , November 1992 , pp. 187 - 194
Copyright
Copyright © Cambridge University Press 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

Blacking, J. (1976) How Musical Is Man? Seattle: University of Press. 2nd Edition 1976 Faber and Faber.Google Scholar
Blacking, J. (1987) A Commonsense View of all Music Cambridge: Cambridge University Press.Google Scholar
Fordham, F. (1966) An introduction to Jung's Psychology. London: Penguin Books.Google Scholar
Fraisse, P. (1982) ‘Rhythm and Tempo’ in Deutsch, Diana (Ed) The Psychology of Music London: Academic Press.Google Scholar
Gardner, H. (1983) Frames of Mind: a theory of multiple intelligences New York: Basic Books.Google Scholar
Jaques-Dalcroze, E. (1921) Rhythm, Music and Education London: Chatto and Windus.CrossRefGoogle Scholar
Kemp, A. (1990) ‘Kinaesthesia in Music and its Implications for Developments in Microtechnology’ British Journal of Music Education 1990.CrossRefGoogle Scholar
Martin, F. et al. (1965) Emile Jaques-Dalcroze: L'Homme, Le Compositeur, Le Createur de la Rythmique Neuchatel: Editions de la Baconniere.Google Scholar
Moog, H. (1968) The Musical Experience of the Pre-school Child Mainz: Schott.Google Scholar
Paynter, J. & Aston, P. (1970) Sound and Silence Cambridge: Cambridge University Press.Google Scholar
Sessions, R. (1979) Roger Sessions on Music: Collected Essays Princeton: Princeton University Press.Google Scholar
Small, C. (1977) Music, Society, Education London: Calder.Google Scholar
Taylor, D. (1989) ‘Physical movement and memory for music’ British Journal of Music Education 11 1989.CrossRefGoogle Scholar
Vanderspar, E. (undated) Dalcroze Handbook: Principles and Guidelines for Teaching Eurhythmics mimeo.Google Scholar