Dalcroze Eurhythmics As a Case Sanna Kivijärvi, Katja Sutela & Riikka Ahokas 169

Ειδικό τεύχος Η Ρυθμική Dalcroze στη μουσικοθεραπεία και την ειδική μουσική παιδαγωγική | Προσκεκλημένος συντάκτης: John Habron Special issue Dalcroze Eurhythmics in music therapy and special music education | Guest editor: John Habron Approaches 8 (2) 2016 Approaches: Ένα Διεπιστημονικό Περιοδικό Μουσικοθεραπείας Ελληνικά | English Approaches: An Interdisciplinary Journal of Music Therapy www.approaches.gr ISSN 2459-3338 Approaches: An Interdisciplinary Journal of Music Therapy 8 (2) 2016 | ISSN 2459-3338 Ειδικό τεύχος | Η Ρυθμική Dalcroze στη μουσικοθεραπεία και την ειδική μουσική παιδαγωγική Special issue | Dalcroze Eurhythmics in music therapy and special music education The team of Approaches Special issue editorial team Editor-in-chief Guest editor Giorgos Tsiris, Nordoff Robbins Scotland & Queen Margaret John Habron, Royal Northern College of Music, UK University, UK Editorial board Associate editors Eckart Altenmüller, University of Music, Drama and Philippa Derrington, Queen Margaret University, UK Media, Germany Daphne Rickson, New Zealand School of Music, Victoria Gary Ansdell, University of Exeter & Nordoff Robbins, UK University of Wellington, New Zealand Eric Barnhill, Charité Universitätsmedizin Berlin, Germany Advisory editorial board Minjung Shim, SUNY Stony Brook University, USA Anthi Agrotou, Arte Musical Academy, Cyprus North-West University, South Africa Liesl Van der Merwe, Mitsi Akoyunoglou, Aegeas/Nakas Conservatory, Hellas Freelance music therapist, UK Sarah Verney Caird, Catherine Carr, Queen Mary University of London, UK , Barchester Healthcare & Guildhall School of Stuart Wood Theo Dimitriadis, Stichting Amstelring, The Netherlands Music and Drama, UK Cochavit Elefant, University of Haifa, Israel Ioanna Etmektsoglou, Ionian University, Hellas Sunelle Fouche, MusicWorks, South Africa John Habron, Royal Northern College of Music, UK Panagiotis Kampylis, European Commission – Joint Research Centre – Institute for Prospective Technological Studies, Spain Language consultants Panagiotis Kanellopoulos, University of Thessaly, Hellas James Robertson, UK Kevin Kirkland, Capilano University, Canada Dimitra Papastavrou, Hellas Evi Papanikolaou, Hellenic American University, Hellas Online resources team Efthymios Papatzikis, Canadian University of Dubai, United Arab Emirates Kandia Bouzioti, Hellas Varvara Pasiali, Queens University of Charlotte, USA Christina Kalliodi, Hellas Maria Pothoulaki, Glasgow Caledonian University, UK Panos Ntourntoufis, Orpheus Music Therapy Services, UK Hanne Mette Ridder, Aalborg University, Denmark Dora Pavlidou, Benenzon Centre, Cyprus Shirley Salmon, Carl Orff Institute, Mozarteum University, Potheini Vaiouli, European University, Cyprus Austria Neta Spiro, Nordoff Robbins Music Therapy, UK Web administrator Melanie Voigt, kbo-Kinderzentrum München, Germany Stefanos Evangelou, Hellas Copyright © 2016 Approaches. All rights reserved. Approaches: An Interdisciplinary Journal of Music Therapy 8 (2) 2016 | ISSN 2459-3338 Contents | Περιεχόμενα Editorial | Σημείωμα σύνταξης Dalcroze Eurhythmics in music therapy and special music education John Habron 100 Η Ρυθμική Dalcroze στη μουσικοθεραπεία και την ειδική μουσική παιδαγωγική John Habron 105 Articles Émile Jaques-Dalcroze as a visionary pioneer of Neurologic Music Therapy Eckart Altenmüller & Daniel S. Scholz 112 Health-musicking through Dalcroze Eurhythmics Ana Navarro Wagner 118 Dalcroze Eurhythmics in therapy for children with Attention Deficit Hyperactivity Disorder (ADHD) symptoms Ewa Bogdanowicz 134 Dalcroze Eurhythmics-based music and movement training in transitional care brain injury patients: A feasibility study Hyun Gu Kang, Veronica Velazquez, Shoko Hino & Emily R. Rosario 147 An exploratory study of flow and enjoyment in a Dalcroze Eurhythmics-based intervention for seniors in Mexico Elda Nelly Treviño & Javier Álvarez Bermúdez 159 A conceptual discussion of embodiment in special music education: Dalcroze Eurhythmics as a case Sanna Kivijärvi, Katja Sutela & Riikka Ahokas 169 Inclusive music education: The potential of the Dalcroze approach for students with special educational needs Katja Sutela, Marja-Leena Juntunen & Juha Ojala 179 Interviews Dalcroze Eurhythmics as a psychomotor education for children with special educational needs: An interview with Marie-Laure Bachmann John Habron & Marie-Laure Bachmann 189 Memories of Mimi Scheiblauer and the development of Dalcroze Eurhythmics as a therapeutic practice: An interview with Eleonore Witoszynskyj John Habron & Eleonore Witoszynskyj 202 Book reviews Rhythmik und autismus: Der integrative ansatz Amelie Hoellerings in theorie und praxis [Rhythmics and Autism: The Integrative Approach of Amelie Hoellering in Theory and Practice] (Lucia Kessler-Kakoulidis) Reviewed by Ludger Kowal-Summek 213 Eurhythmics for Autism and Other Neurophysiologic Diagnoses: A Sensorimotor Music-Based Treatment Approach (Dorita S. Berger) Reviewed by Bethan Habron-James 216 Conference reports WAOUH! IJD CONGRESS 2015 ‘Interactions between pedagogy, art and science and their influence on leaning through and for music today and tomorrow’ Christine Croset 219 The 2nd International Conference of Dalcroze Studies: ‘The movement connection’ Victoria Conlan 223 Μεταφρασμένες περιλήψεις | Translated abstracts 227 Approaches: An Interdisciplinary Journal of Music Therapy | Special Issue 8 (2) 2016 SPECIAL ISSUE Dalcroze Eurhythmics in music therapy and special music education Editorial Dalcroze Eurhythmics in music therapy and special music education John Habron Royal Northern College of Music, UK [email protected] DALCROZE EURHYTHMICS be music, through enacting their musical consciousness somatically and thereby Music therapists, music educators and community simultaneously engaging thought, emotion, agency musicians will be familiar with the primacy of and creativity in a psychophysical means of enlivening musical consciousness in those with expression. During the first decades of the 20th whom they work: clients, patients, learners, century, Jaques-Dalcroze developed his philosophy participants and fellow musicians. For it is through and practice, with the first Dalcroze schools such consciousness that other types of awareness springing up in Europe in the years immediately – of self and other, of time, space and energy, and prior to World War I. of one’s environment – may be developed and To witness a Dalcroze session is one thing. One interpersonal connections, and one’s relationship would normally see a group of people in a large with music, established and deepened. Music used space, in their bare feet, moving to music, either in this way becomes an adaptive tool, a bridge, a the piano improvisation of a teacher or a recording, means to some sort of transformation, whether this or occasionally another instrument, such as a drum. is understood therapeutically, educationally or – The participants would be responding on their own more inclusively – pedagogically. One such terms or according to an instruction from the resource is Dalcroze Eurhythmics, which teacher/practitioner. They would be communicating foregrounds the role of movement in musical non-verbally, as they made contact with others activity and understanding, and the usefulness of through vision, touch or via a piece of equipment exploring and harnessing music-movement such as a ball, stick, hoop, rope or a length of relationships in pedagogy, therapy and the elastic, all the time synchronising their movements, performing arts. dosing their energy and using space according to Émile Jaques-Dalcroze (1865-1950), who how the music moves. At times there would be originated and gave his name to this approach, singing or other forms of vocalisation, spontaneous wrote, “Musical consciousness is the result of or otherwise; at others the participants might be physical experience” (Jaques-Dalcroze 1921/1967: engaging in creative group work to devise 39). He highlighted what, for him, was music’s best movement sequences in response to a piece of kept secret, but which was not much repertoire. One might sense a deep connection acknowledged, understood or used to its full between the movers and the music, even the desire potential in the practices he saw around him at the th to join in. end of the 19 century: the movement of music However, to experience a Dalcroze session is and, as a consequence, the role of movement in quite another thing. As an actor, rather than an music cognition. Jaques-Dalcroze and his observer, one would be called upon to use one’s collaborators, therefore, took a reforming attitude to whole self creatively to analyse and solve pedagogy, dance and music making by problems, express thoughts or moods and react to experimenting with situations in which people could musical challenges. One’s sensorimotor system © Approaches 100 ISSN: 2459-3338 Approaches: An Interdisciplinary Journal of Music Therapy | Special Issue 8 (2) 2016 would be gradually enlivened through preparatory commonly used word is ‘approach’, which exercises, bringing vision, hearing, touch and the resonates with this journal’s name. It is apt in this voice into play, as well as the vestibular system, context as the articles published here describe kinaesthesia, one’s spatial awareness and one’s varied approaches to using the principles of own felt sense of self, or ‘body schema’. Over time, Dalcroze Eurhythmics for different groups with one would become aware of others in the space, different needs. This adaptability, inherent in the finding ways

Load more