Rhythmic-musical education

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Rhythmic-musical education , or rhythmics for short , is an artistic-educational discipline. The central content of the rhythm is the interaction between music and movement, which is thematized as a transfer process between these two media of expression: How do musical processes influence movement and how can dance events become music? The basis of the subject of rhythm is a people-oriented way of working, which pays special attention to the independence, creativity and creative power of the practitioner. The acquisition of subject-related skills and knowledge takes place mainly in the constant interrelation of impression and expression and gives the individual space for their own perceptions, design ideas and knowledge. "A specific and age-appropriate game and support offer in the polar interplay, for example of calm and movement, dynamics (loud - quiet), tempo (fast - slow), articulation (style of play), defines the methodological-didactic framework and is provided by the teacher elaborated and developed for the respective target group. The decisive factor in the classroom is freedom of assessment and acceptance. Each participant expresses himself in music, language and movement in accordance with his possibilities and abilities at that moment (Hirler 2009, p. 17). " Rhythm courses can be found at music schools, daycare centers, youth centers, dance and movement centers and at institutions with cultural and aesthetic educational programs. Trained rhythmists are often artistically active. They compose their own pieces and perform them, they direct cultural projects or take part in productions in the music - dance scene. Rhythmics can be studied as an independent main subject at German music colleges, universities and conservatories.

development

The subject was founded by the Geneva music teacher Émile Jaques-Dalcroze (1865–1950), who recognized the importance of rhythmically trained movement for music lessons and music practice. Jaques-Dalcroze then developed a method of music education through movement. He first let his students beat the beat with their arms and watched them move their entire bodies with them. This realization led to the further consequence of including the legs as well, with the feet realizing the rhythm . The transfer of rhythm and beat in movements of the arms and legs is one of the classic Dalcroze exercises that illustrate how the spatial representation of a temporal course can lead to a better understanding of musical sequences. Dalcroze developed an extensive compendium of exercises to increase and differentiate the sense of rhythm, melody and phrasing. Sound, dynamics, polyphony and complex musical forms are also made visible as réalisations corporelles in spatially coordinated movement. Piano improvisation and solfège are two further pillars of his method of musical education through music and movement, initially called gymnastique rythmique .

His method means letting the body follow the music as precisely as possible. Dalcroze demands a high degree of coordination and precision from his students in the simultaneous realization of sometimes even different time signatures and rhythms. Critics have called such exercises mechanization of the body. Those of his students who came from dance or gymnastics preferred to look for individually harmonious body movement in their own teaching. From 1911 to 1914, Emile Jaques-Dalcroze was able to further develop his methodological approaches and pass them on to hundreds of students in the Hellerau educational establishment , which is now the Festspielhaus, which was built especially for him . Dalcroze's idea of ​​a renewal of the arts out of the spirit of rhythm could not be continued by himself in Germany due to the outbreak of the First World War . He returned to Geneva in 1914 to head the central institute there, while his staff and students took over the further distribution in Germany. In the course of this, the method was renamed "Rhythmic-Musical Education" and was first established in 1925 at a German music college.

Rhythmics spread rapidly and, through the initiative of individual specialist representatives, find their way into related specialist areas. Rhythmics begin to work with dancers, singers and actors, penetrate into curative education and establish the subject in the teacher training courses for music. The interrelationship between music and movement remains the basis of the content. The perspective on the learners is changed. The individuality of the individual group members, their sensitivities, their learning speed, their way of expressing themselves come to the fore in the German-speaking countries. Today rhythmists present themselves as experts in order to realize artistic and educational goals in the field of music and movement. The basis for this is the rhythmic method based on perception processes, interaction and the development of creativity in the group. The target groups are all ages from toddlers to old and very old people as well as people with special needs in inclusive groups and in special and curative education.

Pedagogical aspects

Action media and methods

The media of action in rhythm are music, movement and language. The parameters of space, time, strength and form form the didactic substructure and structure the working methods. The methodology emphasizes a number of components such as action orientation, sensory diversity and openness to results as well as a change of perspective and participant centering, interaction, exploration, improvisation and design. In both pedagogical and artistic work, in addition to the body as a central means of expression, instruments, voice, materials and new media are used and contextualized. Intermediality can also be found in references to the visual arts and literature.

Principles of rhythm

Content, method and goal permeate and often determine each other in the rhythm. For example, conditions of improvisation themselves can be the focus of the lesson, improvisation can also be a means of exploring a topic, in addition, the ability to spontaneously create within a given context is a quality feature in rhythmics. Exploration, improvisation and design, differentiation of perception and sensorimotor skills , communication and interaction can be regarded as typical principles and practices of rhythm in the overall field of music and movement . One characteristic is the transformation between the different media of expression, between music and movement / dance, image and music, movement and text, etc. Digital media are also increasingly being included.

Goals and fields of action

The aim of rhythm is to sensitize the senses as well as to develop expressiveness and creative skills in music and movement. An understanding of the interaction and connection between music and movement is awakened and knowledge of basic design elements in music and parameters of movement and the associated social interaction is imparted. The human body is the main medium of rhythm: Rhythmists communicate and create in movement and on the instrument musically, verbally, mimically and in dance. Through their actions, they stimulate learners to create their own creations, designs and insights through several sensory paths. Improvisation is an essential, constant and immanent content and component. There is openness to every person in their being, their expressions and forms of expression as well as any artistic works. Cultural diversity and topicality of the rhythm are thus guaranteed and, as a whole, form the unique selling point of the rhythm.

Training opportunities

Training as a rhythm teacher is possible at music colleges, conservatories and universities and is completed with a Bachelor of Music (BM) or a Bachelor of Arts (BA). The course requires a passed aptitude test in the main subject rhythm, in the instrument and in the subjects aural training and sentence theory / music theory. Many places also offer master’s courses with an artistic or educational focus from the overall field of music and movement. The field of work offers very extensive possibilities. Rhythmics or music and movement educators work at music schools with children from one year of age (parent-child groups), in kindergartens and schools, in adult education, at nursery schools, as choreographers, in the areas of theater, dance, music theater and performance or in gerontology as well as with people with disabilities or mental illnesses. A permanent position at an institution is rare, but mostly independent work enables a diverse and personally coordinated professional life.

The working group music and movement / rhythm

In the working group Music and Movement / Rhythmics at Universities (AMBR), graduated rhythmicists work who teach music and movement at German universities, in particular conservatoires, or who represent the subject of rhythm in another course. The association has set itself the task of strengthening the subject of music and movement / rhythm in artistic, pedagogical and therapeutic training courses, networking the teachers in it, promoting research and reflecting on and supporting artistic practice in a cultural and social context. Working meetings, which take place twice a year, focus on professional exchange, university policy developments, updating the training content in terms of outcome orientation and planning symposia and congresses.

Literature (selection)

  • Isabell Frohne: The rhythmic principle. Lilienthal / Bremen 1981.
  • Frauke Haase, Elisabeth Pelz: Move children - inspire the spirit. Rhythm in elementary and special schools. Braunschweig 2009.
  • Hirler, Sabine (2009): "Rhythmics - Playing and Learning in Kindergarten." Berlin: Cornelsen
  • Hirler, Sabine (2014): Handbuch Rhythmik und Musik. Theory and practice for work in daycare. Freiburg: Herder
  • Rudolf Konrad: Education in Rhythmics - drafting a theory. Bosse Verlag, Regensburg 1984.
  • Brigitte Steinmann, Karin Pollicino: "Listening to music with the body - rhythm in promoting the development of children and adolescents with hearing impairments". Wiesbaden 2009.
  • Renate Klöppel, Sabine Vliex: Help through rhythm. Freiburg 1992.
  • Gudrun Schäfer: Rhythm as an interactive pedagogical concept. Remscheid 1992.
  • Songrid Hürtgen-Busch: The pioneers of rhythmic-musical education in Germany. Frankfurt a. M. 1996.
  • Gertrud Bünner, Peter Röthig (Ed.): Basics and methods of rhythmic education. Stuttgart 1997.
  • Glathe & Krause-Wichert: Rhythm and improvisation models for rhythm lessons and musical improvisation. Kallmeyer, Seetze-Velber 1997.
  • Reinhard Ring, Brigitte Steinmann: Lexicon of Rhythmics. Bosse Verlag, Kassel 1997.
  • Steffen-Wittek / Weise / Zaiser: Rhythmics - Music and Movement. Transdisciplinary perspectives. Transcript, Bielefeld 2019.
  • Marianne Steffen-Wittek , Michael Dartsch (eds.): Improvisation - reflections and practice models from elementary music education and rhythm . ConBrio, Regensburg 2014
  • Marianne Steffen-Wittek: Monster band & Co. Popular music, rhythm and percussion with children from 4 to 10 years. 35 songs with suggestions for lessons. Essen 2006
  • Marianne Steffen-Wittek: Rhythm. In: Helms / Schneider / Weber: Fields of Practice in Music Education. Kassel 2001.
  • Elisabeth Danuser-Zogg: Music and movement, structure and dynamics of lesson design. Academia Verlag, St. Augustin 2002.
  • Zwiener, Daniel: Music visible as movement. On the development and aesthetics of the Jaques-Dalcroze method in Germany as a music-pedagogical concept. Food 2008.
  • Bankl, Mayr, Witoszynskyj: Lively learning through music, movement, language. G & G Verlagsgesellschaft, Vienna 2009, ISBN 978-3-7074-1111-9 .
  • Witoszynskyj, Schindler, Schneider: Education through music and movement. öbv & hpt, Vienna 1998, ISBN 3-215-07207-6 .
  • Dierk Zaiser: Rhythm and performance - cultural projects as an opportunity for socially disadvantaged and delinquent young people. Munich 2011
  • Association of German Music Schools (Ed.): Spectrum Rhythmics - Music and Movement / Dance in Practice . Bonn 2013

Web links

See also

Individual evidence

  1. ↑ Zaiser, Dierk: Rhythm and Performance - Cultural projects as an opportunity for socially disadvantaged and delinquent young people. Munich 2011
  2. ↑ a b Zwiener, Daniel: Music visible as movement. On the development and aesthetics of the Jaques-Dalcroze method in Germany as a music-pedagogical concept. Food 2008.
  3. ↑ Renate Klöppel, Sabine Vliex: Helfen durch Rhythmik. Freiburg 1992.
  4. ^ Schaefer, Gudrun: Rhythmics as an interactive pedagogical concept. Remscheid 1992