ABSTRACT

Swiss educator, Émile Jaques-Dalcroze observed over 100 years ago that often music conservatoires focus primarily on the development of technique and repertoire, at the expense of musicianship. His embodied approach to music education aims to connect all our faculties, emotional, corporeal and intellectual, through experiencing music making, in and through movement. This arts practice research addresses how embodiment in classical music instrumental education can be enhanced by an embodied teaching method such as Dalcroze Eurhythmics. The research journey culminated with ‘Dance of Shadows’, a multi-disciplinary, multi-sensorial interpretation of Eugène Ysaÿe’s second sonata for solo violin, opus 27. To document the intrinsic reflexivity of the research, the researcher utilises the tools of artistic research and other arts practice methods. The findings of this investigation revealed not only an enhancement of the researcher’s embodied preparation and performance practice but also a transformation in the experience of engagement for the audience.

摘要

瑞士教育家 Émile Jaques-Dalcroze 在 100 多年前观察到，音乐学院通常主要关注技术和曲目的发展，而牺牲了音乐才能。他体现的音乐教育方法旨在通过体验音乐创作，在运动中和通过运动来连接我们所有的能力，包括情感的、物质的和智力的。这项艺术实践研究探讨了如何通过体现教学方法（例如 Dalcroze Eurhythmics）来增强古典音乐器乐教育中的体现。研究之旅的高潮是“阴影之舞”，这是对 Eugène Ysaÿe 第二小提琴奏鸣曲作品 27 的多学科、多感官诠释。为了记录研究的内在反思性，研究人员利用艺术研究工具和其他艺术实践方法。