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Journal articles on the topic 'Music and movement'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Raharja, Budi. "Musik Iringan Drama Tari Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi." Resital: Jurnal Seni Pertunjukan 20, no. 1 (2019): 13–23. http://dx.doi.org/10.24821/resital.v20i1.3459.

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Tujuan penulisan ini untuk mendeskripsikan musik iringan drama tari berjudul “Pengembaraan Panji Inukertapati Bermisi Perdamaian dan Toleransi.” Drama tari tersebut mengisahkan perjalanan Panji Inukertapati menjelajahi beberapa wilayah Nusantara mencari kekasihnya, Dewi Sekartaji. Pembahasan fokus terhadap dinamika pertunjukan, alasan pemilihan bunyi atau lagu, dan hubungan musik dengan gerak tari. Metode interview, observasi, studi literatur, dan studi dokumen digunakanuntuk pengumpulan datanya. Hasil kesimpulan diketahui bahwa musik iringan drama tari tersebut terdiri atas bunyi Dijerido, bu

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2

Burger, Birgitta, Suvi Saarikallio, Geoff Luck, Marc R. Thompson, and Petri Toiviainen. "Relationships Between Perceived Emotions in Music and Music-induced Movement." Music Perception 30, no. 5 (2012): 517–33. http://dx.doi.org/10.1525/mp.2013.30.5.517.

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Listening to music makes us move in various ways. Several factors can affect the characteristics of these movements, including individual factors and musical features. Additionally, music-induced movement may also be shaped by the emotional content of the music, since emotions are an important element of musical expression. This study investigates possible relationships between emotional characteristics of music and music-induced, quasi-spontaneous movement. We recorded music-induced movement of 60 individuals, and computationally extracted features from the movement data. Additionally, the em

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3

Andrews, Crispin. "Music and movement." 5 to 7 Educator 2009, no. 57 (2009): xxii—xxiv. http://dx.doi.org/10.12968/ftse.2009.8.9.44063.

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4

Goehr, Lydia. "Music and movement." Musicae Scientiae 8, no. 1_suppl (2004): 111–24. http://dx.doi.org/10.1177/10298649040080s108.

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5

Zhang, Aimin. "Optimization Simulation of Match between Technical Actions and Music of National Dance Based on Deep Learning." Mobile Information Systems 2023 (May 18, 2023): 1–10. http://dx.doi.org/10.1155/2023/1784848.

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In the match between technical movements and music of folk dance, the most important thing is to extract features effectively. DL algorithm is one of the most efficient methods to extract video features at present. In this study, the DL method is applied to the matching optimization of technical movements and music in folk dance. Using DL to train the corresponding relationship between the technical movements and music of national dance, the given dance movements and corresponding movements are adapted to the musical beat points. To better reflect the degree of correlation between music and mo

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6

Toiviainen, Petri, Geoff Luck, and Marc R. Thompson. "Embodied Meter: Hierarchical Eigenmodes in Music-Induced Movement." Music Perception 28, no. 1 (2010): 59–70. http://dx.doi.org/10.1525/mp.2010.28.1.59.

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Listening to music often is associated with spontaneous body movements frequently synchronized with its periodic structure. The notion of embodied cognition assumes that intelligent behavior does not emerge from mere passive perception, but requires goal-directed interactions between the organism and its environment. According to this view, one could postulate that we may use our bodily movements to help parse the metric structure of music. The aim of this study was to investigate how pulsations on different metrical levels manifest in music-induced movement. Musicians were presented with a pi

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7

Bianchi, Raffaella. "Istanbul sounding like revolution: the role of music in the Gezi Park Occupy movement." Popular Music 37, no. 2 (2018): 212–36. http://dx.doi.org/10.1017/s0261143018000016.

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AbstractThis article focuses on the role of protest music in the biggest social movement of recent Turkish history. It is the result of three years of fieldwork triangulating musical and cultural analysis with ethnographic methods. Motives of the protest, strategies of the movement, agency of musicians and participatory performances are investigated and contextualised in an analysis of Turkey's cultural changes. The function of music shifted from framing the protest to encouraging political action and fostering a sense of belonging to the collective identity of the Gezi Park movement. Music ev

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8

Ismail, Md Jais, Loo Fung Chiat, and Azu Farhana Anuar. "LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA." Malaysian Journal of Learning and Instruction 18, Number 1 (2021): 241–63. http://dx.doi.org/10.32890/mjli2021.18.1.10.

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Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music class

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9

Shiobara, Mari. "Music and Movement: the Effect of Movement on Musical Comprehension." British Journal of Music Education 11, no. 2 (1994): 113–27. http://dx.doi.org/10.1017/s0265051700001005.

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In this article, I discuss the importance of movement in music education and suggest an effective way to approach this particular area of music teaching for younger children. The most important characteristics of movement to music activity in musical experience would seem to be in the role of developing in the mind of the participants ‘music schemata’, an active, developing organization of past responses to music which play a vital role when we listen to music and comprehend its expressive character. This hypothesis was tested in the teaching-experiment which was carried out in an English prim

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10

Zlatkova, Liuba. "RHYTHM AND MOVEMENT IN NATURE, ART, AND EDUCATION." Education and Technologies Journal 15, no. 1 (2024): 148–51. http://dx.doi.org/10.26883/2010.241.5951.

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The report examines the category of rhythm in various aspects. Rhythm is a universal principle, and in human life it is expressed by movement to the fullest. The movement, in turn, as an expression of the living life is not only related to everyday life, but is also the main tool of the arts, including music. Movement and rhythm are interrelated, and this is reflected in different primary music genres. In this regard, rhythm in music is most easily realized with the help of movement, which in situations and music classes, through rhythmic games and exercises makes it easier and more accessible

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11

LaRue, Jacques. "Initial Learning of Timing in Combined Serial Movements and a No-Movement Situation." Music Perception 22, no. 3 (2005): 509–30. http://dx.doi.org/10.1525/mp.2005.22.3.509.

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We investigate differences in timing errors in a task that imitated the movement sequence of a cello player. We trained a group of 17 young adults to perform a sequence of linear reversal movements of different lengths but with a constant movement time. Thus, each segment required the movement speed to be changed. The sequence had to be performed with fluidity, except for a �no-movement� segment that was embedded in the movement series. Feedback on timing was given for each segment. Results from this experiment show that the no-movement segment is more variable than any of the movement segment

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12

Smith, Vicki, and Natalie L. Ozeas. "Movement and Music in Secondary General Music." General Music Today 9, no. 3 (1996): 22–23. http://dx.doi.org/10.1177/104837139600900307.

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13

Rozin, Vadim Markovich. "Comprehension of the inner form of a musical work or the constitution of a new melos by means of a musical movement?" Культура и искусство, no. 11 (November 2023): 87–99. http://dx.doi.org/10.7256/2454-0625.2023.11.69066.

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The paper discusses an alternative: comprehension of the inner form of a musical work or the constitution of a new melos by means of musical movement. We are talking about a special genre of art, free dance, called "musical movement", and in its two important contexts - staging performances and teaching. The concept of internal form and the appeal to it by the teacher and the director of performances Aida Aylamazyan is analyzed. The author offers a different understanding of the inner form than Aylamazyan. The musical movement formally consists of two different beginnings of the perception of

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14

Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.

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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century develo

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15

Harlan, Brian. "Music as Meaningful Movement." International Journal of the Arts in Society: Annual Review 12, no. 1 (2017): 15–24. http://dx.doi.org/10.18848/1833-1866/cgp/v12i01/15-24.

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16

Willard, Mark. "Mind, Music, and Movement." Music Educators Journal 74, no. 3 (1987): 48–50. http://dx.doi.org/10.2307/3397942.

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17

Jay Rogoff. "Morris, Merce, Music, Movement." Hopkins Review 3, no. 1 (2009): 143–49. http://dx.doi.org/10.1353/thr.0.0149.

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18

Iannuzzelli, Paul. "Emotions, music and movement." Five to Eleven 3, no. 10 (2004): xxvi—xxviii. http://dx.doi.org/10.12968/ftoe.2004.3.10.xxvi.

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19

Walker, Linda M. "Movement in General Music." General Music Today 9, no. 3 (1996): 9–10. http://dx.doi.org/10.1177/104837139600900304.

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20

Bernstorf, Elaine D. "Movement and Music Activities." General Music Today 10, no. 1 (1996): 20–23. http://dx.doi.org/10.1177/104837139601000107.

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21

Jarjisian, Catherine. "Music and Movement Resources." General Music Today 11, no. 2 (1998): 30–31. http://dx.doi.org/10.1177/104837139801100210.

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22

Ibragimova, Khonzoda. "IMPROVING THE MECHANISMS FOR PREPARING FUTURE MUSIC TEACHERS FOR PEDAGOGICAL ACTIVITIES ON THE BASIS OF RHYTHM." International Journal of Pedagogics 03, no. 04 (2023): 100–102. http://dx.doi.org/10.37547/ijp/volume03issue04-18.

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The "Rhythm Teaching Method" is a system for teaching music, created by the Swiss music educator Emil Dal Croze at the beginning of the last century. It helps students perceive the rhythm of music, perform regular rhythmic movements of music-rhythm and beat, and the emotional nature of music is the movement of melody. It helps students imitate and create their own either fun or soothing movements so that they understand the music.

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23

Mu, Jin. "Pose Estimation-Assisted Dance Tracking System Based on Convolutional Neural Network." Computational Intelligence and Neuroscience 2022 (June 3, 2022): 1–10. http://dx.doi.org/10.1155/2022/2301395.

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In the field of music-driven, computer-assisted dance movement generation, traditional music movement adaptations and statistical mapping models have the following problems: Firstly, the dance sequences generated by the model are not powerful enough to fit the music itself. Secondly, the integrity of the dance movements produced is not sufficient. Thirdly, it is necessary to improve the suppleness and rationality of long-term dance sequences. Fourthly, traditional models cannot produce new dance movements. How to create smooth and complete dance gesture sequences after music is a problem that

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24

Poon Chiew Hwa and Cheong Ku Wing. "Engaging Seniors with Dementia through Music and Movement." Wacana Seni Journal of Arts Discourse 23, Supp. 1 (2024): 14–24. http://dx.doi.org/10.21315/ws2024.23.s1.2.

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Music and movement activities are widely recognised for enhancing the well-being of patients with dementia, yet specifics regarding session content are often lacking in discussions. This paper investigates the effectiveness and suitability of content within music and movement sessions through action research employing two cycles of planning, acting, developing, and reflecting. Session content includes planning, strategies, physical movements, and music selections. A series of eight 45-minute sessions were conducted for a group of 10 to 15 dementia patients at the Alzheimer’s Disease Foundation

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25

Ilari, Beatriz. "Rhythmic Engagement With Music in Early Childhood." Journal of Research in Music Education 62, no. 4 (2014): 332–43. http://dx.doi.org/10.1177/0022429414555984.

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The purpose of this study was to replicate and extend previous findings on spontaneous movement and rhythmic engagement with music in infancy. Using the identical stimuli and procedures from the original study, I investigated spontaneous rhythmic movements in response to music, infant-directed speech, and contrasting rhythmic patterns in 30 Brazilian infants (ages 5, 11, and 19 months). Findings were consistent with the original study in that more spontaneous rhythmic movements were found in response to music and metrically regular stimuli than to speech. Brazilian babies, however, showed high

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26

TAN, MARCUS CHENG CHYE. "Moving Cage: Vibration, Sonification and the Quanta of Time." Theatre Research International 46, no. 2 (2021): 169–83. http://dx.doi.org/10.1017/s0307883321000080.

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Dear John is an experimental choreomusical work that reinterprets Cage's works while advancing his ideas of sound as sonic events and embodied choreography. In this episodic work, improvised movement unfolds to a soundscape of defamiliarized instruments, sound devices and sonicities of macro- and micro-movements. The correspondence and (in)congruence between dance movements and music's kinetic energy become the means to examine a politics of the body and sound, of music on movement. Additionally, in this ‘auditory architecture’ the quanta of time, its relations and (lack of) unity are exposed.

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27

Van Criekinge, T., K. D’Août, J. O’Brien, and E. Coutinho. "Music and Hypertonia: Can Music Listening Help Reduce Muscle Tension and Improve Movement Quality?" Music & Science 4 (January 1, 2021): 205920432110153. http://dx.doi.org/10.1177/20592043211015353.

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Although there is a strong consensus that music listening is a common and effective means to induce states of relaxation, little attention has been given to the physical effects of such states and the potential health-related applications. In this article, we investigated whether music listening could induce affective states of relaxation and accelerate the recovery of fatigued muscles, through the analysis of quality of movement. Twenty healthy participants were asked to perform a fatigue induction protocol of the non-dominant arm followed by a resting period and the execution of a drinking t

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28

Rozin, Vadim Markovich. "Musical movement: lifestyle, the reality of non-traditional art, the space of learning and self-education (three comments on the concept of Aida Aylamazyan)." Культура и искусство, no. 4 (April 2023): 35–45. http://dx.doi.org/10.7256/2454-0625.2023.4.40399.

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The article describes and comments on the concept of the musical movement, the main ideas of which were formulated and substantiated by Aida Aylamazyan, psychologist and head of the Center for the Musical Movement "Heptahor". The author believes that in this case we are dealing with one of the new forms of experimental life, which in a peculiar way combines an unconventional art form (serious music and dance), a new way of life, partly opposing the established sociality, contributing to the formation of a new personality, as well as an organic symbiosis of alternative learning and self-educati

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Jiang, Dandan. "Matching Model of Dance Movements and Music Rhythm Features Using Human Posture Estimation." Computational Intelligence and Neuroscience 2022 (July 13, 2022): 1–9. http://dx.doi.org/10.1155/2022/7331210.

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The essential issue in music understanding and dance synthesis research is how to improve the degree of matching between dance motions and music rhythm elements. The matching model of dance movements and music rhythm features is created in this study based on human posture estimation research to tackle the problems that existing matching methods are prone to rapid changes in movements and cannot keep the original movement features. The rhythm properties of movement and music data are first analyzed, and then the degree of matching between movement and music pieces is measured using a dynamic t

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30

Lei, Yan, Xin Li, and Yi Jiao Chen. "Dance Evaluation Based on Movement and Neural Network." Journal of Mathematics 2022 (February 1, 2022): 1–7. http://dx.doi.org/10.1155/2022/6968852.

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In terms of music-driven dance movement generation, the music movement matching model and the statistical mapping model have poor fit between the dance generated by the model and the music self. The generated dance movement is incomplete, and the smoothness and rationality of long-term dance sequences are low. The new dance moves and other related issues cannot be generated by the traditional model. In order to address these issues, we design a dance generation algorithm based on movements and neural networks that will extract the mapping between voice and movement features. In the first stage

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31

Nusseck, Manfred, and Marcelo M. Wanderley. "Music and Motion——How Music-Related Ancillary Body Movements Contribute to the Experience of Music." Music Perception 26, no. 4 (2009): 335–53. http://dx.doi.org/10.1525/mp.2009.26.4.335.

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EXPRESSIVE PERFORMER MOVEMENTS IN MUSICAL performances represent implied levels of communication and can contain certain characteristics and meanings of embodied human expressivity. This study investigated the contribution of ancillary body movements on the perception of musical performances. Using kinematic displays of four clarinetists, perceptual experiments were conducted in which participants were asked to rate specific music-related dimensions of the performance and the performer. Additionally, motions of particular body parts, such as movements of the arms and torso, as well as motion a

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32

Raharja, Adi William. "ANALYSIS OF MUSIC FORM AND CELLO PLAYING TECHNIQUES SONATINE FOR CELLO & PIANO BY BUDHI NGURAH." Repertoar Journal 1, no. 1 (2020): 94–113. http://dx.doi.org/10.26740/rj.v1n1.p94-113.

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This resesarch aims to describe the musical form, and cello techniques that include fingering and bowing techniques in the work of Budhi Ngurah. The research process is using descriptive analytic methods. Data in this research were obtained by observation, interviews, and documentation. And analyzed by reduction, presentation and inference. The results indicate that the Sonatine For Cello and Piano by Budhi Ngurah consists of 3 movements. Movement I has a sonata forms with moderate tempo consisting of exposition, development, and recapitulation. Movement II has a three parts music form, ABA. M

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33

Vondráček, David. "Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)." Studia Musicologica 59, no. 3-4 (2018): 301–8. http://dx.doi.org/10.1556/6.2018.59.3-4.3.

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Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's ope

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34

Abu Bakar, Kamariah, and Mohamad Azam Samsudin. "Teaching Young Children Early Mathematics through Music and Movement." International Journal of Learning, Teaching and Educational Research 20, no. 5 (2021): 271–81. http://dx.doi.org/10.26803/ijlter.20.5.15.

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The purpose of this study was to explore the integration of music and movement elements into young children’s mathematics classrooms. Using a qualitative approach, this research was a case study. Three teachers were purposely selected as participants for this study. The teachers were interviewed to gain information about the songs and movements they chose to employ into their instruction. Additionally, their lessons were observed to attain the ways they incorporated music and movement. These sessions were video recorded to gain a rich picture of the songs and movements incorporated as well as

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35

Dawe, Kevin. "Minotaurs or musonauts? ‘World Music’ and Cretan Music." Popular Music 18, no. 2 (1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affini

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36

Teixeira, Euler C. F., Mauricio A. Loureiro, and Hani C. Yehia. "Expressiveness in Music From a Multimodal Perspective." Music Perception 36, no. 2 (2018): 201–16. http://dx.doi.org/10.1525/mp.2018.36.2.201.

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This article seeks to unveil quantitative relations between the patterns of movement recurrence of a group of expert clarinetists and expressive sonic manipulations they employ during their performances. The main hypothesis is that the recurrent ancillary gestures of musicians are closely related to their sounded expressive intentions, and that the expressive content imposed by them according to the music structure is reflected in their movement patterns. To conduct this multimodal investigation of expressiveness in music, movement and audio analyses of several clarinet performances of excerpt

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Childers, Christine. "Movement, Music, and Service Learning." Topics in Geriatric Rehabilitation 37, no. 3 (2021): 173–79. http://dx.doi.org/10.1097/tgr.0000000000000325.

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Shehan, Patricia K. "Movement: The Heart of Music." Music Educators Journal 74, no. 3 (1987): 24–30. http://dx.doi.org/10.2307/3397937.

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39

Giles, Rebecca M., and Jeannette Fresne. "Connecting music, movement, and mathematics." Perspectives: Journal of the Early Childhood Music & Movement Association 11, no. 1 (2016): 22–25. http://dx.doi.org/10.1386/ijmec_0308_1.

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Ricciarelli, Alessandro. "Music, illness, movement, and hope." Palliative and Supportive Care 13, no. 6 (2015): 1809–11. http://dx.doi.org/10.1017/s1478951515000516.

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41

Carroll, Noël, and Margaret Moore. "Feeling movement: Music and Dance." Revue internationale de philosophie 246, no. 4 (2009): 413–35. http://dx.doi.org/10.3917/rip.246.0413.

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Konarczak–Stachowiak, Agnieszka. "Wybrane metody rehabilitacji dziecka z zaburzeniami słuchu i mowy." Kultura-Społeczeństwo-Edukacja 10, no. 2 (2016): 305–14. http://dx.doi.org/10.14746/kse.2016.10.23.

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Music therapy and choreotherapy are two extensive term. They do not apply only music, movement and therapy, but they include a lot of modern science, for example: psychology, music psychology, psychotherapy, psychiatry, medicine, pedagogy, special pedagogy, music education, physic education, audiology, acoustics, psychoacoustic, speech therapy, sociology, music philosophy, musicology and diffrent kind of therapy by art and movement. Therefore sound therapy and movement therapy is trans–disciplinary. It is unique thing like music and natural thing like movement. Basic kind of movement with musi

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43

Sriyadi, Sriyadi. "MUSIC INTERACTION AND MOVEMENT IN JAVANESE DANCE: CASE STUDY ON BEKSAN BEDHAYA GANDAKUSUMA MANGKUNEGARAN STYLE." Jurnal Kajian Seni 9, no. 2 (2023): 135. http://dx.doi.org/10.22146/jksks.81501.

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The music and movement patterns in Javanese dance occupy a significant position, which both of them have an integral relationship in forming the construction of a dance. It represented through the relationship between dance music and the technique of composing and executing movement patterns. This article examines the integral relationship between dance music and movement patterns to determine the importance of these two components in the formation of Javanese dance . The case study chosen to show this integral relationship is the Mangkunegaran style of Bêdhåyå Gåndåkusumå dance. The bêdhåyå d

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44

Pangnoi, Ratree, Poonpit Amatyakul, Somchai Trakarnrung, and Nachaya Natchanawakul. "Music therapy Literacy based on Boethius approach in Thailand." International Journal of Education and Literacy Studies 13, no. 2 (2025): 151–56. https://doi.org/10.7575/aiac.ijels.v.13n.2p.151.

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This study is qualitative research which focused on phenomenology of music therapy based on Boethius’ concept and approach in Thailand. The objectives of this study were to explore phenomenology and patterns of remedy through Boethius’ energy music therapy in Thailand. The participants were ninemusic therapists. In-depth data of the individual’s experience were collected and analyzed. The outcomes of this study indicated that (1) Musica Mundana (Universal music) is derived from the movement of the stars in the universe which consequently causes day, time, seasons, cosmic and the 12 zodiacs whi

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Hendricks, Karin S. "Investing Time: Teacher Research Observing the Influence of Music History and Theory Lessons upon Student Engagement and Expressive Performance of an Advanced High School String Quartet." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 65–78. http://dx.doi.org/10.2307/27861483.

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Abstract This teacher-conducted research observes the influence of music history and theory instruction upon motivation, engagement, and expressive performance of the author’s high school string students. Two diverse teaching approaches were introduced sequentially as students learned two movements of Schubert’s "Death and the Maiden" Quartet (D810). The first movement was taught using performance-based instruction only, while the second movement was taught with a combination of performance-based instruction and music history and theory lessons. Student comments and teacher observations reveal

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Little, Marissa. "The Musical Caliban." Queen's Journal of Ethnic and Racial Studies 2, no. 1 (2025): 1–6. https://doi.org/10.24908/qjers.2.1.17540.

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This penetrative comparison of the character of Caliban in Shakespeare’s The Tempest and Césaire’s A Tempest reveals the essential role that music plays in providing the character with a stronger voice to reclaim his Black identity. Against the backdrop of the twentieth-century Négritude movement, this essay explores the significance of protest music in bringing about social change in Black liberation movements. It investigates the use of protest music as a peaceful way of generating change, music’s ability to create a collective identity for the colonized, and music as a mode of achieving aut

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Doležalová, Kateřina, and Viléma Novotná. "Aplikace intervenčního programu hudebně-pohybové výchovy do hodin školní tělesné výchovy na ZŠ." Studia sportiva 11, no. 1 (2017): 80–89. http://dx.doi.org/10.5817/sts2017-1-26.

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The aim of this paper is to present the content and results of pre research study of dissertation. Musicalmovement education is part of the curriculum of physical education lesson. Although the educational content of physical education remains essentially the same during the year, the methods and forms of teaching are more subjected on the social requirements. Existing musical-movement education is using traditional forms of teaching, which is not that attractive for students. Therefore, the aim of the study is to create the new interventional musical-movement program and verification of its e

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Castellano, Ginevra, Marcello Mortillaro, Antonio Camurri, Gualtiero Volpe, and Klaus Scherer. "Automated Analysis of Body Movement in Emotionally Expressive Piano Performances." Music Perception 26, no. 2 (2008): 103–19. http://dx.doi.org/10.1525/mp.2008.26.2.103.

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EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention conveyed. In this experiment, a pianist was asked to play the same excerpt with different emotionally expressive intentions. The aim was to verify whether different expressions could be distinguished based on movement by trying to determine which motion cues were most emotion-sensitive. Analyses were performed via an automated system capable of detecting the temporal profiles of two motion cues

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Chang, Rebecca, Kyeong-won Roh, and Hyunsu Lee. "Development and Application of an IoT-Based Movement Music Education System." Korean Society of Music Education Technology 60 (July 31, 2024): 133–55. http://dx.doi.org/10.30832/jmes.2023.60.133.

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The purpose of this research is to suggest the new approach of the music education that utilizes the IoT technology. To achieve this, we explored IoT and examined the AI, ICT and IoT tools currently used in music education. IoT technology offers advantages such as facilitating interactive communication, enabling easier interactions, and expanding the range of physical movements. However, most music education tools currently available on the market are primarily based on AI and ICT. Among the IoT-based tools, there were very few that used movement to teach music. Thus, the IoT-based movement mu

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Salosaari, Paula. "Perception and Movement Imagery as Tools in Performative Acts Combining Live Music and Dance." Nordic Journal of Dance 4, no. 1 (2013): 16–27. http://dx.doi.org/10.2478/njd-2013-0003.

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Abstract In this article I discuss movement imagery and perceptual strategies as tools in enhancing performative acts of playing music and composing performance material combining music and dance. In my earlier research I have introduced the concept of multiple embodiment in classical ballet and developed co-authored choreography with dancers. The concept of multiple embodiment in ballet suggests treating the fixed vocabulary as qualitatively open and therefore a basis for interpretation, improvisation and composition of new dance material. Directing the dancer’s experience in an open-ended wa

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