Embodiment in musical knowing: how body movement facilitates learning within Dalcroze Eurhythmics

By Marja-Leena Juntunen, L. Hyvönen. British Journal of Music Education, 2004

105 citations recorded by the source corpus.

This paper examines how body movement within the frames of Dalcroze Eurhythmics can facilitate musical knowing. Merleau-Ponty's philosophical ideas seem to correspond with the specific empirical findings of Jaques-Dalcroze. Hence, our viewpoint is based on Merleau-Ponty's notions of ‘knowing the world through the body’ as well as of gesture, habit and reversibility. We argue, along with Merleau-Ponty, that the body is our primary mode of knowing. Furthermore, we suggest that body movement represents pre-reflective knowing and can be understood as physical metaphor in the process of musical understanding from the concrete doing/musicing to the abstract and (or) conceptual.

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Citations in the corpus

Getting the point: Tracing worked examples enhances learning (2015, methodology): “Since then, the Dalcroze approach to music education, known as Dalcroze Eurhythmics, has been used to support musical studies, including music theory, rhythm, instrumental technique, 25 conducting, and performance studies in music, primary and secondary schools (Juntunen & Hyvönen, 2004).”
Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies (2012, background): “In essence, bodily activity provides metaphors for expression and understanding of, and developing sensitivities to, musical concepts (Juntunen & Hyvönen, 2004).”