This paper presents my doctoral research about the carrying out of a music enactive listening laboratory as training for trainers. It is a work in progress. First, I present the research’s theoretical frame: an embodied and enactive approach to music and to education. The core concepts are those of ‘musical gesture’ and ‘pedagogical gesture’, whose critical analysis is relied on literature review. Second, the paper accounts for the data collection, data analysis and findings of two enactive (through corporeal movement) music listening laboratories. They were carried out respectively in September of 2018 and in February of 2019 and involved two voluntary small groups of young, musically untrained, educators. I expect that the enactive music listening laboratory, which is inspired to Dalcrozian principles, can be a room for a co-constructive pedagogical knowledge based on an experiential and reflexivity process. The participants can get to an idea and practice of pedagogical action based on cross-modal elements of music (like intensity, form, tempo, rhythm). In this respect, my research is explorative and trans-disciplinary (between ‘Music Education’ and ‘Adult Education’). The research’s philosophical frame is phenomenological. This research uses the case study methodology. The data are collected through both ethnographic tools (interviews, focus groups) and the integral video recording. The final findings of the research will be obtained through the Grounded Theory method of data analysis.

Culotta, V. (2019). Composition of Pedagogical Knowledge within an Enactive Music Listening Workshop. In International Conference of Dalcroze Studies: “The Listening Body in Action”, Jul 28, 2019—Aug 02, 2019, Karol Szymanowski Academy of Music Katowice, Poland (pp.57-57). Katowice : John Habron.

Composition of Pedagogical Knowledge within an Enactive Music Listening Workshop

Culotta, V
2019

Abstract

This paper presents my doctoral research about the carrying out of a music enactive listening laboratory as training for trainers. It is a work in progress. First, I present the research’s theoretical frame: an embodied and enactive approach to music and to education. The core concepts are those of ‘musical gesture’ and ‘pedagogical gesture’, whose critical analysis is relied on literature review. Second, the paper accounts for the data collection, data analysis and findings of two enactive (through corporeal movement) music listening laboratories. They were carried out respectively in September of 2018 and in February of 2019 and involved two voluntary small groups of young, musically untrained, educators. I expect that the enactive music listening laboratory, which is inspired to Dalcrozian principles, can be a room for a co-constructive pedagogical knowledge based on an experiential and reflexivity process. The participants can get to an idea and practice of pedagogical action based on cross-modal elements of music (like intensity, form, tempo, rhythm). In this respect, my research is explorative and trans-disciplinary (between ‘Music Education’ and ‘Adult Education’). The research’s philosophical frame is phenomenological. This research uses the case study methodology. The data are collected through both ethnographic tools (interviews, focus groups) and the integral video recording. The final findings of the research will be obtained through the Grounded Theory method of data analysis.
No
abstract
Scientifica
performative music listening; Enactive Knowledge; Embodied Knowledge; Pedagogical Research
English
4th International Conference of Dalcroze Studies - The Listening Body in Action
978-83-949526-8-6
Culotta, V. (2019). Composition of Pedagogical Knowledge within an Enactive Music Listening Workshop. In International Conference of Dalcroze Studies: “The Listening Body in Action”, Jul 28, 2019—Aug 02, 2019, Karol Szymanowski Academy of Music Katowice, Poland (pp.57-57). Katowice : John Habron.
Culotta, V
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/10281/388446
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