Procedureel leren is een ‘intelligent’ leerproces waarbij het brein in de volgorde van zowel de klanken die wij horen als de bewegingen die wij maken, patronen waarneemt, en daardoor in staat is om de muzikale ‘toekomst’ beter te voorspellen en daarop te anticiperen. Wij spreken een muziektaal waarvan de structuur aan complexe syntactische regels is onderworpen. Als wij het instrumentale muziekonderwijs onder de loep nemen, kunnen wij constateren dat er in de regel niet alleen de interactie die het syntactische leerproces karakteriseert ontbreekt, maar ook de syntaxis-conforme variatie in de samenstelling en de volgorde van elementaire patronen. Verbetering van procedurele kennis van de muziek-syntaxis zal leiden tot meer expressiviteit in het spel.
DOCUMENT
BackgroundThe importance of learning to create an expressive performance is a consistently discussed topic in music education. However, how musicians develop “expressiveness” is still understudied. Recent investigations have shown that musicians’ motor behavior is a significant source of perceptual information during performances (Davidson, 2007), as it helps audiences differentiate musicians’ expressive intentions and it often serves as aperformance quality indicator (Waddell & Williamon, 2017). Nevertheless, most current teaching approaches in Higher Music Education focus mainly on acoustic characteristics of performance, and they lack clear goals and systematic teaching patterns (Karlsson & Juslin, 2008; Meissner, 2021).For centuries, some of the most influential theater methods have used physical exploration (motion) to stimulate imagination and create affective states (emotions) in actors. These approaches are rooted in embodied cognition theories, which claim that physical experience shapes conceptual thought, and this is contingent upon the body’s interactions with its environments (Kemp, 2012). Drawing inspiration from theater practices, the method “Frommotion to emotion” for enhancing expressiveness was developed by this author, using improvisational theater as a basis.AimsThis workshop is designed to acquaint participants with the method. We will share insights and reflections from previous participants to demonstrate its effects and will foster discussion around teaching approaches. Short outline of the activities to be undertaken by the presenters/audienceAfter an oral introduction to improvisational theater, participants will engage in practical exercises to experience it firsthand, exploring how to acquire a “physical vocabulary” applicable to music performance. Participants will be encouraged to share their experiences during debrief moments. This workshop is accessible to individuals with no previous theater experience. The total duration would be 90 minutes.Implications for practiceThis contribution emphasizes the importance of integrating visual characteristics of performance in teaching approaches, increasing musicians’ body awareness, and strengthening body-mind connection. These efforts can positively impact individuals’ development, enabling them to create convincing performances while boosting self-confidence.Specific value of the workshop for the conferenceThis method merges embodied cognition theories with theater techniques to innovate educational approaches to expressiveness, making it relevant for musicians wanting to enhance this skill, music educators aiming to teach it, and experts from the field of psychology interested in how it develops.
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Volgens het opleidingsdocument in het hoger onderwijs is het sociaal werk een 'talig'beroep. Maar dat is eenzijdig en onhoudbaar. Kunst en creativiteit kunnen professionals 'meertalig' maken, betogen drie lectoren van verschillende hogescholen. En dat is hard nodig.
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