DC pole | Wartość | Język |
dc.contributor.author | Bogdanowicz, Ewa | - |
dc.contributor.author | Durlow, Grażyna | - |
dc.date.accessioned | 2018-03-21T12:01:15Z | - |
dc.date.available | 2018-03-21T12:01:15Z | - |
dc.date.issued | 2014 | - |
dc.identifier.citation | Studia Artystyczne, 2014, nr 1, s. 117-123 | pl_PL |
dc.identifier.issn | 2391-9965 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/1436 | - |
dc.description.abstract | The article deals with the issues important from the perspective
of a contemporary musical education in which, according to the
authors of the article, there is a room for any actions allowing
for getting closer to music, getting to know it, experiencing and
understanding. In children’s education and upbringing one
should enter the world of art, both as a real and perfect world.
Music have accompanied people for ages and its role as well as
prestige have changed many times. Nowadays, although music is
almost omnipresent, we treat it differently, that is we do not
notice it, do not listen carefully to it and we do not make any
efforts to understand it. That is why the attempts to make music
available to children, possibly as soon as possible, are priorities
not only from the point of view of a musical education, but also
general one, especially upbringing. Music can be learnt in
different ways, but experiencing it by means of movement seems
to be most obvious, in particular when it comes to a child, its
nature, needs and interests. The way a child experiences the
world is exactly the way it can experience music. It was notice
by outstanding pedagogues, musicians, and dancers creating
methods and systems combining music and movement (C. Orff,
E. Jaques-Dalcroze, F. Delsarte, I. Duncan, R. Laban), giving
them a universal value and meaning thanks to the originality of
assumptions. The article presents the main assumptions of
selected methods basing on the authors’ own long-lasting
experience in working with children. Of course, it is a matter of
choice if one should use one method or form compilations. What
is important, however, is that a teacher could inspire him/herself
from various sources to create tasks and treat well-known
methods as a field of constant search. The authors present the
process of gaining knowledge and skills with the use of actions
based on the movement activity and aiming at leading to a fuller
understanding of music by a child, taking into account a necessary
subsequence of actions, namely listening, feeling, doing,
understanding. They also enumerate and discuss characteristic
spontaneous and oriented musical-physical actions such as
improvisation, dancing, concrete musical-physical tasks and
physical-spatial interpretation. The article shows the sense and
peculiar efficiency of the correlation of music and movement in
the area of children’s upbringing and education because such
purely polysensory actions equally stimulate their cognitive,
physical, social and emotional development. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.rights | Uznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0/pl/ | * |
dc.subject | music | pl_PL |
dc.subject | movement | pl_PL |
dc.subject | child | pl_PL |
dc.subject | education | pl_PL |
dc.title | Zrozumieć muzykę : ruch w edukacji dziecka | pl_PL |
dc.type | info:eu-repo/semantics/article | pl_PL |
Pojawia się w kolekcji: | Artykuły (WSiNoE)
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