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Dalcroze, the body, movement and musicality
16 references·16 citing·29 second hopsampled
Dalcroze, the body, movement and musicality (2005)Dalcroze, the body, movement and musicali…Musical Meaning and Expression (2020)Musical Meaning and ExpressionThe Acquisition of Musical Performance Expertise: Deconstructing the ‘Talent’ Account of Individual Differences in Musical Expressivity (2004)The Acquisition of Musical Pe…The Role of the Body in the Production and Perception of Solo Vocal Performance: A Case Study of Annie Lennox (2001)The Role of the Body in the P…Improvisation: methods and models (2001)Improvisation: methods and mo…The young performing musician (1996)The young performing musicianThe Road To Excellence: The Acquisition of Expert Performance in the Arts and Sciences, Sports, and Games (1996)The Road To Excellence: The A…Social Perception in Infants (1985)Social Perception in InfantsAdvances in infancy research (1981)Advances in infancy researchWays of the Hand: The Organization of Improvised Conduct. (1978)Ways of the Hand: The Organiz…The Unanswered Question: Six Talks at Harvard (1977)The Unanswered Question: Six …Poetics of Music in the Form of Six Lessons (1970)Poetics of Music in the Form …The Repertoire of Nonverbal Behavior: Categories, Origins, Usage, and Coding (1969)The Repertoire of Nonverbal B…Emotion and Meaning in Music (1961)Emotion and Meaning in MusicEmotion and Meaning in Music (1957)Emotion and Meaning in MusicJazz: Its Evolution and Essence (1956)Jazz: Its Evolution and Essen…Rhythm, Music and Education (1921)Rhythm, Music and EducationDalcroze Yaklaşımı ve Erken Çocukluk Müzik Eğitimi için Önerileri (2024)Dalcroze Yaklaşımı ve Erken Ç…Theoretical Framework for Facilitating Young Musicians’ Learning of Expressive Performance (2021)Theoretical Framework for Fac…Ways to enhance embodied learning in Dalcroze-inspired music education (2020)Ways to enhance embodied lear…Three Flute Players’ Lived Experiences of Dalcroze Eurhythmics in Preparing Contemporary Music for Performance (2020)Three Flute Players’ Lived Ex…Movement, Gesture, and Singing: A Review of Literature (2020)Movement, Gesture, and Singin…Understanding the Meaningfulness of Vocal and Instrumental Music Teachers' Hand Gestures Through the Teacher Behavior and Gesture Framework (2019)Understanding the Meaningfuln…The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality (2019)The Relationship Between High…Teaching General Music (2016)Teaching General MusicEnhancing gesture quality in young singers (2015)Enhancing gesture quality in …The first experiences of music students with Dalcroze-inspired activities: A phenomenological study (2014)The first experiences of musi…The effect of body movement on listeners’ perceptions of musicality in trombone quartet performance (2013)The effect of body movement o…Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice (2013)Moved to Learn: Dalcroze Appl…Aesthetic Play: The Meaning of Music Technologies for Children’s Development (2012)Aesthetic Play: The Meaning o…Jumping through'loops': A reflective study on preparing generalist pre-service teachers to teach music (2011)Jumping through'loops': A ref…The Effect of Movement Instruction on Memorization and Retention of New-Song Material Among First-Grade Students (2010)The Effect of Movement Instru…Musicians’ Descriptions of Their Expressive Musical Practice (2009)Musicians’ Descriptions of Th…The Influence of the Family in the Development of Talent in Sport (1999)The magical number 4 in short-term memory: A reconsideration of mental storage capacity (2001)Perceptual-Cognitive Expertise in Sport: A Meta-Analysis (2007)Ends, Means, and Galumphing: Some Leitmotifs of Play1 (1973)Chernomor to Kashchei: Harmonic Sorcery; Or, Stravinsky's "Angle" (1985)Deconstructing the Lone Genius Myth: Toward a Contextual View of Creativity (1995)Handbook of Emotions (1993)Art and Intention (2005)Beyond Representation and Signification: Toward a Sonic Materialism (2011)Ironic processes of mental control. (1994)Street Phenomenology (2003)The Practice Turn in Contemporary Theory (2005)A cognitive developmental approach to morality: investigating the psychopath (1995)Well-being : the foundations of hedonic psychology (1999)Constants across cultures in the face and emotion. (1971)Feeling and thinking: Preferences need no inferences. (1980)An argument for basic emotions (1992)Organizational Improvisation and Organizational Memory (1998)The Convergence of Planning and Execution: Improvisation in New Product Development (1998)The “Third Hand”: IT-Enabled Competitive Advantage in Turbulence Through Improvisational Capabilities (2010)Is Infant-Directed Speech Prosody a Result of the Vocal Expression of Emotion? (2000)International Handbook of Research in Arts Education (2007)Being Together in Time: Musical Experience and the Mirror Neuron System (2009)Origins of the modern mind: three stages in the evolution of culture and cognition (1992)Infant sensitivity to distributional information can affect phonetic discrimination (2002)Not all emotions are created equal: The negativity bias in social-emotional development. (2008)Five kinds of self‐knowledge (1988)Maternal Responsiveness and Children's Achievement of Language Milestones (2001)Toward a second-person neuroscience (2013)
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References

  • 1969The Repertoire of Nonverbal Behavior: Categories, Origins, Usage, and Coding3,316 cited
  • 1961Emotion and Meaning in Music1,957 cited
  • 1996The Road To Excellence: The Acquisition of Expert Performance in the Arts and Sciences, Sports, and Games1,286 cited
  • 1985Social Perception in Infants1,172 cited
  • 1981Advances in infancy research1,121 cited
  • 1957Emotion and Meaning in Music768 cited
  • 2020Musical Meaning and Expression567 cited
  • 1970Poetics of Music in the Form of Six Lessons406 cited
  • 1978Ways of the Hand: The Organization of Improvised Conduct.391 cited
  • 2001Improvisation: methods and models342 cited
  • 1921Rhythm, Music and Education298 cited
  • 1977The Unanswered Question: Six Talks at Harvard284 cited
  • 1956Jazz: Its Evolution and Essence258 cited
  • 2004The Acquisition of Musical Performance Expertise: Deconstructing the ‘Talent’ Account of Individual Differences in Musical Expressivity141 cited
  • 2001The Role of the Body in the Production and Perception of Solo Vocal Performance: A Case Study of Annie Lennox123 cited
  • 1996The young performing musician

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106 cited

Cited by

  • 2009Musicians’ Descriptions of Their Expressive Musical Practice33 cited
  • 2021Theoretical Framework for Facilitating Young Musicians’ Learning of Expressive Performance31 cited
  • 2020Ways to enhance embodied learning in Dalcroze-inspired music education30 cited
  • 2019The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality27 cited
  • 2014The first experiences of music students with Dalcroze-inspired activities: A phenomenological study27 cited
  • 2016Teaching General Music24 cited
  • 2013The effect of body movement on listeners’ perceptions of musicality in trombone quartet performance23 cited
  • 2011Jumping through'loops': A reflective study on preparing generalist pre-service teachers to teach music18 cited
  • 2019Understanding the Meaningfulness of Vocal and Instrumental Music Teachers' Hand Gestures Through the Teacher Behavior and Gesture Framework16 cited
  • 2013Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice12 cited
  • 2020Three Flute Players’ Lived Experiences of Dalcroze Eurhythmics in Preparing Contemporary Music for Performance11 cited
  • 2020Movement, Gesture, and Singing: A Review of Literature10 cited
  • 2015Enhancing gesture quality in young singers8 cited
  • 2012Aesthetic Play: The Meaning of Music Technologies for Children’s Development5 cited
  • 2024Dalcroze Yaklaşımı ve Erken Çocukluk Müzik Eğitimi için Önerileri4 cited
  • 2010The Effect of Movement Instruction on Memorization and Retention of New-Song Material Among First-Grade Students4 cited