Musical and Athletic Motor Learning and Performance
Edited By Adina Mornell
Teaching Music Physiology and Motor Learning Processes at a University: Experience and Evaluation (Horst Hildebrandt)
Teaching Music Physiology and Motor Learning Processes at a University: Experience and Evaluation Introduction Thinking about art in motion is of central importance for work at a university of music. The movements involved in playing or singing are the connection between musical ideas, inspirations and emotions, and the actual sound. Movements are the decisive transition from the actions of the player or singer to the instrument or voice. It is just not possible for instrumentalists or singers to produce sound without movement. “....movements are comparable to melodies, which we create with the body as an instrument.” (Günzel 1989) For dance and drama, and the corresponding gestures, this quote may still apply, and allow natural movement behavior. For singing, and even more so with the playing movements on musical instruments, we must make do with a kind of “second nature,” for in the long years of training, the movements predominantly follow the requirements of the voice or of the instrument. First of all, I would like to talk brieﬂy about the epidemiology of musicians’ diseases, and the historical development of my specialist area. Then I will outline what we offer in terms of teaching and advice, using the example of the Zurich University of the Arts, and I will report on some scientiﬁc evaluation projects relating to this provision. In the third part, I will talk about the role of (self-) instruction styles and motor learning processes in the education of musicians and in the prevention and treatment...
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