374 research outputs found
INTERPRETACJE RUCHOWE MUZYKI W METODZIE RYTMIKI EMILA JAQUES-DALCROZE’A
No full textThe method of learning and experiencing music through movement is proposed by Emil Jaques-Dalcroze at the beginning of the 20th century as a very complex, holistic method of artistic education, that leads to harmonious development of man through the movement. Connected with it integrally interpretation of movement/rhythm and music determines the legible and interesting proposal of the cognition of music. The essence of "motorial music" interpretation - the synthesis of music and of planned movement in space - appeals to contemporary determinants of the contemplation of art. The perception of music in general is often associated with activity in the supplementary motor cortex, as is shown in the D. S. Levitin research (This is your brain in music" (quoted in Bader 2013, 398), published by Dulton, NY in 2006.), pointing to a strong influence of movement and perception in music. Moreover, an author desires to emphasize these words with large determination: Let us not be afraid of to be created artistic visions of music in the movement and space, marked by the features of individuals, because, exactly motorial music is the perfect manner of the perception of a musical work, which makes both performers and receivers part of the whole, involving them in the world of music
"Stovertop Philospohy" An interview with Ferran Adrià
No full textThis text is a result of two long conversations between Ferran Adrià and Jèssica Jaques at elBulliLab, the creativity laboratory directed by the Catalan cook, in January, 2016. It has been translated from Catalan by Tiam Goudarzi under the supervision of the author
Rediscovering the Émile Jaques-Dalcroze Approach in the Training of Music Professionals
No full textA finales de siglo XIX, Émile Jaques-Dalcroze desarrolló un enfoque educativo que tuvo como
propósito ayudar a los estudiantes del Conservatorio de Música de Ginebra, Suiza, a vencer los retos técnico-musicales que enfrentaban en su formación profesional. Las áreas de oportunidad que
Jaques-Dalcroze observó en sus discípulos hace más de 100 años, son las mismas que muchos
estudiantes tienen hoy en muchas escuelas de música. Desgraciadamente, a pesar del éxito que
alcanzó, en la actualidad el enfoque Jaques-Dalcroze se ha desaprovechado casi por completo en
la formación de los estudiantes en niveles superiores. En el presente artículo, se reflexiona sobre la
vigencia de este enfoque pedagógico-musical, se proporciona una revisión en torno a las enormes
aportaciones que hace a la formación del músico profesional y se ofrece algunas recomendaciones
para su aplicación en las escuelas de música en niveles superiores. Finalmente, el autor exhorta a las
autoridades y maestros de los conservatorios, facultades y departamentos de música a considerar
su incorporación en los planes de estudio como un recurso pedagógico de gran valorBy the end of the 19th century, Émile Jaques-Dalcroze developed an educational approach that
aimed to help the students of the Conservatory of Music in Geneva, Switzerland, to overcome the technical and musical challenges they faced in their professional training. The areas of opportunity that
Jaques-Dalcroze observed in his disciples more than 100 years ago, are the same much students
have today in many music schools. Unfortunately, in spite of the success achieved, the Jaques-Dalcroze approach has almost been completely dismissed in the training of professional musicians.
In the present article, the author reflects on the validity of this music education approach, provides
a review concerning its enormous contributions to the field of professional musicians’ training and
offers some recommendations for its application in tertiary music schools. Finally, the author urges
authorities and teachers of conservatories and music departments to consider its incorporation in
the curricula as a pedagogical resource of great value
Émile Jaques-Dalcroze: fundamentos da rítmica e suas contribuições para a educação musical
No full textEste artigo tem como objetivo apresentar uma revisão bibliográfica da obra do educador musical Émile Jaques-Dalcroze, tendo como foco de discussão a noção de Rítmica por ele desenvolvida. Para uma melhor compreensão da abordagem pedagógica de Dalcroze, utilizou-se como estratégia a descrição e análise de um conjunto de exercícios elaborados pelo autor. Aspectos como a marcha, a Plástica Animada e o “Hop” foram tomados como unidades de análise do método de educação musical em questão. Abstract This article aims to present a bibliographical review for the work of the Music Pedagogue Émile Jaques-Dalcroze. The focus of the discussion is the notion of Rhythmic developed by the author. For a better comprehension of this pedagogical approach, the strategy used was the description and analysis of a series of exercises elaborated by Dalcroze. Aspects like march, the Plastic Expression and the Hop were considered units of analysis of the musical educational method presented. Keywords Émile Jaques-Dalcroze; Rhythmic, Musical Educatio
De las organizaciones paranoigénicas al mobbing en Elliott Jaques: fuentes psicoanalíticas
No full textFrom the paranoigenic organizations to Elliott Jaques's mobbing: psychoanalytic sources Abstract The Requisite Organization by Elliott Jaques is a handbook of the management practice that collects what has been researched by the author for decades. This article will list up his psychoanalytic background in order to promote writing a future bibliography which is still missing. It will also place Elliott Jaques's contribution to the junction between the mental health and the working life. La Organización Requerida de Elliott Jaques es un manual de prácticas gerenciales que recopila lo investigado durante décadas por su autor. En este artículo se enumerarán sus antecedentes psicoanalíticos con el objeto de contribuir a la construcción de una bibliografía de la que carece. Otro aporte de este texto es el de situar la contribución que Elliott Jaques hizo a la intersección entre la salud mental y la vida del trabajo
Retomando el enfoque de Émile Jaques-Dalcroze en la formación del profesional de la música
No full textBy the end of the 19th century, Émile Jaques-Dalcroze developed an educational approach that aimed to help the students of the Conservatory of Music in Geneva, Switzerland, to overcome the technical and musical challenges they faced in their professional training. The areas of opportunity that Jaques-Dalcroze observed in his disciples more than 100 years ago, are the same much students have today in many music schools. Unfortunately, in spite of the success achieved, the Jaques-Dalcroze approach has almost been completely dismissed in the training of professional musicians. In the present article, the author reflects on the validity of this music education approach, provides a review concerning its enormous contributions to the field of professional musicians´ training and offers some recommendations for its application in tertiary music schools. Finally, the author urges authorities and teachers of conservatories and music departments to consider its incorporation in the curricula as a pedagogical resource of great value.A finales de siglo XIX, Émile Jaques-Dalcroze desarrolló un enfoque educativo que tuvo como propósito ayudar a los estudiantes del Conservatorio de Música de Ginebra, Suiza, a vencer los retos técnico-musicales que enfrentaban en su formación profesional. Las áreas de oportunidad que Jaques-Dalcroze observó en sus discípulos hace más de 100 años, son las mismas que muchos estudiantes tienen hoy en día en muchas escuelas de música. Desgraciadamente, a pesar del éxito que alcanzó, en la actualidad el enfoque Jaques-Dalcroze se ha desaprovechado casi por completo en la formación de los estudiantes a nivel superior. En el presente artículo, el autor hace una reflexión sobre la vigencia de este enfoque pedagógico-musical, proporciona una revisión en torno a las enormes aportaciones que hace a la formación del músico profesional y ofrece algunas recomendaciones para su aplicación en las escuelas de música a nivel superior. Finalmente, el autor exhorta a las autoridades y maestros de los conservatorios, facultades y departamentos de música a considerar su incorporación en los planes de estudio como un recurso pedagógico de gran valor
Marion Jaques Smith Correspondence
No full textEntries include brief biographical information, a typed biography, a handwritten list of research questions and a revealing letter concerning the risks of collaboration, typed requests for books, local histories, stories, maps, and illustrations on plain paper for Smith\u27s work on the Little Bear books, from an author primarily of books for children about Maine history from the perspective of bears and skunks
Samuel Chávez y José Vasconcelos a discusión: la noción de ritmo y la gimnasia rítmica
No full textIn the double number 4–5 of 1922, the magazine El Maestro published an essay by the architect Samuel Chávez, borned in Aguascalientes, containing the core of his contribution to the notion of rhythm –a topic that has intermittently occupied the minds of philosophers since the classical antiquity to this day–, and its application to Jaques-Dalcroze’s rhythmic gymnastics. The purpose of this text is to analyze and interpret this contribution, as well as to put it in dialogue with some of Vasconcelos\u27 ideas, based on both the commentary of his essay and the analysis of some drawings from Chávez\u27s private archive. The text discusses the authors’ and other people\u27s arguments, seeking to elucidate the epistemic contribution underlying the notion of rhythm, as this architect understood and put it into practice in the second and third decades of the 20th century, an approach, as far as is known, not addressed by historiography.La revista El Maestro, en su número doble 4–5 de 1922, publicó al arquitecto aguascalentense Samuel Chávez un ensayo en el que se encuentra lo medular de su contribución a la noción de ritmo –tópico que ha ocupado intermitentemente las mentes de filósofos desde la antigüedad clásica hasta nuestros días– y su aplicación en la gimnasia rítmica de Jaques-Dalcroze. Este texto tiene como objetivo analizar e interpretar dicha contribución, y ponerla en diálogo con algunas ideas de Vasconcelos, a partir de la glosa del ensayo y del análisis de algunos dibujos del archivo particular de Samuel; asimismo, discute argumentos propios y ajenos, ya que busca dilucidar los aportes epistémicos subyacentes a la noción de ritmo, tal como este arquitecto entendió la gimnasia rítmica y la puso en práctica en la segunda y tercera décadas del siglo XX, enfoque, hasta donde se sabe, que no se ha abordado por la historiografía
Les vies des hommes illustres grecs et romains comparées l'une à l'autre
No full textpar Plutarque de Chaeronée, transpatées par M. Jaques Amyot, conseiller du roy, &c. par lui reveuës & corrigées ..
De Alemania a México: Samuel Chávez y la gimnasia rítmica del Instituto Dalcroze, 1912-1922
No full textThe main objective of this article is to make known to the community of historians, especially architecture historians, a little explored facet of the architect Samuel Chávez (a native of the city of Aguascalientes but whose professional development was centered in Mexico City), consisting of the interest he maintained in the relationship between architecture, dance and music. To this end, the text offers historical evidence and arguments based both on the interpretation of a corpus of documents from his personal archive (which as far as is known has not been worked on by the specialized historiography), as on the hemerography of the time and the current bibliography. Beyond what Raquel Tibol (1984) affirmed, in the sense of considering Samuel Chávez as one of the forerunners of modern dance in Mexico, our contribution consists of documenting, in a contextualized way, the meeting point of the architect with the key pedagogical center of the movements for the reform of life: the Jaques Dalcroze Institute of Rhythmics, located in the German garden city of Hellerau, which was a turning point in the professional career of Chávez as he freed himself from the bonds of his former Beaux-arts training, and thus linked him to the European avant-garde of the moment. Our article only focuses on the period 1912-1922.The main objective of this article is to make known to the community of historians, especially architecture historians, a little explored facet of the architect Samuel Chávez (a native of the city of Aguascalientes but whose professional development was centered in Mexico City), consisting of the interest he maintained in the relationship between architecture, dance and music. To this end, the text offers historical evidence and arguments based both on the interpretation of a corpus of documents from his personal archive (which as far as is known has not been worked on by the specialized historiography), as on the hemerography of the time and the current bibliography. Beyond what Raquel Tibol (1984) affirmed, in the sense of considering Samuel Chávez as one of the forerunners of modern dance in Mexico, our contribution consists of documenting, in a contextualized way, the meeting point of the architect with the key pedagogical center of the movements for the reform of life: the Jaques Dalcroze Institute of Rhythmics, located in the German garden city of Hellerau, which was a turning point in the professional career of Chávez as he freed himself from the bonds of his former Beaux-arts training, and thus linked him to the European avant-garde of the moment. Our article only focuses on the period 1912-1922.El objetivo central de esta entrega es dar a conocer a la comunidad de historiadores, en especial a los historiadores de la arquitectura, una faceta poco explorada del arquitecto Samuel Chávez (oriundo de la ciudad de Aguascalientes pero cuyo desarrollo profesional tuvo como centro la Ciudad de México), consistente en el interés que mantuvo por la relación entre arquitectura, danza y música; a tal efecto, el texto ofrece evidencia histórica y argumentos fundados tanto en la interpretación de un corpus de documentos de su archivo personal, que hasta donde se sabe no ha sido trabajado por la historiografía especializada, como en hemerografía de la época y fuentes secundarias actuales. Más allá de lo afirmado por Raquel Tibol (1984), en el sentido de considerar a Samuel Chávez como uno de los precursores de la danza moderna en México, nuestra aportación consiste en documentar, de manera contextualizada, el punto de encuentro de nuestro arquitecto con el centro pedagógico clave de los movimientos para la reforma de la vida: el Instituto de Rítmica de Jaques Dalcroze, sito en la ciudad-jardín alemana de Hellerau, lo que supuso una inflexión en la trayectoria profesional de Chávez al liberarse de las ataduras de su formación Beaux-arts y vincularse a la vanguardia europea del momento. Nuestra entrega sólo se centra en el período 1912-1922
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