action drawing; discrete versus continuous movement; listening; music meaning; visual representation; Education; Music
Résumé :
[en] An increasing amount of research emphasises the influence of body movement on the perception of music. This study contributes to the research by investigating whether varied qualities of body movement, when aligned to music may affect the way children attribute meaning to that music. To address this question, 34 children (aged 9-10) were divided into two groups, each of which engaged in distinct listening activities by aligning with discrete versus continuous movements on diverse pieces of music. As a pre- and post-test, children were first invited to move freely to a piece of music and subsequently to draw a visual representation of the piece. Finally, they were asked to verbally explain how the drawings were linked with the music. Findings, based on the children's drawings and verbal explanations, offer interesting insights on the way different qualities of body movement can influence the categories of visual representations, arousal and voices of the music described. Moreover, the role of visual representation emerges as a way to gain insight into a child's musical sense-making, principally when the product is analysed together with the process and the gestures employed to accomplish it. The findings of this study may offer relevant insights for music education. Firstly, in the way movement may influence music sense-making and secondly, how multimodal interaction (bodily, visual and verbal) may inform the process of musical understanding in children.
Disciplines :
Education & enseignement
Auteur, co-auteur :
Fortuna, Sandra; IPEM Institute of Psychoacoustics and Electronic Music, Faculty of Arts and Philosophy, Ghent University, Ghent, Belgium
NIJS, Luc ; University of Luxembourg > Faculty of Humanities, Education and Social Sciences (FHSE) > Department of Education and Social Work (DESW) > Institute of Musicology and Arts ; IPEM Institute of Psychoacoustics and Electronic Music, Faculty of Arts and Philosophy, Ghent University, Ghent, Belgium ; CORPoREAL, Royal Conservatory of Antwerp, University of Antwerp, Antwerp, Belgium
Co-auteurs externes :
yes
Langue du document :
Anglais
Titre :
The influence of discrete versus continuous movements on children's musical sense-making
ACITORES, A. P. (2011). Towards a theory of proprioception as a bodily basis for consciousness in music. In D. Clarke & E. Clarke (eds.), Music and consciousness: Philosophical, psychological, and cultural perspectives (pp. 215-230). Oxford: Oxford University Press.
ATHEY, C. (1990). Extending thought in children. London: Paul Chapman.
BAMBERGER, J. (1982). Revisiting children's drawings of simple rhythms: A function for reflection in-action. In S. Strauss (Ed.), U-shaped behavioral growth (pp. 191-226). New York: Academic Press.
BARRETT, M. (2000). Windows, mirrors, and reflections: A case study of adult constructions of children's musical thinking. Council for Research in Music Education, 145, 43-61.
BRAUN JANZEN, T., THOMPSON, W. F., AMMIRANTE, P., & RANVAUD, R. (2014b). Timing skills and expertise: discrete and continuous timed movements among musicians and athletes. Frontiers in Psychology, 5, 1482.
BRAUN JANZEN, T., THOMPSON, W. F., & RANVAUD, R. (2014a). A developmental study of the effect of music training on timed movements. Frontiers in Human Neuroscience, 8, 801.
BURTON, L. H., & KUDO, T. (2000). SoundPlay: Understanding music through creative movement. Reston, VA: MENC.
CARROLL, D. (2017). Children's invented notations: Extending knowledge of their intuitive musical understandings using a Vygotskian social constructivist view. Psychology of Music, 46(4), 521-539.
CHAPLIN, A. D. (2005). Art and embodiment: Biological and phenomenological contributions to understanding beauty and the aesthetic. Contemporary Aesthetics, 3(1), 1-19.
CLARKE, E. F. (2005). Ways of listening: an ecological approach to the perception of musical meaning. Oxford: Oxford University Press.
CRESWELL, J. (2012). Educational Research: Planning, Conducting, and Evaluating Quantitative and Qualitative Research (4th ed.). Upper Saddle River, NJ: Pearson, Merrill, Prentice-Hall.
CUTTING, J. E. 2002. Representing Motion in a Static Image: Constraints and Parallels in Art, Science, and Popular Culture. Perception, 31(10), 1165-1193.
DALCROZE, E. J. (1921). Rhythm, Music and Education. Trans. H. Rubinstein. London: The Dalcroze Society.
DELIÈGE, I. (2001). Similarity perception↔ categorization↔ cue abstraction. Music Perception, 18(3), 233-243.
DEUTSCH, D., (1982). Grouping mechanisms in music. In D. Deutsch (Ed.), The psychology of music (pp 99-134). New York: Academic Press.
DEWEY J. (1958[1934]). Art as experience. New York: Capricorn Book.
DOWLING, W. J. (1991). Tonal strength and melody recognition after long and short delays. Perception & Psychophysics, 50(4), 305-313.
DOWLING, W. J. & HARWOOD, D. L. (1986). Melody: Attention and memory. In W. J. Dowling & D. L Harwood (eds.), Music Cognition (pp. 124-152). Orlando, FL: Academic Press.
ELAN (Version 5.4) [Computer software]. (2018). Nijmegen: Max Planck Institute for Psycholinguistics, The Language Archive. Retrieved from https://archive.mpi.nl/tla/elan
ELKOSHI, R. (2002). An Investigation into Children's Responses through Drawing, to Short Musical Fragments and Complete Compositions. Music Education Research, 4(2), 199-211.
ELKOSHI, R. (2019). Visualize music and 'Sonify'pictures: studying children's and adults' pitch-height invented notations. Music Education Research, 21(4), 441-458.
FORTUNA, S., & NIJS, L. (2020). Children's representational strategies based on verbal versus bodily interactions with music: An intervention-based study. Music Education Research, 22(1), 107-127.
FUNG, C. V. & GROMKO, J. (2001). Effects of Active Versus Passive Listening on the Quality of Children's Invented Notations for Two Korean Pieces. Psychology of Music, 29(2), 128-138.
GODØY, R. I. (2006). Gestural-Sonorous Objects: Embodied Extensions of Schaeffer's Conceptual Apparatus. Organised Sound, 11(2), 149-157.
GODØY, R. I. (2010). Gestural Affordances of Musical Sound. In R. I. Godøy and M. Leman (eds.), Musical Gestures (pp. 115-137). New York: Routledge.
GOLDIN-MEADOW, S., KIM, S. & SINGER, M. (1999). What the teacher's hands tell the student's mind about math. Journal of Educational Psychology, 91(4), 720-730.
GOMEZ, E., IBORRA, O., DE CORDOBA, M., JUÁREZ-RAMOS, V., ARTACHO, M. R., & RUBIO, J. L. (2013). TheKiki-Bouba effect A case of personification and ideaesthesia. Journal of Consciousness Studies, 20(1-2), 84-102
GORDON, E. (2003). A music learning theory for newborn and young children. Chicago: GIA Publications.
GORDON, E. (2006). Buffalo Music Learning Theory: Resolutions and Beyond. Chicago: GIA Publications.
GRAHN, J. A. & BRETT, M. (2007). Rhythm and beat perception in motor areas of the brain. Journal of Cognitive Neuroscience, 19(5), 893-906.
HARGREAVES, D. J. & GALTON, M. (1992). Aesthetic learning: Psychological theory and educational practice. In B. Reimer & R. A. Smith (eds.), The arts, education, and aesthetic knowing (pp.124-140). Chicago, IL: University of Chicago Press.
JOLLEY, R. P. (2010). Children and pictures: Drawing and understanding. West Sussex: Wiley-Blackwell.
JUNTUNEN, M.-J. (2016). The Dalcroze Approach: Experiencing and Knowing Music through the Embodied Exploration. In CR Abril & B. Gault (eds.), Approaches to Teaching General Music: Methods, Issues, and Viewpoints (pp. 141-167). Oxford: Oxford University Press
KERCHNER, J. L. (2000). Children's verbal, visual, and kinesthetic responses: Insight into their music listening experience. Bulletin of the Council for Research in Music Education, 146, 31-50.
LABAN, R. (1971). The mastery of movement. Boston M.A: Plays, Inc.
LAHAV, A., SALTZMAN, E. & SCHLAUG, G. (2007). Action representation of sound: audiomotor recognition network while listening to newly acquired actions. Journal of Neuroscience, 27(2), 308-314.
LEMAN, M. (2007). Embodied music cognition and mediation technology. London: The MIT Press.
LEMAN, M. (2016). The expressive moment: How interaction (with music) shapes human empowerment. London: The MIT Press.
LESAFFRE, M., MAES, P.J. & LEMAN, M. (2017). The Routledge companion to embodied music interaction. New York, London: Routledge.
LIM, H. A. & PARK, H. (2019). The effect of music on arousal, enjoyment, and cognitive performance. Psychology of Music, 47(4), 539-550.
LORÅS, H., SIGMUNDSSON, H., TALCOTT, J. B., ÖHBERG, F. & STENSDOTTER, A. K. (2012). Timing continuous or discontinuous movements across effectors specified by different pacing modalities and intervals. Experimental Brain Research, 220(3-4), 335-347.
MACEDONIA, M. & KNÖSCHE, T. R. (2011). Body in mind: How gestures empower foreign language learning. Mind, Brain, and Education, 5(4), 196-211.
MADSEN, C. K. & GERINGER, J. M. (1990). Differential patterns of music listening: Focus of attention of musicians versus nonmusicians. Bulletin of the Council for Research in Music Education, 105(3), 45-57.
MAES, P. J. & LEMAN, M. (2013). The influence of body movements on children's perception of music with an ambiguous expressive character. PloS one, 8(1), e54682.
MANNING, F. & SCHUTZ, M. (2013). "Moving to the beat" improves timing perception. Psychonomic Bulletin & Review, 20(6), 1133-1139.
MATTHEWS, J. (2003). Drawing and painting: Children and visual representation. London: Sage.
MEHRABIAN, A. (1996). Pleasure-arousal-dominance: A general framework for describing and measuring individual differences in temperament. Current Psychology, 14(4), 261-292.
MEHRABIAN, A. & RUSSELL, J. A. (1974). The basic emotional impact of environments. Perceptual and Motor Skills, 38(1), 283-301.
MERLEAU-PONTY, M. (1962). Phenomenology of perception. C. Smith (Trans.). London: Routledge and Kegan Paul.
NATHAN, M. J. & WALKINGTON, C. (2017). Grounded and embodied mathematical cognition: Promoting mathematical insight and proof using action and language. Cognitive Research: Principles and Implications, 2(1), 1-20.
NAVEDA, L. & LEMAN, M. (2009). A Cross-modal Heuristic for Periodic Pattern Analysis of Samba Music and Dance, Journal of New Music Research, 38(3), 255-283.
NICOLAIDES, K. (1941/1990). The natural way to draw: A working plan for art study. Houghton Mifflin Harcourt.
NIJS, L. & BREMMER, M. (2019). Embodiment and Early Childhood Music Education. In B. Ilari & S. Young (eds.), Music in Early Childhood: Multi-disciplinary Perspectives and Inter-disciplinary Exchanges. New York: Springer.
O'REGAN, J. K., MYIN, E. & NOË, A. (2004). Towards an analytic phenomenology: the concepts of "bodiliness" and "grabbiness". In A. Carsetti (ed.), Seeing, thinking and knowing (pp. 103-114). Dordrecht, Holland: Kluwer Academic Publishers.
ORFF, C., KEETMAN, G. & KELLER, W. (1950). Musik für kinder. Mainz: Schott.
PHILLIPS-SILVER, J. & TRAINOR, L. J. (2005). Feeling the beat: movement influences infant rhythm perception. Science, 308(5727), 1430-1430.
PHILLIPS-SILVER, J. & TRAINOR, L. J. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105(3), 533-546.
POLANYI, M. (1969). Knowing and Being. Chicago: University of Chicago Press.
REYBROUCK, M. (2009). Similarity perception as a cognitive tool for musical sense-making: deictic and ecological claims. Musicae Scientiae, 13(1_suppl), 99-118.
REYBROUCK, M. (2015). Music as Environment: An Ecological and Biosemiotic Approach. Behavioral Sciences, 5(1), 1-26.
REYBROUCK, M., PODLIPNIAK, P. & WELCH, D. (2020). Music Listening as Coping Behavior: From Reactive Response to Sense-Making. Behavioral Sciences, 10(7), 119
REYBROUCK, M., VERSCHAFFEL, L. & LAUWERIER, S. (2009). Children's graphical notations as representational tools for musical sense-making in a music-listening task. British Journal of Music Education, 26(2), 189-211.
RUSSELL, J. A. & MEHRABIAN, A. (1977). Evidence for a three-factor theory of emotions. Journal of Research in Personality, 11(3), 273-294.
SLOBODA, J. A. (1985). The musical mind: The cognitive psychology of music. Oxford: Clarendon Press.
SU, Y. H. & PÖPPEL, E. (2012). Body movement enhances the extraction of temporal structures in auditory sequences. Psychological Research, 76(3), 373-382.
TEPLOV, B. M. (1966). Psycologie de le aptitudes musicales. Paris: Press Universitaire de France.
TORRE, K. & BALASUBRAMANIAM, R. (2009). Two different processes for sensorimotor synchronization in continuous and discontinuous rhythmic movements. Experimental Brain Research, 199(2), 157-166.
TREHUB, S. E. (2003). The developmental origins of musicality. Nature Neuroscience, 6(7), 669-673.
VERSCHAFFEL, L. REYBROUCK, M., JANSSENS, M. & VAN DOOREN, M. (2010). Using graphical notations to assess children's experiencing of simple and complex musical fragments. Psychology of Music, 38(3), 259-284.
WEDIN, E. N. (2015). Playing music with the whole body: Eurhythmics and motor development. Stockholm, SE: Gehrmans Musikförlag.
WOLPERT, R. S. (1990). Recognition of melody, harmonic accompaniment, and instrumentation: Musicians vs. nonmusicians. Music Perception: An Interdisciplinary Journal, 8(1), 95-105.
YOUNG, S. (2016). Early childhood music education research: An overview. Research Studies in Music Education, 38(1), 9-21.
ZACHOPOULOU, E., TSAPAKIDOU, A. & DERRI, V. (2004). The effects of a developmentally appropriate music and movement program on motor performance. Early Childhood Research Quarterly, 19(4), 631-642.
ZELAZNIK, H. N., SPENCER, R. M., IVRY, R. B., BARIA, A., BLOOM, M., DOLANSKY, L., JUSTICE, S., PATTERSON, K. & WHETTER, E. (2005). Timing variability in circle drawing and tapping: probing the relationship between event and emergent timing. Journal of Motor Behavior, 37(5), 395-403.
ZENATTI A. (1985). The role of Perceptual Discrimination Ability Tests of Memory for Melody, Harmony and Rhythm. Music Perception, 2(3), 397-404. https://doi.org/10.2307/40285307