Abstract
This qualitative study presents an interpretative phenomenological analysis of the lived experiences of three flute players who practise Dalcroze Eurhythmics, an approach to teaching, learning and understanding music through exploring various music-movement relationships in social, creative and rigorous ways. Our research seeks to understand how these individuals make sense of their lived experiences of Dalcroze Eurhythmics in learning, rehearsing and performing contemporary music. Data collected through semi-structured interviews were analysed and interpreted to create codes and categories in each data set. A cross-case analysis brought to light eight main themes: Body and breath; The body as a ‘way in’; Learning through the body overcomes specific technical difficulties; An embodied relationship with the score; Deeper knowledge and connection to music; Clarifying own interpretations; Communication with the audience; A bigger picture beyond the instrument. This study provides new insights into how learning through Dalcroze Eurhythmics can help individuals prepare repertoire for performance. As such, it may be of use to Dalcroze students and teachers, to flute performers and teachers, and to teachers and performers of other instruments who wish to explore the potential of Dalcroze Eurhythmics in learning, rehearsing and performing contemporary music. The analysis also reveals insights that may be relevant to other repertoires.
Highlights
Rosalind’s ReflectionAs a flute player with a particular interest in contemporary music, I am all too aware of the many challenges this repertoire can present: the very high level of instrumental technique and flexibility needed; the brainpower to understand the notation or play it rhythmically; the imagination required to make musical sense of the extended techniques and colors; and the understanding of the music needed to communicate with an audience
As Emma said, “music is the leader.”. The experiences of these three flute players suggest how Dalcroze Eurhythmics can be useful in preparing music, contemporary music, for performance
Participants benefited from a deeper learning process which enabled them to foster a stronger connection with both the music and audience in performance, and to overcome the additional challenges that contemporary music may present
Summary
Rosalind’s ReflectionAs a flute player with a particular interest in contemporary music, I am all too aware of the many challenges this repertoire can present: the very high level of instrumental technique and flexibility needed; the brainpower to understand the notation or play it rhythmically; the imagination required to make musical sense of the extended techniques and colors; and the understanding of the music needed to communicate with an audience. Instead of my usual intellectualized approach, Dalcroze Eurhythmics taught me to go with my body and with what feels right, influencing the way I prepare and perform flute repertoire, and contemporary music in particular. This qualitative study uses interpretative phenomenological analysis (IPA) to develop a richer understanding of how flute players make sense of learning, rehearsing, and performing contemporary repertoire in light of their experiences of Dalcroze Eurhythmics.. This qualitative study uses interpretative phenomenological analysis (IPA) to develop a richer understanding of how flute players make sense of learning, rehearsing, and performing contemporary repertoire in light of their experiences of Dalcroze Eurhythmics.1 Whilst it focuses on contemporary flute music, the findings might be applicable to other repertoires This qualitative study uses interpretative phenomenological analysis (IPA) to develop a richer understanding of how flute players make sense of learning, rehearsing, and performing contemporary repertoire in light of their experiences of Dalcroze Eurhythmics. Whilst it focuses on contemporary flute music, the findings might be applicable to other repertoires
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