026412 Music Moves
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particular session, location and mode of offering is the authoritative source
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Subject handbook information prior to 2020 is available in the Archives.
Credit points: 6 cp
UndergraduateResult type: Grade, no marks
This subject explores musical 'knowing' through the moving body – an embodied cognition approach. Through the development of movement and dance skills, students are provided with ways of demonstrating their musical understanding in response to a range of repertoire, including works by Australian composers, and students' own compositions. Literature, stories, dance and art works combine to develop rich scenarios for interpretation of musical ideas. Insights into musical learning through an embodied approach are analysed through neuroscientific and psychological research.
Subject learning objectives (SLOs)
|a.||Develop movement and dance skills to demonstrate musical understanding; (GTS 2.1)|
|b.||Analyse literature that supports an embodied approach to learning about music; (GTS 1.2)|
|c.||Design and choreograph movement composition to reflect thematic stimulus; (GTS 2.1)|
|d.||Use contemporary Australian art music or own composition to relate to the movement composition and thematic stimulus; (GTS 2.1)|
|e.||Use appropriate language to describe composition process. (GTS 3.5)|
Contribution to the development of graduate attributes
The subject addresses the following course intended learning objectives:
1. Professional Readiness
1.4 Act as a developer of learning with colleagues and possess collaborative skills (GTS 7)
2. Critical and Creative Inquiry
2.1 Analyse and synthesise research and engage in inquiry (GTS 3)
2.2 Make well-informed contributions to contemporary debates pertinent to education (GTS 3)
6. Effective Communication
6.1 Communicate effectively using diverse modes and technologies (GTS 2, 3, 4)
Teaching and learning strategies
This subject includes structured workshops, active movement and music skill development, collaborative and individual creative composition activities, individual research and engagement in assessment tasks that critically examine and apply current research in this area. Performance of weekly in-class tasks will be critiqued by tutor and peers to provide ongoing formative feedback to students.
Students will develop a knowledge of basic movement experiences involving the elements of Space, Energy, Time and Body, expressing the basic elements in music of Pitch, Duration, Tone Colour, Texture, Structure and Dynamics. This will be explored in tandem with Australian and contemporary musical repertoire, literature, art works and other materials. Underpinning the practice of design and choreography of movement with music will be analysis of Embodiment research and learning about music. These activities will develop their ability to move to express musical understanding and ideas, artistic integration, and how embodiment enriches and enhances learning in the Arts.
Assessment task 1: Assessment Task 1 (individual) – Embodiment and Learning in Music.
b and e
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Assessment task 2: Assessment Task 2 (group) – Integrated artistic work.
a, c, d and e
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Attendance at all workshops is essential in this subject as learning, knowledge and development of skills is body-based, involves collaborative composition and discussion, and there is no substitute for these activities. A maximum of one workshop only can be missed, and students should advise the tutor in a timely manner if they are unable to attend. If a student misses more than one workshops, the individual component of Task 2 will not be assessed (UTS Rule 3.8). Both assessment tasks must be passed in order to fulfil all criteria to pass this subject.
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Carline, S. (2011). Lesson plans for creative dance: Connecting with literature, arts, and music. Champaign, IL: Human Kinetics.
Chaganti, S. (2018). Strange footing: Poetic form and dance in the late middle ages. Chicago; London: The University of Chicago Press.
Corness, G. (2008). The musical experience through the lens of embodiment. Leonardo Music Journal, 18, 21-24.
De Jaegher, H., & Di Paolo, E. (2007). Participatory sense-making. Phenomenology and the Cognitive Sciences, 6(4), 485-507. doi:10.1007/s11097-007-9076-9
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Falin, J. R. (2015). Using music to enhance student learning: A practical guide for elementary classroom teachers. New York NY: Routledge.
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Hermans, C., & Bremmer, M. (2015). Embodiment in arts education teaching and learning with the body in the arts. Paper presented at the Embodiment in Arts Education, Amsterdam University of the Arts. https://www.conservatoriumvanamsterdam.nl/fileadmin/download/conservatorium/lectoraat_Muziek/Embodiment/embodiment_in_arts_education.pdf
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Phillips-Silver, J. (2009). On the meaning of movement in music, development and the brain. Contemporary Music Review, 28(3), 293-314. doi:10.1080/07494460903404394
Phillips-Silver, J., & Trainor, L. J. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105(3), 533-546. doi:10.1016/j.cognition.2006.11.006
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Schiavio, A., & Høffding, S. (2015). Playing together without communicating? A pre-reflective and enactive account of joint musical performance. Musicae Scientiae, 19(4), 366-388. doi:10.1177/1029864915593333
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Walton, A. E., Washburn, A., Richardson, M. J., & Chemero, A. (2018). Empathy and groove in musical movement. Paper presented at the UC Irvine: A Body of Knowledge Conference 2016, UC Irvine. https://escholarship.org/uc/item/30h4m2mp
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