This module focuses on perceiving music through the connection of inner hearing, sensibility in communication and improvisation (vocal, instrumental, and corporeal). Improvisation and solfège, (aural training) are essential bases in Eurhythmics. Exploring and developing inner hearing on individual level is promoted by embodied practices.
When movement, music and voice work together, a multifaceted agreement arises where the intensive listening in an expanded awareness supports the artistic process. This site will highlight the complexity of listening through the artistic processes, taking into account the embodied listening in and between the research field of movement, instrumental music and voice. It is precisely in such a way that resonance occurs.
The space is part of the vocal instrument. It responds as a physical receiver of the sound directly in the body, the exhalation, the vocal cords to the walls of the room and back to the physical listening; the whole body feels the vibrations, even the floor vibrates. Then the whole body makes music from the soles of the feet, legs, back, etc.
How do my surroundings touch me and how do I touch my surroundings, tuning attention, listening to moments of encounters in a heightened state – of impressions and imprints through movement.
The physical listening is a central parameter as a general methodological basis for investigating how music and movement interact, and how choreographed dance, movement, can create a listening that returns the music to a bodily experience. In this context, it means a broad methodological palette with the overall aim of gathering deep and detailed knowledge from many sources about the same phenomenon.
The site contributes to the method and definition within the the mentioned art fields.
Prof. Susanne Jaresand, Incca Rasmusson
Kungl. Musikhögskolan i Stockholm
Video: Listening Movement, Movement-Music 1
Video: Listening Movement, Movement-Music 2
Video: Listening Movement, Movement-Music 3
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