Kinaesthesia and Instrumental Music Instruction: Some Implications

Abstract

This paper reflects on some aspects of research on kinaesthesia and how it relates to music education as a whole and instrumental music teaching in particular. It explores the problems of terminology that exist in the literature (kinaesthesia versus proprioception) and describes kinaesthesia as it relates to human physiology. The article contrasts the phenomenological approach of instrumental teachers with the more experimental view of psychological research on this topic and concludes that the current research on kinaesthesia/proprioception is still introductory. Notwithstanding, some ways of benefiting from what is already known on the subject are suggested through the paper.

The effect of Alexander technique training program: A qualitative study of ordinary behavior application

“…Firstly, participants had developed body awareness and body consciousness through lived body experience. Result showed similarities with Galvao and Kemp (2005) ’s study. He declared that musicians experienced through their own bodily practice under the guidance of an Alexander technique teacher.…”

Exploring the field application of combined cognitive-motor program with mild cognitive impairment elderly patients

“…Result represented that uncontrolled musical reactions were adjusted by ‘conscious control’ with lived bodily experience. Current study showed similarities with Galvao and Kemp’s (1999) study. Result showed that participants had improved Pegbaord test, which based on eye and hand coordination.…”

“…Studies of body awareness and body consciousness through lived body experience have been conducted as a kind of strategy to improve the performance skill in the field of performing arts. Galvao and Kemp (1999) showed that musicians’ performance enhancement through the guidance of an Alexander technique. Result represented that uncontrolled musical reactions were adjusted by ‘conscious control’ with lived bodily experience.…”

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“…Furthermore, jazz music in its modern form is characterized by complex chord changes, rich harmonies, and challenging rhythmic structures, such as polyrhythms, 22,26,27 which place great demands on listeners’ and performers’ theoretical and ear‐training skills. At the other end of the spectrum, the teaching tradition within classical music focuses less on learning by ear training, taking notated music as a starting point, even though some schools such as the Suzuki method 28 teach music by ear in the early years of childhood.…”