MusicALL body GUIDE
start
MusicALL body
guide
by Diana Zăvălaș
Learning objectives
MusicALL Body
What is it?
What is it?
MusicALL body
What is it?
musicALL BODY is a method for people who want to use music, dance, artistic sense, feeling for beauty and truth in schools and other groups with diverse audiences.
MusicALL Body puts the musical concepts into practice, through simple exercises based on hearing while involving the whole body. Music is not only about ears, voice, fingers, sound, but is about the body as a whole. Working with all body parts and with the space around us the muscular sensations are activated, the brain starts making associations with the sound, and new perceptions that will enrich one’s musicality. Rhythm is not the attribute only of music, it belongs to the whole world. But taking into consideration the artistic side of the rhythm and the natural and beneficial links between physical movement and musical movement conduct to a rhythmic awarness, a freedom of movement and a body disponibility to act whilst developing a person’s artistic qualities.
vibrations and feelings
What is it?
MusicALL Body
MusicALL Body is above all an educational method, learning music is not the only goal to *reach, but through which one can influence healthier and positive growth in individuals.
Music has the power to unite people, to help them dream, to move their emotions, minds, bodies and music can also change the vibe of a place. Music can invigorate us to get up and go, and it can help us to relax and music can also help us be in the moment. When we sing or clap with a group of people we may harmonise, we are now, we connect and support each other. The method is focused on developing basic skills, on building a base and a foundation which will support the edifice and make easier the following intellectual acquisitions. Education through music is about training and developing general faculties and keeping a good relation with the whole body, getting to know the body so that when choosing gestures, movements, actions, voice tone and words, all feel in consonance with the whole being.
vibrations and feelings
History
MusicALL Body
History
History
MusicALL body
History
An art practitioner knows the transforming power of art. S/he has an educated interest of this power could convert a familiar object, an everyday situation, a familiar place or person into something extraordinary, an art project it has the possibility of offering transformative (Mezirow, 2000) and reflecting learning experiences (Schön, 1983; Schön, 1987; Brookfield, 1995); learning experiences offered through art’s intrinsic appeal for (re)interpretation and contemplation of a presented image, object and actions. In the last century, music and movement were the subject of many researches and experimentation. Musicians and educators were interested in early music education and their efforts developed diverse specific methods known generically as active pedagogies. Émile Jaques-Dalcroze Carl Orff and Zoltan Kodaly and others, all developed methods that bear their names. Dalcroze Eurhythmics method, a multi-disciplinary method which was founded of Emile Jacques-Dalcroze, who was aiming to awaken and develop the motor system of the musicians, the internal hearing and expression through various sensorimotor exercises. He considered the human body as one’s first instrument, the one that primarily allows one to live and transmit his/her musicality.
History
MusicALL body
History
Through muscular sensations enable one to develop awarness and perception of the whole body. Through educating nervous sensitivity, the body will develop the rhythmic feeling and ability to externalize emotions. Through moving in the space the body understands the time and the energy necessary for each gesture and movement, while creating sensory-motor images. Through this sensory-motor images the “musical aural training” allows the body to discover and to feel, while visualising certain aspects of music theory. Emile Jaques-Dalcroze was a musician, pedagogue and a thatre artist born in Vienna in 1865, and trained in various European countries. The main theme on which he worked all his life is the relationship between space-time-energy. In his classes, he had the courage to push aside the benches and chairs, and ask students to move, walk without shoes, clap and sing at the same time. The activities suggested by Dalcroze aim to promote, together with properly musical skills and abilities, the development of thinking skills, perception, analysis and processing. The rhythmic exercises, based on movement, coordination and perception of own body and the space around us allow children to develop the awareness of "self" and of the place we occupy.
History
MusicALL body
History
Orff pedagogy uses the traditional repertoire of all cultures as a support, while promoting creativity and improvisation. Singing, dancing, movement, drama, body percussion are as important as instrumental technique and music theory. But also Orff pedagogy promotes the harmonious development of the child through elementary music and through movement. It is a playful method, and it is for everyone, not just children.
Zoltan Kodaly strongly marked Hungarian school culture: today music plays an important role in the general curriculum in primary schools in the country. Kodàly rightly insisted on the importance of music in general education: under no circumstances should musical practice be "reserved" only for a small number of "musically gifted" children. Singing (with a special interest in "folk or traditional singing") is considered the path to perceive music, and no musical instrument is required.
History
MusicALL body
History
MusicALL Body has its roots in the active pedagogies developed in the 20th century and took over a number of fundamental pillars: a "global" approach to the learner and to music, use of games as a learning dynamic, according to specific objectives, emphasizing the human sensibility, the importance of developing the internal skills of listening, creation and improvisation, the important place given to singing, the group learning.
But MusicALL Body is not "stuck" in the pedagogical principles of those methods, they are reinterpreted and integrated into a personal approach, in order to offer a taste and an experience no matter the level of musical training one has. Other contribution and insipirations for the MusicALL Body method were Contemporary Dance techniques, drama education, vocal training, and not the last experience of motherhood and the mother role.
History
MusicALL Body
History
Music serves as a way to bring humans together, provides ways for humans since early times to interact socially and emotionally, to express themselves and interact with the world around them. Music is not just notes, it has energy, feeling and shape and we could understand better all this concepts using our bodies, and we can learn how to use our bodies to control the energy and feeling that shape the notes and give them emotion.
We can make the act of learning and the interactions with others an artistic experience and address it aesthetically.
We will go into a journey of self discovery and creativity, through joyful musical experiences, using sound, movement and art.
Hope you can take some practical ideas and being them into your work with children, through teaching.
History
MusicALL Body
Learning objectives
Learning objectives
MusicALL Body
Learning objectives
1. Get to know each other and connect with the group
In a harmonious environment and connected group the communication, tolérance and understanding will enhance between participants. They will freely excel in an emotionally safe learning group, and joyfully will express creativity.
Delivering the method
MusicALL Body
Learning objectives
2. Identify expressive qualities of the sound
Games, strategies, and techniques. When music fundamentals are experienced and embodied through movement, the body and brain are urged to respond in new ways, influenced by the insistence of forcing functions of adequate stimuli and continuous stimulation. Open dynamic qualities in your own subject, using dynamic techniques. The teachers need multiple perspectives from which to address their subjects.
Learning objectives
MusicALL Body
Learning objectives
3. Develop your ability to engage in group activities
We can use musical language to teach/communicate with children and adults through singing, laughing, dancing, playing. A moment to just be inside yourself, imagine and create from within our self, be focused in our own "creative space".
Learning objectives
MusicALL Body
Learning objectives
4. Explore the expressive qualities of body movement
Music is processed in the brain in the context of not just an art form but as energy. Music is energy travelling through time and space and we can experiment that through qualities of moving our bodies.
Learning objectives
MusicALL Body
Learning objectives
5. Train muscular balance – adaptability
Train your balance alternate small moves to big moves, in one place or moving around, changing directions or levels. moving forwards, backwards, diagonally, sideways, up, or down.
Learning objectives
MusicALL Body
Learning objectives
6. Perceive the auditory sensation corresponding to the sound
This approach provides an intellectual understanding that represents another unique and helpful perspective with which to understand rhythm.
Learning objectives
MusicALL Body
Learning objectives
7. Communication through gestures and music
When practicing some basics of music through play, practical ideas and stories with musical themes, this develops a wish, within the child, to perform, and to be confident doing it.
Learning objectives
MusicALL Body
Learning objectives
8. Exercise auditory memory
Work with the inner musicality of the human body and develop and refine the musical imagination in relation with learning.
Learning objectives
MusicALL Body
Learning objectives
9. Feeling the (micro) beat
Through rhythm, with just a few minutes lesson time, we can make a radical difference in our rhythm skills and literacy.
Learning objectives
MusicALL Body
Learning objectives
10. Coping with change
Keep the energy within the body’s boundary; be precise. Work with focus and coordination and develop motor skills and muscular sense.
Learning objectives
MusicALL Body
Learning objectives
11. Strengthen the power of concentration and memory
A song or a piece of music can inspire memories from years past and/or special events associated with them. The sounds and rhythms evoke affective brain responses.
Learning objectives
MusicALL Body
Learning objectives
12. Explore the connection between the expressive qualities of body movement and the expressive qualities of the sound
Music is not only music theory and we should not teach music solely from this perspective. If we did so we eliminate the aesthetic, expressive, emotional, and social qualities of it.
Learning objectives
MusicALL Body
Learning objectives
13. Become more confident using singing voice
Imagine a classroom of students who feel confined and pent up. Suddenly the teacher propose to sing a song, or play an improvisation-based game. The class is now full of aesthetically awake students. In just 20 minutes you can bring unique experiences, and emotions, make the student feel the importance of feeling oneself move within the context of a group.
Learning objectives
MusicALL Body
Learning objectives
14. Move freely and taste the sensation of flow
Keep going, allow energy to flow easily through the joints and out beyond the body; fluent. Work with rhythm as a movement flow.
Learning objectives
MusicALL Body
Learning objectives
15. Brain – body connection
Find the enthusiasm, persistence, and joy in life. Counsciouly form yourself and know your powers. Eexplore the relation emotions – music – learning and understand the body and its relation with music.
Learning objectives
MusicALL Body
Learning objectives
16. Become more confident performing with ALL body
Are we teachers being trained to be dynamic, flexible, and creative in classrooms ehat will keep changing socially, emotionally, developmentally, and intellectualy?
Learning objectives
MusicALL Body
Learning objectives
17. Gain confidence in yourself and others and cooperate together
Music helps students and teachers be aware of their own artistic perceptions and abilities. To be aware of the collaboration that’s taking place not just with those around them but within. The education is more about curiosity, creativity, or self-discovery, not solely as the training of future workers, about tests and class rankings.
Perform like an artist (expression and values)
Learning objectives
MusicALL Body
Perform like an artist (expression and values)
History
MusicALL Body
Preparation of the method
Preparation of the method
MusicALL Body
Preparation of the method
The role of facilitator can be fulfilled by a teacher, a trainer or any person who has studied the method and learned its principles. The number of trained participants can vary, between 8 and 20 participants, over this number it is more difficult to follow the progress of each participant, and the waiting times and following the other participants can become boring due to the long duration of concentration.
facilitators will need
Preparation of the method
MusicALL Body
The facilitator has to know the music s/he will bring to the workshop. The facilitator should be able to find the downbeat in the music s/he will work with. The facilitator should be able to hear the difference between a semitone and a whole-tone. The facilitator should be able to keep a steady rhythm on the drum and do not be afraid to use his/her singing voice.
The participants will come dressed in comfortable clothes and will inform the facilitator and colleagues of any health problems and if they are comfortable with touching each other during the workshop or what other restrictions they might have.
The facilitator will decide whether is the case to repeat an exercise, how many times, but the facilitator will keep in mind that in the end of the exercise, at the end of the day and even more at the end of the workshop the participant should have a feeling of accomplishment, that s/he succeeded to do something that s/he could not do before, does not matter how small or big is the achievement but to give him/her a sense of fulfillment and always pay attention to the group mood before proposing an exercise.
Preparation of the method
MusicALL Body
Encourage the participants to share with other participants what is visually or auditory pleasant, nice to watch. This will make more accessible for our brains the information we get. The facilitator will present the rules of the games and supervise the activities. S/he will take care of the participants mood, will look for a positive state of mind and will support their involvment being inspired by participants’ ideas whenever possible. The facilitator will make sure that the participants receive the same amount of attention, with the exception of the moments when someone needs help, or more explanations because is having difficulties with an exercise. S/he will encourage cooperation, will be patient with the participants, and s/he will try as much as possible to change the perception of the participants that they cannot, they are not able to do certain exercises. The facilitator can be actively involved, s/he will demonstrate to the participants, but s/he will also leave them the freedom to discover themselves, to do things their way, not to inhibit spontaneity. S/he will also give them the time they need to complete the proposed tasks, will not rush the participants, and will respect the time each one needs to act.
Preparation of the method
MusicALL Body
The facilitator will provide a space to shine also for the shy participants, who avoid display and presentation in public but with more encouragement they would be able to perform.
The facilitator is always attentive to participants’ reactions’, to interrupt small talk during the class. The facilitator must make sure to build a safe framework so that people feel comfortable to try things and new proposals that they do not master, or that they are not sure of, and still feel valued.
Evaluation
MusicALL Body
Delivering the method
Delivering the method
MusicALL Body
Delivering the method
The method could be offered as an intensive 15-hour workshop, with 14 participants performing together at the end of it. The participants will encounter through their voice or through their body moves the following musical aspects of music:
- Volume and intensities of sounds (Dynamics = range of loud & soft)
- Short or long notes (Articulation)
- Fast or slow speed (Tempo)
- High, medium or low notes (Pitches)
- Texture (density - single sound or rain of sounds)
- Rhythm (accent and rhythmic pattern) - Form (big picture)
Let’s go through the agenda of the workshop so we can find out what steps we followed.
Delivering the method
MusicALL Body
First day
The objectives are:
Get to know each other and connect with the group
Identify expressive qualities of the sound
Develop your ability to engage in group activities
Delivering the method
MusicALL Body
Exercise
We started with a little exercise, a barrier breaker. We thought of one thing we can do well, then whisper to everybody while moving through the room in our own rhythm.
Duration: 5 minutes - David Darling - Cello Blue
We continue sharing informations about ourselves, our relationship with music and our expectations.
We ended the moment with a game which could be called: My name is... Who?
Description:
The participants sit down in the circle, taking the position they were in before the game. The facilitator or one of the players will keep constantly a rhythm of 4 beats (one measure), in a slow speed (tempo), where:
beat 1 will be with both hands on the floor, one hand on each side of the bosy,
beat 2 will be touching on the knees or legs,
beat 3 clapping
beat 4 again touching on the knees or legs.
Delivering the method
MusicALL Body
The facilitator can choose other types of body percussion to keep the rhythm, easier to execute or more complicated, depending on the level of participants. After all the participants will take over the rhythm and execute it correctly or to a large extent correctly togher in the same time, the facilitator will add his/her voice to the rhythm, saying his/her name. S/he will repeat several times, but s/he will make sure to always start on beat 1. The participants will continue to say their names in turn, each twice, without the rhythm being interrupted. The one who says his name may have difficulties saying his name and beating the rhythm at the same time, but he will be supported by his colleagues. After the circle ends, the players will try a more spectacular way of saying their name, using as many different sounds as possible on the syllables of the name. The next step will add to the rhythm, instead of saying the name, a dialogue between two players next to each other, who for the duration of 4 bars (4 times the rhythm) will carry the following short and simple dialogue. On the first bar the first player will be alone, and on the last measure the second player will be alone. In measures two and three, each will occupy 2 beats. Player 1: My name is (the name of the player will be said) Player 2: Who? Player 1: (name) Player 2: Who? Player 1: (name) Player 2: Hiiii! (he will wave his hand and stop beating the rhythm)
The game ends when the energy of the group is high and all the players can follow a faster and faster speed.
Delivering the method
MusicALL Body
Why did we do these?
We took the time, in a delicate way, to receive the first impressions of our colleagues. To accustome with the room we will spend the next 2 days and to prepare for the next step, when we will receive more information about our colleagues lives and got to know each other better. To celebrate that we have met and that we are together, we continued with a game in which we will play together a rhythm and we will discover everyone’s possibilities and disponibility for movement and sound. Also it was a moment to introduce the feeling of the pulse, the heart beating. Pulsation is always there and if we keep it everything is possible.
Delivering the method
MusicALL Body
Next session
Next session started with a little musical improvisation of the facilitator of the previous session. The facilitator brings in discussion a few basic musical elements that we can use to create a story or a musical experience. The participants are asked to try those musical aspects on a drum:
- Volume and intensities of sounds (Dynamics = range of loud & soft)
- Short or long notes (Articulation)
- Fast or slow speed (Tempo)
- High, medium or low notes (Pitches)
- Texture (density - single sound or rain of sounds)
- Rhythm (accent and rhythmic pattern)
- Repetition and variation
Delivering the method
MusicALL Body
Next, participants are asked to pick one object from a box. The box contains objects with different textures, temperature, size, weight and shape. They are asked to imagine what kind of sounds the object would produce, to give life to the object and then sitting in a circle everyone would present an emotion or a sentence that the object would say, even a story the object would tell. Colleagues will guess the meaning of what you wanted to express. The facilitator asks participants to try to be adventurous, explore, experience and take risks, have fun discovering, and make an artistic experience of rhythm and sounds. What artistic means? I take my choices through my sensibilities. What you say has to be in harmony with what and who you are and what you feel in the moment.
Delivering the method
MusicALL Body
Preparation: 5 minutes Next development of this exercise is working in pairs for creating a story. For this, everyone chose their partner based on the sounds produced in the previous exercise. As much as possible, everyone chose their favorite.
Then they will have 10 minutes to prepare a small performance of a story between the two objects. New indications from the facilitator were that they can use their body more. This can also come natural because now the scene where the small performance will take place was clearly delimited from the spectators.
The facilitator remindes the participants the musical aspects they tried on the drum, but also introduces a few details that give artistic meaning to your actions: - decide how and when you start and finish the performing moment
- decide how the object appears, its place and its directions.
- Form (big picture)
Delivering the method
MusicALL Body
The musical story is improvisatory, implies movement, action, gestures and voice. How you arrange the elements to tell a story? What is the character’s voyage, or goal? Start from a theme, an action or a context. Don’t forget about the surprising element, and build its apparition. Use also the silence and express character’s emotions. Preparation time: 10 minutes
Delivering the method
MusicALL Body
Why did we do these?
To show the power of gesture and sound. Participants would detect pleasure in it, because they experienced that state in their childhood when playing with toys and making up stories.
They will learn to pay attention to the sounds. connect to each other, learn to collaborate and invent things to meet the other’s ideas. After every exercise we discuss what we see, what we liked, what we appreciate, and all this with an open heart, while carrying for others underline aspects that the others performed well during the exercise.
Delivering the method
MusicALL Body
Second day
The objectives are:
Perceive the auditory sensation corresponding to the sound
Exercise auditory memory
Feeling the (micro) beat
Coping with change
Delivering the method
MusicALL Body
We started with a preparatory exercise, lying on the floor, to have a peaceful moment and to get in contact with our bodies. The facilitator will give some indications like:
- Take your time and observe your inner feelings, what’s going on now.
- Release the tension and your weight to the ground.
- Release all the body into the ground.
- Touch the ground with your palms, move gently and find the quality of the movement that your body likes.
- Without rushing you change positions and allow all your body parts to touch the ground.
- Find which other movements are possible for you to do and feel how you release the weight to the ground in every position you find
- Let your body tell you the road, the path to going first in the sitting position and then to standing position.
- What’s going on in your mind, emotions and body? are you different from the beginning?
After this little preparatory exercise we will work with body articulations, possibilities of movement.
Explore levels: low ( hips closer to the ground), middle (flexing knees), high (up in the air, raising the arms, jumping, lifting, taking space)
Explore qualities: Legato, staccato
Take the time to improvise and mix everything we tried at your own pace.
Delivering the method
MusicALL Body
Game - How long is a minute?
Time management. Could you feel the time without looking at the clock?
The facilitator will give a number of second, will set a time between 10 seconds and 2 minutes for every participant to dance. The participant will stop, without looking at the clock, when s/he will think the time is up.
Delivering the method
MusicALL Body
Why did we do these?
To give the participants tools for exploring their body movement, connect to sound qualities to a imagine and to a body movement, and find out how we can be expressive with our bodies.
Delivering the method
MusicALL Body
Next session - Tempo
First the facilitator asks participants to just pass through all the circles. Then s/he asks them to notice if they have the same speed. Then s/he asks them to keep the same speed. The facilitator will play the drum while they are passing through the circles and ask the participants to follow the sounds and keep the same tempo, be precise and always start on the second do.
DO
SI LA SOL FA MI RE DO
Rhythm
Outside is very wet. It’s water everywhere! so we walk and then step in a pond. The facilitator plays the drum in the indicated rhythm, 4 short beats and 1 long:
SPLASH!! -long beat
4 - short beat
/ 3 - short beat / 2 - short beat / 1 - short beat
Now the facilitator will introduce the active listening and change the rhythm on the drum and asks the participants to modify the circles on the floor according to what they hear s/he is paying.
SPLASH!! -long beat
2 - short beat / 1 - short beat
Delivering the method
MusicALL Body
Once the active listening was introduced to the participants, the facilitator will ask them to take a circle and play with it until they find a gesture they like. The facilitator will take a gesture of one participant and play it on the drum. The gesture could be a wheel, which could be represented like making continuous circles with the nails on the drum. The facilitator will take another gesture and make it audible on the drum. Could be a dropping of the circle or a throuwing up in the air. This movements could be very similar but the facilitator has to make them different so the participants could hear also that difference.
Now, the facilitator will alternate the sounds of the 3 gestures and the participants will guess and make the gesture together with the sound.
Next, we will explore distances between notes, using a tennis ball and make a specific gesture for the whole-tone and another specific gesture for the semitone.
Imagine in front of you the piano or visualise a keyboard. A semitone on the piano is the distance between any two neighboring keys, regardless of whether they are black or white. It's the smallest step you can take in the musical scale in western music. In short, a whole-tone is equivalent to two semi-tones: two steps between one note and another.
Delivering the method
MusicALL Body
Sitting in a circle on the floor, and facilitator will sing a sound with his/her voice. Could be any sound. Then sing the note above, a whole tone distance from the first sound while making the gest with the right hand of giving the ball to the neighbour on the right and bring the ball back in front of him/her while singing the first sound. Repeat this gesture and sound a few times and then try the second note bellow, a whole-tone lower, while giving the ball with the left hand to the neighbour from the left side.
So we refer again to the piano keyboard, which is easier to imagine, and if the second sound is higher we give the ball to the neighbour from the right, with our right hand, if the second sound is lower we give the ball to the neighbour from the left, with the left hand.
Everyone in the circle will try to produce the two sounds, in both directions. After that we can try the semitone, in the same way, the difference now is that the gesture is not giving the ball to our neighbours, but stopping halfway, between us, like we are not really willing to give the ball to them.
Delivering the method
MusicALL Body
Why did we do these?
We broke up in little parts the elements of music: rhythm, tempo and pitch and find e gesture or an image for them, to make them less abstract and more accessible.
Delivering the method
MusicALL Body
Next, we learn to feel the rhythm and think like a percussionist.
Percussionists love rhythm for its own sake, they do not always need melody or harmony to make music. They are constantly finding rhythms and grooves in life around us so we can find them tapping on things or playing rhythms with objects who can produce percussive timbres and resonances (plastic glass, the tick-tock of the automobile turn signal and so on).
Percussionists also experience an interconnected dance of all four limbs and meanwhile their voice is free to count, recite or sing.
But they also spend long periods of time playing just one or a few rhythm patterns (beats) which are considered necessary in order to get really "deep" into the groove.
Next we will try to keep a rhythm while feeling the tempo inside us.
We will practice time, tempo, subdivision, accents, inside subdivision, space, walking into space, stops and forms. Always remember everything is correct, if you do a mistake, there is no stress, don’t be sad, just smile and do a mistake.
The facilitator will invite participants to listen to his/her indications.
First, walk into space but don’t walk like you are going to work, but change directions and the energy you use for walking. Remember to take space and breathe. If you meet somebody look, exchange.
Delivering the method
MusicALL Body
STOP!
There is no music without silence so we do a STOP! When you stop you still press the air, don’t collapse. Now we walk on the tempo and build a form, a sequence that we will repeat.
We do: and1234, 2234, 3234, 4234 stop! (wait for 8 counts)
and1234, 2234and stop!! (wait for 4 counts)
and1234and SHAA!! (wait for 2 counts)
We will use a song to help participants keep the rhythm. Could be an energizing dance groove. It is important, if there is no conductor, when you mess up you know there is the tempo, the tempo help you because the tempo is always there. The tempo brings and keeps us together, musicians, dancers.
Delivering the method
MusicALL Body
Why did we do these?
To create in the participants the need for rhythm, for feeling the rhythm and understand better the tempo and give a taste of how the tempo it feels inside the body. We also counted the beats, an important step before internalise the sense of tempo.
Delivering the method
MusicALL Body
Now the facilitator will introduce an easy song to the participants, one that they can pick up easy by ear and which does not present many difficulties for the voice, which is nor high nor too low for one’s voice. This time we choose “Blue skies” a song by Irving Berlin which also has optimist lyrics. To help participants stay in tune, the facilitator could play the song on the IReal Pro app, which simulates a real-sounding band that can accompany you while singing.
Delivering the method
MusicALL Body
Why did we do these?
Sometimes we pick a very difficult song, or we try to imitate someone’s voice and we get stuck and think we cannot ever sing. It is important to pick the right song, of course an easier one in the beginning to give us confidence we can continue and go further in what we really want.
Delivering the method
MusicALL Body
Third day
The objectives are:
Strengthen the power of concentration and memory
Explore the connection between the expressive qualities of body movement and the expressive qualities of the sound
Become more confident using singing voice
Move freely and taste the sensation of flow
Brain – body connection
Delivering the method
MusicALL Body
A reflection moment is needed. Ask the participants to write or draw about their experience they had during the workshop. Propose the following questions:
- What is now your relation with the music?
- How do you feel about the music?
- What has been changed?
- What part of the music you can take to your class?
- How can you experience music with children and teach them to participate actively in music?
Will follow a moment of team work, were we will train trusting ourselves, discover and memorize even when we don't use our sight... All the participants will work in pairs, and one of the partner will keep eyes closed:
- Person 1 does a slow dance, being careful not to hurt the other, who has her/his eyes closed (3 min)
- Person 2 has closed eyes and follows the moves of Person 1 by touching his/her body (3 min)
- Person 2 plays the dance of Person 1, analysing what s/he remembers in terms of time, speed, structure, size and so on of Person 1 (3 min)
Delivering the method
MusicALL Body
Why did we do these?
We change the pairs and the facilitator will introduce the down beat and the up beat notions.
For our purposes here, the downbeats are usually the strongest beats in any music, also the first and the third beat of every measure. The upbeats are beats 2 and 4, slightly or less accented then the downbeats.
Two persons, facing each other, clapping hands in the middle, one person at a time. One person is clapping in the middle, coming from the side, horizontally, and the other one claps also in the middle coming from above and bellow, vertically. The pairs will exercise first without music and the facilitator will go and check every pair. S/he will also ask them to switch roles. When they are ready they will follow along the tempo of music, in this case was The Jungle Book - Bare Necessities.
Delivering the method
MusicALL Body
Take a moment
A moment to explore sound in time and space on 3 musical instruments will follow. The facilitators prepares 3 musical instruments which produce different sounds, in this case a wood frog guiro, a drum and a tibetan bowl and discussed the sounds they produce.
He reminded them the diversity of sounds, musical aspects already discussed in the previous sessions: pitch (high, middle or low sounds)
articulation (short or long sounds)
dynamics (loudness and force of the sound)
tone (the shape of the sound)
Delivering the method
MusicALL Body
The facilitator asks the participants to think of a phrase of 4 moves (dance moves) each of them being the visualisation of o sound one instrument produces. Being 3 instruments, the participants could pick one instrument twice, and do the same move twice anywhere in the phrase.
The facilitator gives to the participants 1-2 minutes to think of the moves and then invites each of them to show their moves to their colleagues. If one of the participants would not show the movement very clear, the facilitator will ask him/her to repeat until is clear from every one. One of the other participants will come and show on the instruments the phrase his/her colleague just performed. They will try the phrase together (dancer and musician) to see and hear in the same time. If the person who came would not guess, another participant will try. The person who performed the moves will reveal which instruments s/he was thinking of only when one of the participants guesses his/her order.
Delivering the method
MusicALL Body
Why did we do these?
We continued going deeper into exploring other musical elements which can contribute to the musical expression.
We repeat the song Blue skies, the song we learned one day before, this time adding walking on the downbeat and clapping on the upbeat.
The last session the facilitator presents a very common musical structure,the ABA form, where A is a walking arounc the room: step on the downbeat and clapping on the upbeat (the same movement we tried for the Blue skies song) and B is a free dancing moment, at the participants’ choice. We first listen to the piece, and everyone imagine a word for describing the B part. The B part is a lyrical music, where they can move freely but paying attention to the moment the A part returns and they also have to come back to the walking and clapping. We listen and danced on Karl Jenkins - Palladio I, Allegretto.
Delivering the method
MusicALL Body
Performance day
The objectives are:
- Become more confident performing with ALL body
- Gain confidence in yourself and others and cooperate
Delivering the method
MusicALL Body
Exercise
On the performance day participants warmed up with an exercise they also choosed to present in the performance together with singing the Blue skies, the song they just learned, the sequence on the Barre necessities song.
The purpose of the exercise is to get the body together, and connect fast the participants one to each other but also with their own body. The music we use was the theme song from The Gladiator - Now we are free which has the right tempo and sets the right mood.
All the participants stand together, in a round form. There are 4 leaders, each in one of the four cardinal points. The participants will follow the leader they are facing. The leaders will do continuous slow moves so all the participants could follow. They will pass the leading when turning to the right or to the left slowly and smoothly so that the other leader could take over.
Delivering the method
MusicALL Body
Advice day
The facilitator gives the following advices for the day
• Think about your presence. Be in connection with your whole body and in the same time project your message to the public.
Delivering the method
MusicALL Body
Advice day
The facilitator gives the following advices for the day
• Think of how you start and how you finish your performance. The beginning and the end are very important moments.
Evaluation
MusicALL Body
Evaluation
Evaluation
MusicALL Body
Evaluation
During the workshop find the time to ask the following questions to the participants. This will help them internalise and intellectualize the new information.
1. What went wrong?
2. Why you could not do it?
3. Why you did not start in time?
4. Are you all watching eachother?
5. Are you focused?
6. Did your colleagues understood the message you wanted to transmit? If not, what can you do to make it more clear for them?
7. Maybe the person next to you did not start in time because of you?
8. What can you do to make it easier for you partner?
Delivering the method
MusicALL Body
Evaluation
at the end of the first day
the participants should feel comfortable with the facilitator and with each other, to collaborate well with a partner, to be able to find different qualities of sounds on the drum and to be able to understand dynamics, tempo, pitch as elements of music through connecting the image of an object or a sensation with a sound.
Delivering the method
MusicALL Body
Evaluation
at the end of the second day
the participants should find its inner attitude toward the movement; describe quality and dynamics of sound with the body, be more attentive and sensible to himself, to the partner and to the group, to be able to coordinate with the partner and with the group, to negotiate with the partner. To be able to produce different sounds according to the hand gesture of giving the ball to the neighbours. Understand that even the body is still, the body is not collapsed and is ready to move. To associate moods with music and name at least one element of musical expression. The participants have more confidence to expose themselves vocally and physically with less known things.
Delivering the method
MusicALL Body
Evaluation
at the end of the third day
the participants should be able to sing the song Blue Skies, memorise the structure of the sequence, make the difference between the length of the sound produced by the musical instruments they used today: guiro, tibetan bowl, drum. To understand that they can rely on their body memory to be able to continue the movement, when becomes more difficult and to fast to intellectualize what they do.
Evaluation
MusicALL Body
Why do we use this method? - inclusion & diversity context -
Delivering the method
MusicALL Body
All people respond to music, they can learn to participate actively in music, and develop other skills through music if they are given a chance to experience music. When a little child is learning to walk, no one is never told that s/he cannot walk, and s/he is continuously encouraged to persevere.
No child should be labeled with the belief that s/he is not musical, s/he has no voice, s/he cannot sing, Instead children should be encouraged to belief in themselves. Encouragement at any age empowers imagination, creates excitement, curiosity and enthusiasm, while developing confidence.
Teachers should be seen as artists - because they are creative individuals. Modern day teachers are required to do more then spew information. They need to understand the child in front of them, how developmentally the student is, be aware of the individual needs, of the problems the child has at home, make sure the students are not being bullied, be able to teach online lessons, understand the complications of anxiety, depression or ADH, because they are preparing the students for what the world is going to look like in ten year’s time.
Education is a journey of self-discovery, not solely a process that involves stuffing facts and figures into the heads of children. The teachers’ job is more as guiding students to understand how things work, and they could use methods and ways to show students how they can apply them to real-world functioning as well as new ideas of their own. A teacher should look at the child in front of him/her physically, emotionally, creatively, aestetically and most of all, humane. For that, the teachers also need to understand themselves, to move and to be uninhibited.
Is the job of teachers to make sure that students understand their individual and unique perspective, and enable them not only to learn but also to become themselves. Music can help all teachers in this matter and can contribute to one important step in child’s education, when s/he is taught to know himself/herself, to accustom him/her to life, and to awaken in him/her sensations, feelings, and emotions. To develop a healthier sense of self.
Delivering the method
MusicALL Body
There are students who do not want to adhere to the rules or be a part of the group. They want to operate separate from the rest of the students. While there is individual work involved in any classroom, the ability to be part of the class is essential to overall learning as well as the daily functionality of the classroom.
For many students, becoming part of the group is a very difficult process and concept to understand. How can you get students work as one? Attempting to get students to come together is not an easy task. The classrooms are filled with developmentally divers students who have dynamic individual need. Also a single student can throw off the dynamic of an entire classroom.
Acknowledging the complexity and the diversity of our students, being able to listen to others and being understanding to those around us are important skills. We are emotional beings, enjoy interacting with others, our gestures and actions are shaped by emotions and during the education process we become aware of our emotions, parts of the brain are stimulated by facial expressions and body movements of people around us. One becomes aware of emotions by way of bodily sensations that become translated, recognized and defined as feelings.
Creating in class the context of training of the muscular and nervous systems, will be using the music power to improve the overall social and emotional climate of our students. Through physical and musical games, students will learn to embody music and experience their emotions and relate music to their inner world. Through this method students are responding to not only their own feelings and emotions but also to the feelings of those around them. This is vital to overall student development and contributes to the socio-affective and cognitive development of the child.
Delivering the method
MusicALL Body
Music as an add-on in education
Advantages of introducing creative activities and discussions in the classroom
Cooperating with child nature - Emphasis on natural impulses and flow of movement
Teacher and child interaction - Student’s achievements are emphasized, skills are appreciated, problems are analysed
Child-centred - Teacher proposes, creates the context. He is assisting, adviser on learning
Creativity and aesthetic feeling - Emphasis on thinking by artistic means, creative skills
All learn differently - Various teaching methods are applied according to their abilities (creative tasks, discussions, group work etc.)
All students can take part ! - Everybody gets relevant attention
Evaluation
MusicALL Body
How can it be used in E+/ESC context?
Delivering the method
MusicALL Body
Many students come to school not aware of who they are or who they want to be. The cultural and social climate, social media affects the process. When starting school every aspect of a child life (recreational and academic) now has a purpose and/or a reason and it’s no longer for discovery or enjoyment. What if you can create in class a place where the students could come and present as well as open themselves up and realise the abundant forces s/he has in his/her control. They could come to a place for discovering and loving the beautiful and true and were they will feel delivered from physical embarrassment and mental imaginary fears and obsessions.
When combining the individual effort with those of the rest of the class he will conceive a profound joy, a stimulus to will power. Theur imagination will likewise develop as their mind, released from all constraint and nerves of disquietude. This will show them how their individual talents and insights contribute to the class as a whole.
Doing those exercises the child learns to use brain and body together, for the same goal, and thus develops focus, self control, self love, self esteem, persistence and perseverance.
Music can, and should be used in a broader capacity within education. Teachers can reflect and transform the class by changing the music, creating new energy vibrations and sensory stimuli, new, modified behavioral alternatives for well-being.
Delivering the method
MusicALL Body
How can it be used in E+/ESC context?
Using this teaching ideas, in addition to your work in the class, will add creativity to your teaching, bring joy and confidence in your classroom, expanding understanding and enjoyment of (classical) music in the classroom, whilst sharing an inspiring journey for your students. Over time the children will continue to hold memories of the joy of music in their hearts.
We can Include in the daily routine of school the opportunity for the kids to express themselves. The children who uses creative activity as an emotional outlet will gain freedom and flexibility as a result of the release of unnecesary tensions. They will be able to face new situations without difficulties. So start your lesson with one rhythm game as a warm up or as a brain break, halfway through the lesson. Everybody might focus better after they have had a chance to wiggle a bit. Make it easy for yourself, just pick one at a time.
Delivering the method
MusicALL Body
Resources
MusicALL Body
Communities of practice and resources
Here are some additional resources on how to implement mindful inclusion in your work:
The facilitators will need:
1. One drum for each participant +1 2. little musical instruments producing different qualities of sound (guiro, tibetan bowl) 3. Plastic circles 4. Tennis ball 5. Papers and coloured pencils 6. IReal Pro app 7. Prepared music playlist (Spotify or Youtube premium)
Vibrations and feelings
Music is not just about producing sounds, but it’s also about listening to vibrations and feelings, not only with the ears, but also with the body and heart. Extend our mind out into the world and be aware of sounds around us, furthest away sounds or the softest sounds around us could help us listen to the song within. We don’t need to learn to read music before we can play it, as we did not have to learn to read before we could speak. We could repeat the process and simply play around with making sounds or use vocal chords until we make music.
Positive outcomes
Youth but also adults participating in mindfulness-based programs experience a number of positive outcomes, including increased mindfulness (Ames et al., 2014; Bögels et al., 2008; Bluth, Campo, et al., 2016; Bluth, Gaylord, et al., 2016; Edwards et al., 2014; Jee et al., 2015; Tan & Martin, 2015), self-awareness (Wisner & Starzec, 2016), emotion regulation (Fung et al., 2016; Lougheed & Coholic, 2016), self-regulation (Wisner & Starzec, 2016), self-compassion (Bluth, Gaylord, et al., 2016; Edwards et al., 2015), self-esteem, and acceptance (Tan & Martin, 2015).
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Transcript
MusicALL body GUIDE
start
MusicALL body
guide
by Diana Zăvălaș
Learning objectives
MusicALL Body
What is it?
What is it?
MusicALL body
What is it?
musicALL BODY is a method for people who want to use music, dance, artistic sense, feeling for beauty and truth in schools and other groups with diverse audiences. MusicALL Body puts the musical concepts into practice, through simple exercises based on hearing while involving the whole body. Music is not only about ears, voice, fingers, sound, but is about the body as a whole. Working with all body parts and with the space around us the muscular sensations are activated, the brain starts making associations with the sound, and new perceptions that will enrich one’s musicality. Rhythm is not the attribute only of music, it belongs to the whole world. But taking into consideration the artistic side of the rhythm and the natural and beneficial links between physical movement and musical movement conduct to a rhythmic awarness, a freedom of movement and a body disponibility to act whilst developing a person’s artistic qualities.
vibrations and feelings
What is it?
MusicALL Body
MusicALL Body is above all an educational method, learning music is not the only goal to *reach, but through which one can influence healthier and positive growth in individuals. Music has the power to unite people, to help them dream, to move their emotions, minds, bodies and music can also change the vibe of a place. Music can invigorate us to get up and go, and it can help us to relax and music can also help us be in the moment. When we sing or clap with a group of people we may harmonise, we are now, we connect and support each other. The method is focused on developing basic skills, on building a base and a foundation which will support the edifice and make easier the following intellectual acquisitions. Education through music is about training and developing general faculties and keeping a good relation with the whole body, getting to know the body so that when choosing gestures, movements, actions, voice tone and words, all feel in consonance with the whole being.
vibrations and feelings
History
MusicALL Body
History
History
MusicALL body
History
An art practitioner knows the transforming power of art. S/he has an educated interest of this power could convert a familiar object, an everyday situation, a familiar place or person into something extraordinary, an art project it has the possibility of offering transformative (Mezirow, 2000) and reflecting learning experiences (Schön, 1983; Schön, 1987; Brookfield, 1995); learning experiences offered through art’s intrinsic appeal for (re)interpretation and contemplation of a presented image, object and actions. In the last century, music and movement were the subject of many researches and experimentation. Musicians and educators were interested in early music education and their efforts developed diverse specific methods known generically as active pedagogies. Émile Jaques-Dalcroze Carl Orff and Zoltan Kodaly and others, all developed methods that bear their names. Dalcroze Eurhythmics method, a multi-disciplinary method which was founded of Emile Jacques-Dalcroze, who was aiming to awaken and develop the motor system of the musicians, the internal hearing and expression through various sensorimotor exercises. He considered the human body as one’s first instrument, the one that primarily allows one to live and transmit his/her musicality.
History
MusicALL body
History
Through muscular sensations enable one to develop awarness and perception of the whole body. Through educating nervous sensitivity, the body will develop the rhythmic feeling and ability to externalize emotions. Through moving in the space the body understands the time and the energy necessary for each gesture and movement, while creating sensory-motor images. Through this sensory-motor images the “musical aural training” allows the body to discover and to feel, while visualising certain aspects of music theory. Emile Jaques-Dalcroze was a musician, pedagogue and a thatre artist born in Vienna in 1865, and trained in various European countries. The main theme on which he worked all his life is the relationship between space-time-energy. In his classes, he had the courage to push aside the benches and chairs, and ask students to move, walk without shoes, clap and sing at the same time. The activities suggested by Dalcroze aim to promote, together with properly musical skills and abilities, the development of thinking skills, perception, analysis and processing. The rhythmic exercises, based on movement, coordination and perception of own body and the space around us allow children to develop the awareness of "self" and of the place we occupy.
History
MusicALL body
History
Orff pedagogy uses the traditional repertoire of all cultures as a support, while promoting creativity and improvisation. Singing, dancing, movement, drama, body percussion are as important as instrumental technique and music theory. But also Orff pedagogy promotes the harmonious development of the child through elementary music and through movement. It is a playful method, and it is for everyone, not just children. Zoltan Kodaly strongly marked Hungarian school culture: today music plays an important role in the general curriculum in primary schools in the country. Kodàly rightly insisted on the importance of music in general education: under no circumstances should musical practice be "reserved" only for a small number of "musically gifted" children. Singing (with a special interest in "folk or traditional singing") is considered the path to perceive music, and no musical instrument is required.
History
MusicALL body
History
MusicALL Body has its roots in the active pedagogies developed in the 20th century and took over a number of fundamental pillars: a "global" approach to the learner and to music, use of games as a learning dynamic, according to specific objectives, emphasizing the human sensibility, the importance of developing the internal skills of listening, creation and improvisation, the important place given to singing, the group learning. But MusicALL Body is not "stuck" in the pedagogical principles of those methods, they are reinterpreted and integrated into a personal approach, in order to offer a taste and an experience no matter the level of musical training one has. Other contribution and insipirations for the MusicALL Body method were Contemporary Dance techniques, drama education, vocal training, and not the last experience of motherhood and the mother role.
History
MusicALL Body
History
Music serves as a way to bring humans together, provides ways for humans since early times to interact socially and emotionally, to express themselves and interact with the world around them. Music is not just notes, it has energy, feeling and shape and we could understand better all this concepts using our bodies, and we can learn how to use our bodies to control the energy and feeling that shape the notes and give them emotion. We can make the act of learning and the interactions with others an artistic experience and address it aesthetically.
We will go into a journey of self discovery and creativity, through joyful musical experiences, using sound, movement and art. Hope you can take some practical ideas and being them into your work with children, through teaching.
History
MusicALL Body
Learning objectives
Learning objectives
MusicALL Body
Learning objectives
1. Get to know each other and connect with the group
In a harmonious environment and connected group the communication, tolérance and understanding will enhance between participants. They will freely excel in an emotionally safe learning group, and joyfully will express creativity.
Delivering the method
MusicALL Body
Learning objectives
2. Identify expressive qualities of the sound
Games, strategies, and techniques. When music fundamentals are experienced and embodied through movement, the body and brain are urged to respond in new ways, influenced by the insistence of forcing functions of adequate stimuli and continuous stimulation. Open dynamic qualities in your own subject, using dynamic techniques. The teachers need multiple perspectives from which to address their subjects.
Learning objectives
MusicALL Body
Learning objectives
3. Develop your ability to engage in group activities
We can use musical language to teach/communicate with children and adults through singing, laughing, dancing, playing. A moment to just be inside yourself, imagine and create from within our self, be focused in our own "creative space".
Learning objectives
MusicALL Body
Learning objectives
4. Explore the expressive qualities of body movement
Music is processed in the brain in the context of not just an art form but as energy. Music is energy travelling through time and space and we can experiment that through qualities of moving our bodies.
Learning objectives
MusicALL Body
Learning objectives
5. Train muscular balance – adaptability
Train your balance alternate small moves to big moves, in one place or moving around, changing directions or levels. moving forwards, backwards, diagonally, sideways, up, or down.
Learning objectives
MusicALL Body
Learning objectives
6. Perceive the auditory sensation corresponding to the sound
This approach provides an intellectual understanding that represents another unique and helpful perspective with which to understand rhythm.
Learning objectives
MusicALL Body
Learning objectives
7. Communication through gestures and music
When practicing some basics of music through play, practical ideas and stories with musical themes, this develops a wish, within the child, to perform, and to be confident doing it.
Learning objectives
MusicALL Body
Learning objectives
8. Exercise auditory memory
Work with the inner musicality of the human body and develop and refine the musical imagination in relation with learning.
Learning objectives
MusicALL Body
Learning objectives
9. Feeling the (micro) beat
Through rhythm, with just a few minutes lesson time, we can make a radical difference in our rhythm skills and literacy.
Learning objectives
MusicALL Body
Learning objectives
10. Coping with change
Keep the energy within the body’s boundary; be precise. Work with focus and coordination and develop motor skills and muscular sense.
Learning objectives
MusicALL Body
Learning objectives
11. Strengthen the power of concentration and memory
A song or a piece of music can inspire memories from years past and/or special events associated with them. The sounds and rhythms evoke affective brain responses.
Learning objectives
MusicALL Body
Learning objectives
12. Explore the connection between the expressive qualities of body movement and the expressive qualities of the sound
Music is not only music theory and we should not teach music solely from this perspective. If we did so we eliminate the aesthetic, expressive, emotional, and social qualities of it.
Learning objectives
MusicALL Body
Learning objectives
13. Become more confident using singing voice
Imagine a classroom of students who feel confined and pent up. Suddenly the teacher propose to sing a song, or play an improvisation-based game. The class is now full of aesthetically awake students. In just 20 minutes you can bring unique experiences, and emotions, make the student feel the importance of feeling oneself move within the context of a group.
Learning objectives
MusicALL Body
Learning objectives
14. Move freely and taste the sensation of flow
Keep going, allow energy to flow easily through the joints and out beyond the body; fluent. Work with rhythm as a movement flow.
Learning objectives
MusicALL Body
Learning objectives
15. Brain – body connection
Find the enthusiasm, persistence, and joy in life. Counsciouly form yourself and know your powers. Eexplore the relation emotions – music – learning and understand the body and its relation with music.
Learning objectives
MusicALL Body
Learning objectives
16. Become more confident performing with ALL body
Are we teachers being trained to be dynamic, flexible, and creative in classrooms ehat will keep changing socially, emotionally, developmentally, and intellectualy?
Learning objectives
MusicALL Body
Learning objectives
17. Gain confidence in yourself and others and cooperate together
Music helps students and teachers be aware of their own artistic perceptions and abilities. To be aware of the collaboration that’s taking place not just with those around them but within. The education is more about curiosity, creativity, or self-discovery, not solely as the training of future workers, about tests and class rankings. Perform like an artist (expression and values)
Learning objectives
MusicALL Body
Perform like an artist (expression and values)
History
MusicALL Body
Preparation of the method
Preparation of the method
MusicALL Body
Preparation of the method
The role of facilitator can be fulfilled by a teacher, a trainer or any person who has studied the method and learned its principles. The number of trained participants can vary, between 8 and 20 participants, over this number it is more difficult to follow the progress of each participant, and the waiting times and following the other participants can become boring due to the long duration of concentration.
facilitators will need
Preparation of the method
MusicALL Body
The facilitator has to know the music s/he will bring to the workshop. The facilitator should be able to find the downbeat in the music s/he will work with. The facilitator should be able to hear the difference between a semitone and a whole-tone. The facilitator should be able to keep a steady rhythm on the drum and do not be afraid to use his/her singing voice. The participants will come dressed in comfortable clothes and will inform the facilitator and colleagues of any health problems and if they are comfortable with touching each other during the workshop or what other restrictions they might have. The facilitator will decide whether is the case to repeat an exercise, how many times, but the facilitator will keep in mind that in the end of the exercise, at the end of the day and even more at the end of the workshop the participant should have a feeling of accomplishment, that s/he succeeded to do something that s/he could not do before, does not matter how small or big is the achievement but to give him/her a sense of fulfillment and always pay attention to the group mood before proposing an exercise.
Preparation of the method
MusicALL Body
Encourage the participants to share with other participants what is visually or auditory pleasant, nice to watch. This will make more accessible for our brains the information we get. The facilitator will present the rules of the games and supervise the activities. S/he will take care of the participants mood, will look for a positive state of mind and will support their involvment being inspired by participants’ ideas whenever possible. The facilitator will make sure that the participants receive the same amount of attention, with the exception of the moments when someone needs help, or more explanations because is having difficulties with an exercise. S/he will encourage cooperation, will be patient with the participants, and s/he will try as much as possible to change the perception of the participants that they cannot, they are not able to do certain exercises. The facilitator can be actively involved, s/he will demonstrate to the participants, but s/he will also leave them the freedom to discover themselves, to do things their way, not to inhibit spontaneity. S/he will also give them the time they need to complete the proposed tasks, will not rush the participants, and will respect the time each one needs to act.
Preparation of the method
MusicALL Body
The facilitator will provide a space to shine also for the shy participants, who avoid display and presentation in public but with more encouragement they would be able to perform. The facilitator is always attentive to participants’ reactions’, to interrupt small talk during the class. The facilitator must make sure to build a safe framework so that people feel comfortable to try things and new proposals that they do not master, or that they are not sure of, and still feel valued.
Evaluation
MusicALL Body
Delivering the method
Delivering the method
MusicALL Body
Delivering the method
The method could be offered as an intensive 15-hour workshop, with 14 participants performing together at the end of it. The participants will encounter through their voice or through their body moves the following musical aspects of music:
- Volume and intensities of sounds (Dynamics = range of loud & soft) - Short or long notes (Articulation) - Fast or slow speed (Tempo) - High, medium or low notes (Pitches)
- Texture (density - single sound or rain of sounds) - Rhythm (accent and rhythmic pattern) - Form (big picture)
Let’s go through the agenda of the workshop so we can find out what steps we followed.
Delivering the method
MusicALL Body
First day
The objectives are:
Get to know each other and connect with the group Identify expressive qualities of the sound Develop your ability to engage in group activities
Delivering the method
MusicALL Body
Exercise
We started with a little exercise, a barrier breaker. We thought of one thing we can do well, then whisper to everybody while moving through the room in our own rhythm.
Duration: 5 minutes - David Darling - Cello Blue We continue sharing informations about ourselves, our relationship with music and our expectations. We ended the moment with a game which could be called: My name is... Who? Description: The participants sit down in the circle, taking the position they were in before the game. The facilitator or one of the players will keep constantly a rhythm of 4 beats (one measure), in a slow speed (tempo), where: beat 1 will be with both hands on the floor, one hand on each side of the bosy, beat 2 will be touching on the knees or legs, beat 3 clapping beat 4 again touching on the knees or legs.
Delivering the method
MusicALL Body
The facilitator can choose other types of body percussion to keep the rhythm, easier to execute or more complicated, depending on the level of participants. After all the participants will take over the rhythm and execute it correctly or to a large extent correctly togher in the same time, the facilitator will add his/her voice to the rhythm, saying his/her name. S/he will repeat several times, but s/he will make sure to always start on beat 1. The participants will continue to say their names in turn, each twice, without the rhythm being interrupted. The one who says his name may have difficulties saying his name and beating the rhythm at the same time, but he will be supported by his colleagues. After the circle ends, the players will try a more spectacular way of saying their name, using as many different sounds as possible on the syllables of the name. The next step will add to the rhythm, instead of saying the name, a dialogue between two players next to each other, who for the duration of 4 bars (4 times the rhythm) will carry the following short and simple dialogue. On the first bar the first player will be alone, and on the last measure the second player will be alone. In measures two and three, each will occupy 2 beats. Player 1: My name is (the name of the player will be said) Player 2: Who? Player 1: (name) Player 2: Who? Player 1: (name) Player 2: Hiiii! (he will wave his hand and stop beating the rhythm) The game ends when the energy of the group is high and all the players can follow a faster and faster speed.
Delivering the method
MusicALL Body
Why did we do these?
We took the time, in a delicate way, to receive the first impressions of our colleagues. To accustome with the room we will spend the next 2 days and to prepare for the next step, when we will receive more information about our colleagues lives and got to know each other better. To celebrate that we have met and that we are together, we continued with a game in which we will play together a rhythm and we will discover everyone’s possibilities and disponibility for movement and sound. Also it was a moment to introduce the feeling of the pulse, the heart beating. Pulsation is always there and if we keep it everything is possible.
Delivering the method
MusicALL Body
Next session
Next session started with a little musical improvisation of the facilitator of the previous session. The facilitator brings in discussion a few basic musical elements that we can use to create a story or a musical experience. The participants are asked to try those musical aspects on a drum:
- Volume and intensities of sounds (Dynamics = range of loud & soft) - Short or long notes (Articulation) - Fast or slow speed (Tempo) - High, medium or low notes (Pitches) - Texture (density - single sound or rain of sounds) - Rhythm (accent and rhythmic pattern) - Repetition and variation
Delivering the method
MusicALL Body
Next, participants are asked to pick one object from a box. The box contains objects with different textures, temperature, size, weight and shape. They are asked to imagine what kind of sounds the object would produce, to give life to the object and then sitting in a circle everyone would present an emotion or a sentence that the object would say, even a story the object would tell. Colleagues will guess the meaning of what you wanted to express. The facilitator asks participants to try to be adventurous, explore, experience and take risks, have fun discovering, and make an artistic experience of rhythm and sounds. What artistic means? I take my choices through my sensibilities. What you say has to be in harmony with what and who you are and what you feel in the moment.
Delivering the method
MusicALL Body
Preparation: 5 minutes Next development of this exercise is working in pairs for creating a story. For this, everyone chose their partner based on the sounds produced in the previous exercise. As much as possible, everyone chose their favorite. Then they will have 10 minutes to prepare a small performance of a story between the two objects. New indications from the facilitator were that they can use their body more. This can also come natural because now the scene where the small performance will take place was clearly delimited from the spectators. The facilitator remindes the participants the musical aspects they tried on the drum, but also introduces a few details that give artistic meaning to your actions: - decide how and when you start and finish the performing moment - decide how the object appears, its place and its directions. - Form (big picture)
Delivering the method
MusicALL Body
The musical story is improvisatory, implies movement, action, gestures and voice. How you arrange the elements to tell a story? What is the character’s voyage, or goal? Start from a theme, an action or a context. Don’t forget about the surprising element, and build its apparition. Use also the silence and express character’s emotions. Preparation time: 10 minutes
Delivering the method
MusicALL Body
Why did we do these?
To show the power of gesture and sound. Participants would detect pleasure in it, because they experienced that state in their childhood when playing with toys and making up stories. They will learn to pay attention to the sounds. connect to each other, learn to collaborate and invent things to meet the other’s ideas. After every exercise we discuss what we see, what we liked, what we appreciate, and all this with an open heart, while carrying for others underline aspects that the others performed well during the exercise.
Delivering the method
MusicALL Body
Second day
The objectives are:
Perceive the auditory sensation corresponding to the sound Exercise auditory memory Feeling the (micro) beat Coping with change
Delivering the method
MusicALL Body
We started with a preparatory exercise, lying on the floor, to have a peaceful moment and to get in contact with our bodies. The facilitator will give some indications like:
- Take your time and observe your inner feelings, what’s going on now.
- Release the tension and your weight to the ground.
- Release all the body into the ground.
- Touch the ground with your palms, move gently and find the quality of the movement that your body likes.
- Without rushing you change positions and allow all your body parts to touch the ground.
- Find which other movements are possible for you to do and feel how you release the weight to the ground in every position you find
- Let your body tell you the road, the path to going first in the sitting position and then to standing position.
- What’s going on in your mind, emotions and body? are you different from the beginning?
After this little preparatory exercise we will work with body articulations, possibilities of movement. Explore levels: low ( hips closer to the ground), middle (flexing knees), high (up in the air, raising the arms, jumping, lifting, taking space) Explore qualities: Legato, staccato Take the time to improvise and mix everything we tried at your own pace.Delivering the method
MusicALL Body
Game - How long is a minute?
Time management. Could you feel the time without looking at the clock?
The facilitator will give a number of second, will set a time between 10 seconds and 2 minutes for every participant to dance. The participant will stop, without looking at the clock, when s/he will think the time is up.
Delivering the method
MusicALL Body
Why did we do these?
To give the participants tools for exploring their body movement, connect to sound qualities to a imagine and to a body movement, and find out how we can be expressive with our bodies.
Delivering the method
MusicALL Body
Next session - Tempo
First the facilitator asks participants to just pass through all the circles. Then s/he asks them to notice if they have the same speed. Then s/he asks them to keep the same speed. The facilitator will play the drum while they are passing through the circles and ask the participants to follow the sounds and keep the same tempo, be precise and always start on the second do.
DO SI LA SOL FA MI RE DO
Rhythm Outside is very wet. It’s water everywhere! so we walk and then step in a pond. The facilitator plays the drum in the indicated rhythm, 4 short beats and 1 long:
SPLASH!! -long beat 4 - short beat / 3 - short beat / 2 - short beat / 1 - short beat
Now the facilitator will introduce the active listening and change the rhythm on the drum and asks the participants to modify the circles on the floor according to what they hear s/he is paying.
SPLASH!! -long beat 2 - short beat / 1 - short beat
Delivering the method
MusicALL Body
Once the active listening was introduced to the participants, the facilitator will ask them to take a circle and play with it until they find a gesture they like. The facilitator will take a gesture of one participant and play it on the drum. The gesture could be a wheel, which could be represented like making continuous circles with the nails on the drum. The facilitator will take another gesture and make it audible on the drum. Could be a dropping of the circle or a throuwing up in the air. This movements could be very similar but the facilitator has to make them different so the participants could hear also that difference. Now, the facilitator will alternate the sounds of the 3 gestures and the participants will guess and make the gesture together with the sound. Next, we will explore distances between notes, using a tennis ball and make a specific gesture for the whole-tone and another specific gesture for the semitone. Imagine in front of you the piano or visualise a keyboard. A semitone on the piano is the distance between any two neighboring keys, regardless of whether they are black or white. It's the smallest step you can take in the musical scale in western music. In short, a whole-tone is equivalent to two semi-tones: two steps between one note and another.
Delivering the method
MusicALL Body
Sitting in a circle on the floor, and facilitator will sing a sound with his/her voice. Could be any sound. Then sing the note above, a whole tone distance from the first sound while making the gest with the right hand of giving the ball to the neighbour on the right and bring the ball back in front of him/her while singing the first sound. Repeat this gesture and sound a few times and then try the second note bellow, a whole-tone lower, while giving the ball with the left hand to the neighbour from the left side. So we refer again to the piano keyboard, which is easier to imagine, and if the second sound is higher we give the ball to the neighbour from the right, with our right hand, if the second sound is lower we give the ball to the neighbour from the left, with the left hand. Everyone in the circle will try to produce the two sounds, in both directions. After that we can try the semitone, in the same way, the difference now is that the gesture is not giving the ball to our neighbours, but stopping halfway, between us, like we are not really willing to give the ball to them.
Delivering the method
MusicALL Body
Why did we do these?
We broke up in little parts the elements of music: rhythm, tempo and pitch and find e gesture or an image for them, to make them less abstract and more accessible.
Delivering the method
MusicALL Body
Next, we learn to feel the rhythm and think like a percussionist. Percussionists love rhythm for its own sake, they do not always need melody or harmony to make music. They are constantly finding rhythms and grooves in life around us so we can find them tapping on things or playing rhythms with objects who can produce percussive timbres and resonances (plastic glass, the tick-tock of the automobile turn signal and so on). Percussionists also experience an interconnected dance of all four limbs and meanwhile their voice is free to count, recite or sing. But they also spend long periods of time playing just one or a few rhythm patterns (beats) which are considered necessary in order to get really "deep" into the groove. Next we will try to keep a rhythm while feeling the tempo inside us. We will practice time, tempo, subdivision, accents, inside subdivision, space, walking into space, stops and forms. Always remember everything is correct, if you do a mistake, there is no stress, don’t be sad, just smile and do a mistake. The facilitator will invite participants to listen to his/her indications. First, walk into space but don’t walk like you are going to work, but change directions and the energy you use for walking. Remember to take space and breathe. If you meet somebody look, exchange.
Delivering the method
MusicALL Body
STOP!
There is no music without silence so we do a STOP! When you stop you still press the air, don’t collapse. Now we walk on the tempo and build a form, a sequence that we will repeat.
We do: and1234, 2234, 3234, 4234 stop! (wait for 8 counts) and1234, 2234and stop!! (wait for 4 counts) and1234and SHAA!! (wait for 2 counts)
We will use a song to help participants keep the rhythm. Could be an energizing dance groove. It is important, if there is no conductor, when you mess up you know there is the tempo, the tempo help you because the tempo is always there. The tempo brings and keeps us together, musicians, dancers.
Delivering the method
MusicALL Body
Why did we do these?
To create in the participants the need for rhythm, for feeling the rhythm and understand better the tempo and give a taste of how the tempo it feels inside the body. We also counted the beats, an important step before internalise the sense of tempo.
Delivering the method
MusicALL Body
Now the facilitator will introduce an easy song to the participants, one that they can pick up easy by ear and which does not present many difficulties for the voice, which is nor high nor too low for one’s voice. This time we choose “Blue skies” a song by Irving Berlin which also has optimist lyrics. To help participants stay in tune, the facilitator could play the song on the IReal Pro app, which simulates a real-sounding band that can accompany you while singing.
Delivering the method
MusicALL Body
Why did we do these?
Sometimes we pick a very difficult song, or we try to imitate someone’s voice and we get stuck and think we cannot ever sing. It is important to pick the right song, of course an easier one in the beginning to give us confidence we can continue and go further in what we really want.
Delivering the method
MusicALL Body
Third day
The objectives are:
Strengthen the power of concentration and memory Explore the connection between the expressive qualities of body movement and the expressive qualities of the sound Become more confident using singing voice Move freely and taste the sensation of flow Brain – body connection
Delivering the method
MusicALL Body
A reflection moment is needed. Ask the participants to write or draw about their experience they had during the workshop. Propose the following questions:
- What is now your relation with the music?
- How do you feel about the music?
- What has been changed?
- What part of the music you can take to your class?
- How can you experience music with children and teach them to participate actively in music?
Will follow a moment of team work, were we will train trusting ourselves, discover and memorize even when we don't use our sight... All the participants will work in pairs, and one of the partner will keep eyes closed:Delivering the method
MusicALL Body
Why did we do these?
We change the pairs and the facilitator will introduce the down beat and the up beat notions. For our purposes here, the downbeats are usually the strongest beats in any music, also the first and the third beat of every measure. The upbeats are beats 2 and 4, slightly or less accented then the downbeats. Two persons, facing each other, clapping hands in the middle, one person at a time. One person is clapping in the middle, coming from the side, horizontally, and the other one claps also in the middle coming from above and bellow, vertically. The pairs will exercise first without music and the facilitator will go and check every pair. S/he will also ask them to switch roles. When they are ready they will follow along the tempo of music, in this case was The Jungle Book - Bare Necessities.
Delivering the method
MusicALL Body
Take a moment
A moment to explore sound in time and space on 3 musical instruments will follow. The facilitators prepares 3 musical instruments which produce different sounds, in this case a wood frog guiro, a drum and a tibetan bowl and discussed the sounds they produce.
He reminded them the diversity of sounds, musical aspects already discussed in the previous sessions: pitch (high, middle or low sounds) articulation (short or long sounds) dynamics (loudness and force of the sound) tone (the shape of the sound)
Delivering the method
MusicALL Body
The facilitator asks the participants to think of a phrase of 4 moves (dance moves) each of them being the visualisation of o sound one instrument produces. Being 3 instruments, the participants could pick one instrument twice, and do the same move twice anywhere in the phrase. The facilitator gives to the participants 1-2 minutes to think of the moves and then invites each of them to show their moves to their colleagues. If one of the participants would not show the movement very clear, the facilitator will ask him/her to repeat until is clear from every one. One of the other participants will come and show on the instruments the phrase his/her colleague just performed. They will try the phrase together (dancer and musician) to see and hear in the same time. If the person who came would not guess, another participant will try. The person who performed the moves will reveal which instruments s/he was thinking of only when one of the participants guesses his/her order.
Delivering the method
MusicALL Body
Why did we do these?
We continued going deeper into exploring other musical elements which can contribute to the musical expression. We repeat the song Blue skies, the song we learned one day before, this time adding walking on the downbeat and clapping on the upbeat. The last session the facilitator presents a very common musical structure,the ABA form, where A is a walking arounc the room: step on the downbeat and clapping on the upbeat (the same movement we tried for the Blue skies song) and B is a free dancing moment, at the participants’ choice. We first listen to the piece, and everyone imagine a word for describing the B part. The B part is a lyrical music, where they can move freely but paying attention to the moment the A part returns and they also have to come back to the walking and clapping. We listen and danced on Karl Jenkins - Palladio I, Allegretto.
Delivering the method
MusicALL Body
Performance day
The objectives are:
Delivering the method
MusicALL Body
Exercise
On the performance day participants warmed up with an exercise they also choosed to present in the performance together with singing the Blue skies, the song they just learned, the sequence on the Barre necessities song.
The purpose of the exercise is to get the body together, and connect fast the participants one to each other but also with their own body. The music we use was the theme song from The Gladiator - Now we are free which has the right tempo and sets the right mood. All the participants stand together, in a round form. There are 4 leaders, each in one of the four cardinal points. The participants will follow the leader they are facing. The leaders will do continuous slow moves so all the participants could follow. They will pass the leading when turning to the right or to the left slowly and smoothly so that the other leader could take over.
Delivering the method
MusicALL Body
Advice day
The facilitator gives the following advices for the day
• Think about your presence. Be in connection with your whole body and in the same time project your message to the public.
Delivering the method
MusicALL Body
Advice day
The facilitator gives the following advices for the day
• Think of how you start and how you finish your performance. The beginning and the end are very important moments.
Evaluation
MusicALL Body
Evaluation
Evaluation
MusicALL Body
Evaluation
During the workshop find the time to ask the following questions to the participants. This will help them internalise and intellectualize the new information. 1. What went wrong? 2. Why you could not do it? 3. Why you did not start in time? 4. Are you all watching eachother? 5. Are you focused? 6. Did your colleagues understood the message you wanted to transmit? If not, what can you do to make it more clear for them? 7. Maybe the person next to you did not start in time because of you? 8. What can you do to make it easier for you partner?
Delivering the method
MusicALL Body
Evaluation
at the end of the first day
the participants should feel comfortable with the facilitator and with each other, to collaborate well with a partner, to be able to find different qualities of sounds on the drum and to be able to understand dynamics, tempo, pitch as elements of music through connecting the image of an object or a sensation with a sound.
Delivering the method
MusicALL Body
Evaluation
at the end of the second day
the participants should find its inner attitude toward the movement; describe quality and dynamics of sound with the body, be more attentive and sensible to himself, to the partner and to the group, to be able to coordinate with the partner and with the group, to negotiate with the partner. To be able to produce different sounds according to the hand gesture of giving the ball to the neighbours. Understand that even the body is still, the body is not collapsed and is ready to move. To associate moods with music and name at least one element of musical expression. The participants have more confidence to expose themselves vocally and physically with less known things.
Delivering the method
MusicALL Body
Evaluation
at the end of the third day
the participants should be able to sing the song Blue Skies, memorise the structure of the sequence, make the difference between the length of the sound produced by the musical instruments they used today: guiro, tibetan bowl, drum. To understand that they can rely on their body memory to be able to continue the movement, when becomes more difficult and to fast to intellectualize what they do.
Evaluation
MusicALL Body
Why do we use this method? - inclusion & diversity context -
Delivering the method
MusicALL Body
All people respond to music, they can learn to participate actively in music, and develop other skills through music if they are given a chance to experience music. When a little child is learning to walk, no one is never told that s/he cannot walk, and s/he is continuously encouraged to persevere. No child should be labeled with the belief that s/he is not musical, s/he has no voice, s/he cannot sing, Instead children should be encouraged to belief in themselves. Encouragement at any age empowers imagination, creates excitement, curiosity and enthusiasm, while developing confidence. Teachers should be seen as artists - because they are creative individuals. Modern day teachers are required to do more then spew information. They need to understand the child in front of them, how developmentally the student is, be aware of the individual needs, of the problems the child has at home, make sure the students are not being bullied, be able to teach online lessons, understand the complications of anxiety, depression or ADH, because they are preparing the students for what the world is going to look like in ten year’s time. Education is a journey of self-discovery, not solely a process that involves stuffing facts and figures into the heads of children. The teachers’ job is more as guiding students to understand how things work, and they could use methods and ways to show students how they can apply them to real-world functioning as well as new ideas of their own. A teacher should look at the child in front of him/her physically, emotionally, creatively, aestetically and most of all, humane. For that, the teachers also need to understand themselves, to move and to be uninhibited. Is the job of teachers to make sure that students understand their individual and unique perspective, and enable them not only to learn but also to become themselves. Music can help all teachers in this matter and can contribute to one important step in child’s education, when s/he is taught to know himself/herself, to accustom him/her to life, and to awaken in him/her sensations, feelings, and emotions. To develop a healthier sense of self.
Delivering the method
MusicALL Body
There are students who do not want to adhere to the rules or be a part of the group. They want to operate separate from the rest of the students. While there is individual work involved in any classroom, the ability to be part of the class is essential to overall learning as well as the daily functionality of the classroom. For many students, becoming part of the group is a very difficult process and concept to understand. How can you get students work as one? Attempting to get students to come together is not an easy task. The classrooms are filled with developmentally divers students who have dynamic individual need. Also a single student can throw off the dynamic of an entire classroom. Acknowledging the complexity and the diversity of our students, being able to listen to others and being understanding to those around us are important skills. We are emotional beings, enjoy interacting with others, our gestures and actions are shaped by emotions and during the education process we become aware of our emotions, parts of the brain are stimulated by facial expressions and body movements of people around us. One becomes aware of emotions by way of bodily sensations that become translated, recognized and defined as feelings. Creating in class the context of training of the muscular and nervous systems, will be using the music power to improve the overall social and emotional climate of our students. Through physical and musical games, students will learn to embody music and experience their emotions and relate music to their inner world. Through this method students are responding to not only their own feelings and emotions but also to the feelings of those around them. This is vital to overall student development and contributes to the socio-affective and cognitive development of the child.
Delivering the method
MusicALL Body
Music as an add-on in education
Advantages of introducing creative activities and discussions in the classroom
Cooperating with child nature - Emphasis on natural impulses and flow of movement Teacher and child interaction - Student’s achievements are emphasized, skills are appreciated, problems are analysed Child-centred - Teacher proposes, creates the context. He is assisting, adviser on learning Creativity and aesthetic feeling - Emphasis on thinking by artistic means, creative skills All learn differently - Various teaching methods are applied according to their abilities (creative tasks, discussions, group work etc.) All students can take part ! - Everybody gets relevant attention
Evaluation
MusicALL Body
How can it be used in E+/ESC context?
Delivering the method
MusicALL Body
Many students come to school not aware of who they are or who they want to be. The cultural and social climate, social media affects the process. When starting school every aspect of a child life (recreational and academic) now has a purpose and/or a reason and it’s no longer for discovery or enjoyment. What if you can create in class a place where the students could come and present as well as open themselves up and realise the abundant forces s/he has in his/her control. They could come to a place for discovering and loving the beautiful and true and were they will feel delivered from physical embarrassment and mental imaginary fears and obsessions. When combining the individual effort with those of the rest of the class he will conceive a profound joy, a stimulus to will power. Theur imagination will likewise develop as their mind, released from all constraint and nerves of disquietude. This will show them how their individual talents and insights contribute to the class as a whole. Doing those exercises the child learns to use brain and body together, for the same goal, and thus develops focus, self control, self love, self esteem, persistence and perseverance. Music can, and should be used in a broader capacity within education. Teachers can reflect and transform the class by changing the music, creating new energy vibrations and sensory stimuli, new, modified behavioral alternatives for well-being.
Delivering the method
MusicALL Body
How can it be used in E+/ESC context?
Using this teaching ideas, in addition to your work in the class, will add creativity to your teaching, bring joy and confidence in your classroom, expanding understanding and enjoyment of (classical) music in the classroom, whilst sharing an inspiring journey for your students. Over time the children will continue to hold memories of the joy of music in their hearts.
We can Include in the daily routine of school the opportunity for the kids to express themselves. The children who uses creative activity as an emotional outlet will gain freedom and flexibility as a result of the release of unnecesary tensions. They will be able to face new situations without difficulties. So start your lesson with one rhythm game as a warm up or as a brain break, halfway through the lesson. Everybody might focus better after they have had a chance to wiggle a bit. Make it easy for yourself, just pick one at a time.
Delivering the method
MusicALL Body
Resources
MusicALL Body
Communities of practice and resources
Here are some additional resources on how to implement mindful inclusion in your work:
The facilitators will need:
1. One drum for each participant +1 2. little musical instruments producing different qualities of sound (guiro, tibetan bowl) 3. Plastic circles 4. Tennis ball 5. Papers and coloured pencils 6. IReal Pro app 7. Prepared music playlist (Spotify or Youtube premium)
Vibrations and feelings
Music is not just about producing sounds, but it’s also about listening to vibrations and feelings, not only with the ears, but also with the body and heart. Extend our mind out into the world and be aware of sounds around us, furthest away sounds or the softest sounds around us could help us listen to the song within. We don’t need to learn to read music before we can play it, as we did not have to learn to read before we could speak. We could repeat the process and simply play around with making sounds or use vocal chords until we make music.
Positive outcomes
Youth but also adults participating in mindfulness-based programs experience a number of positive outcomes, including increased mindfulness (Ames et al., 2014; Bögels et al., 2008; Bluth, Campo, et al., 2016; Bluth, Gaylord, et al., 2016; Edwards et al., 2014; Jee et al., 2015; Tan & Martin, 2015), self-awareness (Wisner & Starzec, 2016), emotion regulation (Fung et al., 2016; Lougheed & Coholic, 2016), self-regulation (Wisner & Starzec, 2016), self-compassion (Bluth, Gaylord, et al., 2016; Edwards et al., 2015), self-esteem, and acceptance (Tan & Martin, 2015).