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Mythos Rhythmos Halt, Fluss und Wiederkehr

100%

Hotz A.

Rozprawy Naukowe Akademii Wychowania Fizycznego we Wrocławiu

2013

issue 40

7-13

The paper presents the author’s personal approach towards selected aspects of manifestation of one of the coordination abilities, namely rhythmization. Rhythm creates, orders and shapes spatial and temporal relationships. In motor action its impulse concentrates energy and adjusts it to the form of the movement. It is manifested in the form of timing. Timing controls rhythm, and rhythm develops timing. Rhythm maintains energy expenditure in a given direction and includes pulsating elements of imbalance of this state into it, thus creating cohesion of movement. Rhythm is the key to coordination functions. Also a well selected rhythm finally leads to coherent formation of fluent balance of movement. Besides, harmony serves cohesion and not the other way round. Cohesion. Comprehensive sense of rhythm leads to showing cohesion through orientation and as a result through diversifying integration. The concept of rhythm must be an individual scaffolding of the form of movement, thus becoming an anatomy of a motor action. Eventually, motor action is formed when it is possible to integrate the function and structure in the form of the technique of movement in such a manner that the form of movement presented constitutes a solution to the problem. Energy administered in time and space. Timing, the key competence of rhythmic formation of movement, determines its precision. Proper energy in time and point in space translates into economic control and fully dosed velocity of movement. Measure and tempo. To achieve free formation of motor activity through rhythm of stillness and movement, tempo sets an impulse as a drive to be used in determination of measure, and subsequently its maintenance. Thanks to the measure and pace, “learning through the rhythm” becomes a sensible principle in acquisition and use of movement as such, and not only formation of the movement with music. Fascination with balance in form. Fascination with balance in an alternating game between variants of the form and permanence of the essence is through openness (freedom) and limitation (safety) of the space still arranged again. The measurable nature (or not) of balance (or not) between safety (orientation) and freedom (formation) increases or decreases the intensity of their attractiveness. Rhythm as a personality. In the type of links and the manner of connecting the elements of fluidity a specific peculiarity of the fascinating rhythm is crystallized as a motor peculiarity. And finally: The importance of rhythm convinces [us] first through unanimity in orientation marked with function, subsequently by diversification in an organized combination of structure and finally also through creative integration to the task accentuated by situations and adjusting the technical form to its solution.

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА

58%

Ключко В.

Педагогічні науки: теорія, історія, інноваційні технології

2015

issue 9(53)

252-259

The article reveals the philosophical foundations of the system of rhythmic education of Emile Jacques-Dalcroze, in its context the universal philosophical categories of "movement", "time" and "space" as fine motor skills, temporality and spatiality are concretized. The fundamental philosophical concept of rhythmic, which is a category of corporality that defines the sensual nature of human existence, is defined. The origins of rhythmic in ancient philosophical thought, in particular in the works of Plato, who outlined the epistemological and hedonic potential of human movement, through which he/she perceives the rhythm and harmony of the universe are found. The main aspects that bring together the thoughts and activities of Dalcroze with the ideals of the ancient Greeks are highlighted: musical-rhythmic activity in the group which is similar to the functioning of the choir in ancient Greek tragedy; its main goal is a balanced and harmonious development of man, his aesthetic and physical education; a gesture and a plastic movement are the means of expression, when the expressive value of dance in the ancient tragedy, inextricably connected to the music and poetry of a single rhythm, is similar to rhythm-plastic of Dalcroze. The consonance of ideas of the teacher-musician Dalcroze and philosopher M. Merleau-Ponty on the need to establish communication between mind (imagination, emotions, soul) and matter (body, feelings, action) are identified. The influence of praxeology, aesthetics and philosophy of art education on the theoretical justification of rhythm as an effective means of harmonization of the personality through the music-motional activities was found out. It is proposed to shift the focus from the aesthetic and intellectual perception of music on procedural. In order to justify ideas of Dalcroze in the native discourse the ideas Valeriy Kosiak about philosophical interpretation of man and his physicality in various forms of culture are highlighted. Special attention deserves the scientist’s interpretation of rhythm as rhythm-plastic and definition of dance by the language in which a sense of life as an incarnated rhythm is expressed.

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1 Rozprawy Naukowe Akademii Wychowania Fizycznego we Wrocławiu

1 Педагогічні науки: теорія, історія, інноваційні технології

1 Hotz A.

1 Ключко В.

1 2015

1 2013

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Mythos Rhythmos Halt, Fluss und Wiederkehr

ФІЛОСОФСЬКІ ЗАСАДИ РИТМІКИ ЕМІЛЯ ЖАК-ДАЛЬКРОЗА