Non-verbal Communication in Music Lessons

Abstract

In our study, which we carried out with a group of primary-school children aged between six and nine, we were interested in how musical language is shaped through group improvisations. Narrative dimensions of improvisation were studied through activities of Orff-Schulwerk, the specific music-movement education approach which, apart from music activities, puts great emphasis on development of social competences. The research was designed as a phenomenological case study. The findings show that, contrary to Orff-Schulwerk premises, children had yet to learn musical language and how to use it. It also turned out that teacher's expectations regarding the use of non-verbal communication are inversely proportional to the successful use of musical language. In line with Orff-Schulwerk's principles, rhythm proved to be the primary musical language parameter, as it was through rhythm that children first reached the sensations of others and reflectively depicted events from everyday life.

A framework for studying teachers’ hand gestures in instrumental and vocal music contexts

“…Second, researchers focusing on the study of gesture and body movements in instrumental music contexts have mostly used or attempted to use gesture categorisations developed in the fields of music performance and psycholinguistics (e.g. Clayton, 2005;Nafisi, 2013;Poggi, 2007;Rodger, Craig, & O'Modhrain, 2012;Zalar, Kordeš, & Kafol, 2015). However, gestural organisational models drawn from the fields of music performance and psycholinguistics are inadequate for the purposes of understanding this area of activity since instrumental music teachers employ gesture in a way unique to the teaching context as explained below.…”