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These auditory training activities for adults focus on the building blocks of hearing. Challenge yourself with active listening exercises that can help you learn to recognize simple words or use context to find details in a story. Drawing on practical examples of widespread practice within the Dalcroze community as well as personal experiences, we assert that the touch-like nature of sound not only makes contact with the body, inciting physical and emotional movement, but also develops awareness of self, others and environment due to the social nature of musical participation in general and of the rhythmics class in particular.This hearing rehabilitation program was designed for you to practice your listening skills with a family member or a friend. While recognizing that not all somatic practices include touch and improvisation, we focus on these aspects to explore the notion of the haptic nature of vision and sound, as they are manifest in the Dalcroze class. In this article we argue that it may also be considered a somatic practice owing to the ways in which movement, space, sensation, presence, touch and improvisation are central to the method. Most researchers have situated this work within music education, dance and theatre history and therapy of various kinds. The kaleidoscopic perspective on the audiological instruments enables for a presentation of hearing beyond the passive position it has partaken within especially the field of sound studies and the field of audiology, and it propose hearing as a varied, malleable and indeed complex perceptual auditory state.ĪBSTRACT Dalcroze Eurhythmics is a rich and multifaceted, living practice that has developed a wide range of applications and pedagogical approaches during more than a century of endeavour. As this approach has strong ties to the phenomenological research methodology of Martin Heidegger and Maurice Merleau-Ponty, but also to contemporary research methodologies such as media archaeology and object-oriented ontology, the research project evolves as a tuning between manifold methodologies and theoretical positions, which creates different entrances for exploring the history, the epistemic claims and the auditory attention connected to the act of hearing. These sound works propose an alternative methodology for reaching conceptualizations of hearing, where the act of doing, of entering into a practical dialogue with a specific material, forms a way of thinking. The research project departs from the construction of three sound works that stage an obsolete audiometer, a row of imaginary sound therapy instruments and a set of reconstructed hearing horns within an aesthetic setting. By attending to both the discursive frames and the operative means of selected audiological instruments, it exposes how technology tunes the ear, that is how technology lets us hear and how technology frames conceptions of hearing. This thesis sets out to propose a new attention towards the term hearing by exploring the technologies which historically have been used to diagnose, normalize and even optimize the ear. Precision, detail, and organization thus come from a spiralling rigorous practice of ear training and analysis back and forth. This structuring process provides additional evidence from higher hierarchical levels of organization. Once the students' ears become focused and detailed, the courses proceed with a synergistic analytical approach, aimed at training students to assemble and integrate aural atoms into synergetic structures-perceivable higher-level units that have properties that are different from those of their parts. These courses begin with an atomistic approach, which trains students in breaking aural stimuli into the smallest possible parts (aural atoms) and thus extracting more evidence for analysis from them.
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This interdependence of analysis and ear training has been the basis of Ea aural training courses at Concordia University in Montreal, which I have been developing for the past decade. We analyse to understand what we hear, but we also need trained ears in order to analyse, because analysis requires detailed content, which in Ea is available mostly in sonic forms (i.e.
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Analysis in electroacoustics (Ea) is an aural necessity.