Embodied Simulation in the Art of Teaching Piano
Damilya Nadyrova · The European Proceedings of Social & Behavioural Sciences · 2016
Recent studies show a close interrelation of emotions and movements in the music performance art, while the understanding of music is related to the modeling processes (embodied simulation), or the bodily transmission of music. It is clear that this approach is particularly promising for music pedagogy, and first of all for pedagogy of music performance. This view will help the beginning performer to find the most efficient way for a better understanding of musical emotion within the content of the musical piece, and, moreover, will contribute to the development of expressive technical skills. In this article we will study the embodied perspective in piano teaching. It is possible to speak about two main forms of motor simulation in music: a) when the melodic movement expression is reflected in gestures, and b) when the musical rhythm is reproduced in movements. We will consider the second form, which is the use of motor simulation in the course of work on the rhythm of performance.