Podcasts about dalcroze

In this episode of Tech in the Arts, Dr. Stephen Neely, associate professor at Carnegie Mellon University's School of Music, discusses eurhythmics, a century-old practice focusing on the bodily engagement of music, and extends these principles to modern interaction design. The conversation delves into the evolution of design practices and the need for a more holistic, user-centric approach in the digital age. Dr. Stephen Neely is an associate professor of Dalcroze Eurhythmics and Dalcroze license at Carnegie Mellon University School of Music, who also presents hands-on workshops in the US and around the globe focusing on the overlaps between music, design, body aesthetics, performance, and experience. See more at amt-lab.org 

We welcome the brilliant pianist Arthur Simoes to the podcast today. You are going to love this conversation. Arthur has tested the Taubman Approach in many mays; from classical literature to Dalcroze and now in jazz and improvisation. What's kind of fun about this episode is that I surprise Arthur with a rapid fire question time at the end of the episode. Stick around for that exciting exchange.You can be in touch with Arthur on Instagram @arthursimoesmusic,https://www.golandskyinstitute.org/arthur-simoes/ “We were captivated by the elegance of Arthur Simoes's touch, as he performed pieces from Ginastera with dazzling virtuosity and an ineffable sense of sorrow.” – ArcinfoArthur Simoes enjoys a diverse career as a pianist, composer, and educator. He has performed extensively in Europe, as well as in Latin America and in the United States, and he frequently presents lectures, workshops, and masterclasses across the globe.Passionate about education, Arthur has run a successful private studio for more than 10 years. He has also taught at the Institut Jaques-Dalcroze and at the Haute Ecole de Musique in Geneva, Switzerland. His teaching is rooted in the conviction that every person has the innate ability to learn music, and encompasses elements from Dalcroze Eurhythmics as well as the Taubman Approach. Arthur is a first prize winner of the 29th European Music Competition “Città di Moncalieri”, in Italy, as well as other piano competitions. Venues and festivals where he performed include the Victoria Hall (Geneva), La Schubertiade sur la Colline (Neuchâtel), and the Berklee Performance Center (Boston).His musical journey began at the age of 6, and he enrolled at the Conservatoire de Musique de Genève at the age of 10, from which he graduated with the Arditi Award for the best final recital of the year. He holds a Bachelor's degree in Piano and a Master's degree in Music Pedagogy – Dalcroze Eurhythmics from the Haute Ecole de Musique de Genève, as well as the Diplôme Supérieur of the Dalcroze method. During his Dalcroze studies, Arthur was awarded the Institut-Jaques Dalcroze Award “for his qualities as eurhythmician”, the Emile Jaques-Dalcroze Foundation Award “for the excellence of his improvisation exam” and the Aletheia Foundation Award “for the excellence of his Diplôme Supérieur choreography”. He has also pursued in-depth studies of the Taubman Approach with his mentor Edna Golandsky, in New York.His passion for improvised music as well as the desire to broaden his horizons have brought Arthur to Berklee College of Music to pursue a Professional Music Diploma with concentrations in Jazz Composition and Performance, as he continues to perform, compose, and teach.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Vincent Wong is a dedicated music educator and pianist, specializing in piano improvisation. With a deep belief in the transformative power of improvisation, Wong is committed to providing students with a holistic approach to learning music.With a rich musical background, Wong has honed his skills through extensive experience and training. He has had the privilege of collaborating with renowned musicians and ensembles in diverse genres, including classical, baroque, contemporary, and non-classical music.Notable recent productions showcasing Wong's musical prowess include his involvement in the successful arrangements for "Animenz" and the Hong Kong Doujin Philharmonia in 2023. He also participated in the post music production of the movie”Still Human". Wong's compositions have been recognized and he has served as a member of CASH in Hong Kong. He worked as a media composer at Hong Kong TML Media.As an educator, Wong brings a wealth of teaching methods and experiences to his students. He has completed ANCOS Orff music and movement education level courses level 1, studied the Dalcroze method under Joseph Reizer, and participated in a Dalcroze workshop at Carnegie Mellon University. Wong's expertise extends to teaching music in Montessori kindergartens and serving as a lecturer in Montessori teacher training programs. In fact, he was invited to speak at the Montessori Asia conference in Hong Kong in 2017, where he shared his unique approach to music education.Wong's commitment to fostering creativity and musical expression through piano improvisation is evident in his teaching philosophy. By imparting the skills and techniques of improvisation, Wong empowers his students to explore their own musicality and develop a deep connection to their instrument.Wong holds a Master of Education from Hong Kong Baptist University, having previously earned a first-honor Bachelor's degree in Music Education from the same institution. His passion for music sparked at a young age when he began playing the piano at six years old. Throughout his musical journey, Wong has been privileged to study under esteemed instructors such as Mr. Shi Jing Lin, Miss Kwok Ting, Mr. Raymond Young, and Mrs. Nancy Loo. Currently, Wong continues to enhance his musical knowledge and skills through his studies of the Taubman Approach with Mary Moran.Vincent's YouTube channel: https://www.youtube.com/@backtozero40Vincent's YouTube channel that specializes in improvisation: https://www.youtube.com/@vwmusic3456Vincent's Studio Website: https://sumszemas.com/The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

The Swiss composer Émile Jaques-Dalcroze (1865–1950) is best remembered for his development of Eurhythmics, which teaches the appreciation of music through movement. This first-ever complete recording of all his German-language Lieder – setting folksongs as well as more recent Romantic poetry – shows him bridging both French and German traditions with a style somewhere between Fauré and Brahms. Written early in Jaques-Dalcroze's career, these songs span a wide range of emotions, from innocent rural idylls to the contemplation of existential painand heartache.TracksSechs Lieder, Op. 14 (publ. 1892) (11:47) No. 1 Hochzeitslied (1:18) No. 2 Wie lan' die Nacht (3:01) No. 3 Rosenzeit, wie schnell vorbei (1:49) No. 4 Lied des Alten (1:57) No. 5 Die Glocken läuten (1:48) No. 6 Hast du von den Fischerkindern (1:54) Sechs Lieder, Op. 15 (publ. 1892) (8:46) No. 1 Lied des Glücklichen (1:29) No. 2 Kindergebet (1:20) No. 3 In der Fremde (1:30) No. 4 Ich nehm' es leicht (0:59) No. 5 Lieb' Liebchen (1:22) No. 6 Als schweigend ich die rothe Rose (2:06) Zehn Lieder (publ. 1913) (22:57) No. 1 Gruss (2:55) No. 2 Schmied Schmerz (2:31) No. 3 Regenlied (2:20) No. 4 Entzückung (2:08) No. 5 Hat gesagt – bleibt's nicht dabei (2:07) No. 6 Das Lied von ferne (2:06) No. 7 Gewitter (1:25) No. 8 Spinn, Mägdlein, spinn! (2:19) No. 9 Wenn's dämmert (3:24) No. 10 Spinnerlied (1:42) Zwei Gesänge (publ. 1913) (7:14) No. 1 Gemachte Blumen (3:47) No. 2 Frommer Tanz (Mai-Fest) (3:27) First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Final preparations for the DSA National Conference! What have Lauren and Anthony learned over the course of The New Dalcrozian? Diplome Superieur Louise Mathieu drops by for an EXTENDED chat about all things Dalcroze, but a special focus on the use of recorded music in the classroom. Visit Anthony's Substack Visit the DSA Website

A tribute to the legendary Lisa Parker. Anthony and Lauren discuss the utility of Laban effort actions in a Dalcroze class. Our guest is conductor, advocate, and educator Vaughan Fleischfresser. How should we think about advocacy? What is it like to have a tweet go viral? How does this approach to advocacy mesh with our orientation as Dalcrozians? Visit MusicXT on Substack Newsletter! Follow Vaughan on Twitter @VFleischfresser Visit the DSA Website and REGISTER FOR THE NATIONAL CONFERENCE! SERIOUSLY! Anthony's Music ConstructED Workshop Registration

In this podcast episode, Aileen interviews Dalcroze expert Anthony Molinaro about Dalcroze-inspired teaching, sample activities, and more!

Anthony and Lauren reflect on a busy summer! News from Geneva. Using thoughtful language in the classroom. A great interview with Elda Nelly Trevino Flores about the history of Dalcroze work in Latin America! Subscribe to MusicXT on SubStack Visit VDM for info on Lauren's Masterclass Visit Dalcroze.com

Dalcroze education has been around for over 100 years, and its principles are experiencing a resurgence in interest and application outside of the music education arena (including therapeutic uses for the aging). We discuss what this holistic learning method IS, why it began, and its innovative uses today. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode139 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Libsyn  https://signup.libsyn.com/?promo_code=ENHANCE for up to 2 months of free podcasting service  

Lauren returns from Alaska with a new love for the Musk Ox. Anthony and Lauren discuss the recent urgency to "catch up" after the pandemic. Anthony explores his latest project at SubStack. Check out Anthony's SubStack Here! Rob Lyda joins us to discuss NAfME and the Council for General Music Education. It's a great conversation!

If you want a starting point for beginning to use Dalcroze in the classroom or you've used the approach for years, you'll want to listen in to this conversation with Anthony Molinaro.  Ideas shared include anti-clapping, Super Do-Re-Mi, and movement as music. Anthony is currently serving as the Board Chair of the Dalcroze Society of America and has been a National Event Presenter on Dalcroze Pedagogy.  He is a Carnegie Mellon University teaching artist and has been a public school music educator for over 15 years.  He is the co-host of a podcast called “The New Dalcrozian” and writes a SubStack called MusicXT, Moments in Movement.     Anthony's Substack The New Dalcrozian Podcast DalcrozeUSA Website   Afternoon Ti: Follow me on Instagram @highafternoonti Afternoon Ti Website Afternoon Ti Guide to Teaching Music Book and Journal: Amazon Afternoon Ti Guide to Teaching Music Book and Journal: Fflat Books Intro/Outro Music: Our Big Adventure by Scott Holmes  

Looking at Dalcroze history with esteemed Dance Historian, Selma Odom. Lauren shares an activity for creating calm. Anthony started a SubStack! Subscribe at musicxt.substack.com!

What are you learning this summer?  Over the next few episodes you'll be hearing from music educators about the work they do with specific music approaches and summer workshop opportunities.  In today's episode Monica Dale shares about her approach to teaching movement and music called Musikinesis.  Sign up for the Musikinesis summer workshop at Eastman in the link below! Eastman Musikinesis Summer Workshop Musikinesis Website Monica Dale grew up on the campus of Connecticut College when it was the epicenter for modern dance as host of the American Dance Festival. As a child, she had experimental creative dance classes and was surrounded with modern art and music. She studied dance at Connecticut College and at the suggestion of faculty, left college for New York City where she trained at the Joffrey, Martha Graham and Cunningham Schools.  She later returned to Connecticut and majored in music. Monica pursued Dalcroze Studies to bridge music and dance.  She earned her certificate, license and Master of Music in Piano Performance from Ithaca College and has worked professionally as a dancer, pianist, choreographer, and teacher of pre-school through professional levels. After developing an original curriculum merging music, dance and language, Monica founded MusiKinesis, and has published six books including the three-volume Eurythmics for Young Children and an iBook of illustrated dance stories with original music. Afternoon Ti: Follow me on Instagram @highafternoonti Afternoon Ti Website Afternoon Ti Guide to Teaching Music Book and Journal: Amazon Afternoon Ti Guide to Teaching Music Book and Journal: Fflat Books Intro/Outro Music: Our Big Adventure by Scott Holmes      

It's an exciting week on the Afternoon Ti Podcast! 200 episodes!!  We're flipping the script.  I'm being interviewed by Jessica Peresta.  20 questions.  New stories.  New ideas.   Several giveaways happening this week on Instagram.  Follow me on Instagram @highafternoonti to enter to win throughout the week! Afternoon Ti: Follow me on Instagram @highafternoonti Afternoon Ti Website Afternoon Ti Guide to Teaching Music Book and Journal: Amazon Afternoon Ti Guide to Teaching Music Book and Journal: Fflat Books Intro/Outro Music: Our Big Adventure by Scott Holmes            

Tessa Grigg, Anne Katherine Davis, and Jason Sifford discuss teaching rhythm and pulse. Topics discussed include rhythmic development in infancy, Gordon's Music Learning Theory, movement activities, Dalcroze, rhythmic literacy and sequencing, backing tracks and other supplemental aids, the difference between groove and pulse, repertoire selection, and We Don't Talk About Bruno.

Lauren needs a new name! How is Public School teaching different from community art school teaching? What does the Dalcroze approach bring to a public school situation? Finding the Flow with Patrick Cerria.... buy the book here.

Este programa tiene como objetivo fundamental proporcionar a las audiencias, tanto involucradas como no involucradas con la música, información relacionada con la licenciatura en Educación Musical para un mayor conocimiento sobre su contexto, su distinción de otras carreras pertenecientes al campo de la música, así como también el campo laboral al que pueden aspirar y las posibilidades para especializarse o estudiar un posgrado. También se hace referencia a los beneficios que genera la Educación Musical como instrumento de formación integral en los seres humanos y como agente de transformación social en nuestra sociedad de hoy desde diferentes aristas. Finaliza el programa con anécdotas, contenido motivacional y testimonios personales de nuestra invitada como profesional de la educación musical.Direccion: Dra. Irma Susana Carbajal VacaProducción: Mtra. Karla Jacqueline Silva-Doray LedezmaLocución: Mtro. Pedro Román Cu Acosta (locutor) y Lic. Daniela Vázquez Lanz (invitada)Guión: Mtro. Pedro Román Cu Acosta (conductor) y Lic. Daniela Vázquez Lanz (invitada)Selección Musical: Mtro. Pedro Román Cu AcostaProgramación: Karla Silva-Doray Ledezma en Radio UAA, y Alejandra de los Ríos en plataformas digitales. Género: Informativo / Educativo / Información VocacionalFecha de produción: Agosto de 2021

Lauren and Anthony wrap up the school year, and reflect on the Stephen Neely conversation. THE BIG QUESTION: We know that the Dalcroze approach improves musicianship in myriad ways. When did you realize that the Dalcroze work did more than just improve musicianship? What does it mean to be an education "in and through" music? Dr. John Habron joins to discuss the upcoming ICDS conference.

Episode two, in which we discuss aural skills pedagogy, the Dalcroze method, fixed do vs. moveable do solfege, and music theory in relation to performance and persona. Dalcroze article Anna-Stephen Robinson's article Timestamps: Emily's research project: 2:33 Fixed do vs. moveable do: 6:18 Improvisation: 17:18 Scale degree mimes: 21:56 The intersection of performance and analysis: 27: 10 Individuality in performance: 31:10 Teacher/student dynamics: 40:00 Get in touch with us at: thetheoryclubpodcast@gmail.com

Silvia Del Bianco joins Anthony and Lauren to discuss the IJD. Andrew Davidson gives us the history of Hellerau. Anthony and Lauren struggle to write research papers and explain the connection of the IJD and Certification. Additional music in this episode by Silvia Del Bianco.

Welcome back to Teach Talk with the Fine Arts! My guest today is Martina Vasil. She is a music professor at the University of Kentucky. She taught me about different music education methods that I hadn't heard of before such as Orff and Dalcroze and she talks about the transition that she had to make when COVID first hit! I hope you all enjoy this episode! Thank you for listening! Follow me: facebook.com/stereotypicallysarah instagram.com/stereotypicallysarah youtube: https://www.youtube.com/sarahbailey94 Where to listen to my podcast: https://anchor.fm/sarah-noel Business inquiries: sarahbailey94@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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Pedagogo Dalcroze

Emile Jacques Dalcroze

Anthony and Lauren discuss non-piano teaching ideas. Cheng-Feng Lin shares his teaching techniques. Get to know international sensation Manuel Zazueta.

What do Dr. Craig Hurley’s research and your singers’ musicality have in common - everything! In this episode, Dr. Hurley shares his incredible research into infusing expression and what he’s found about singer artistry while compiling data for his study. For those research lovers out there, we talk about data and how the study was set up, even where the research question came from (hint: thanks Robert Shaw and an article by Dr. Cornelia Yarbrough). For those uninspired by research, don’t worry, Dr. Hurley is an elementary specialist who has perfected the ability to transfer research into tangible tools that, as he says, “will impact rehearsal tomorrow.” Whether you have 5 year-old new singers, a community choir of all ages, or the most advanced college choir, this episode and Dr. Hurley’s research offers ideas you can try in rehearsal immediately. Dr. Hurley’s Bio: http://www.cobblearning.net/mustangmusic/about/ More resources from Dr. Hurley: http://www.cobblearning.net/mustangmusic/teacherresources/ Learn more about Spivey Hall Children’s Choir and Dr. Hurley’s Young Artists: https://www.facebook.com/shccprogram Book and article referenced in episode: Caldwell, J. T. (1995). Expressive singing: Dalcroze eurhythmics for voice. Prentice Hall.
 Yarbrough, C. (2002). Sequencing musical tasks: The teaching artistry of Robert Shaw. Update: Applications of Research in Music Education, 21(1), 30-37. *Show music originally written by Mr. Todd Monsell **Show photography provided by Dr. Dan Biggerstaff

Lauren and Anthony try to explain Dalcroze to strangers. Michael Joviala improvises in changing meters. Weronika Balewski joins Lauren and Anthony to discuss the Virtual Dalcroze Meetup.

Rote learning is a method of instruction based on imitation and repetition. This is useful for things like multiplication tables and the ABCs, but it’s also beneficial for learning a new language and yes, learning music. And in a day and age when we’re doing more online teaching, this is especially important.When we learn something by rote, we start by listening, then experiencing it ourselves — imitating what we see or hear, listening and watching again, and repeating it until we can do it on our own.The five primary methods of music teaching and learning, as developed by Kodaly, Dalcroze, Orff, Suzuki, and Gordon are all built on the principle of rote-first instruction (source). This means that children are taught through imitation, listening, and active experience before being asked to read music notation.Researchers and piano pedagogues Dr. Julie Knerr and Katherine Fisher, authors and creators of the Piano Safari method series advocate, "Music is an aural art, so students must learn music with their ears as well as with their eyes. A balance between pieces taught by notation (eye) and those taught by rote (ear) will help students deeply understand and fully express music.” (source)Today, I want to talk about three of the primary benefits of rote learning in music education and offer some practical, step-by-step techniques for incorporating rote learning into your teaching approach.For show notes, click here.Resources mentioned:Please note: some of these links are affiliate links, which means if you decide to purchase through any of them, I will earn a small commission. This helps support the podcast and allows me to continue creating free content. Thank you for your support!The Benefits of Rote-Teaching (Dr. Julie Knerr & Katherine Fisher)Classroom Activities for Teaching a Rote Song (Gordon Institute for Music Learning)Methodology: Sequence, Whole/Part/Whole Curriculum, and Other Central Principles (Gordon Institute for Music Learning)Piano Safari - a beginning piano methodFun, Easy Gathering Activities for Children’s ChoirHow to Teach Solfege in Children’s Choir

Exploración y contraposición del método de Gabrielle Roth y el ritmo comparado con la técnica dalcrozeProducción: María del Sol Blandina Rosales Reyes y Hugo David Tiscareño TalaveraDirección: Dra. Irma Susana Carbajal VacaGuion: María del Sol Blandina Rosales ReyesSelección Musical: María del Sol Blandina Rosales y Hugo David Tiscareño TalaveraLocución: María del Sol Blandina Rosales y Hugo David Tiscareño TalaveraOperador Técnico: Hugo David Tiscareño Talavera, Ale de los Rios en Radio UAA, Karla Ledezma en plataformas digitalesGénero: EntrevistaAño de Producción: Julio, 2020

Flute 360 | Episode 118: “What to Expect from a KinderFlute Teacher Training Class, Part 1” (32:59) In today’s episode, Heidi talks with Kathy Blocki and Molly Shortridge about the KinderFlute Teacher Training Class. Molly and Kathy share a wealth of information regarding KinderFlute and how to inspire students (of all ages) to learn through game-based activities! Today’s discussion is continued in Episode 119 (Part 2), which will air on Saturday, June 27, 2020! Episode 118 – Main Points: 0:29 – Gold Sponsor: Blocki Flute Method 1:12 – Welcome & Introduction! 1:33 – Running & Gardening 2:42 – Episodes 43, 90 and 91 3:02 – Episode 90: An Interview with Kathy Blocki, Creator of KinderFlute 3:15 – Today’s Topic! 3:39 – Heidi: Molly, please share with the listeners who you are and your musical background! 3:48 – Molly’s Answer 3:56 – Music Therapy 4:37 – Molly’s Music Studio 5:33 – Heidi: Kathy, please share with the listeners who you are and your musical background! 5:46 – Kathy’s Answer 5:52 – Bernard Goldberg & Marcel Moyse, flutists 6:01 – Repertoire: 24 Little Melodic Studies with Variations by Marcel Moyse 6:17 – Samuel Baron, flutist 6:29 – James Pellerite, flutist 6:50 – Orchestras: Fort Wayne Philharmonic & American Wind Symphony Orchestra 7:29 – Episode 90: An Interview with Kathy Blocki, Creator of KinderFlute 7:43 – Question: As a quick Episode 90 summary, what is KinderFlute? 7:48 – Kathy’s Answer 8:40 – Kathy’s research on brain development. 9:15 – Book: “Spark” by Dr. Ratey 9:40 – Miracle Grow! 9:58 – Teaching students who have learning disabilities. 10:43 – Kathy passes the baton over to Molly. 10:55 – Molly’s Answer 11:09 – Blocki Flute Method Books! 11:30 – Incorporating games within the learning process. 11:57 – Question: Any other comments about KinderFlute that you’d like to share before we talk about the teacher training class? 12:06 – Molly’s Answer 12:10 – Student flute with curved headjoint. 12:26 – Kathy’s Answer 12:35 – Kathy Blocki’s New Book: Flute Zoo 13:05 – Heidi Comments 13:25 – Molly is the artist for the “Flute Zoo” book! 14:31 – “We are trying to instill into the teachers that they are lifelong learners, and the children are lifelong learners, too!” – Kathy Blocki 14:47 – Walfrid Kujala, flutist 14:48 – The National Flute Association 15:10 – Flute Embouchure 15:44 – Paul Edmund-Davies, flutist 17:10 – Chicago Symphony Orchestra 18:28 – Question: When did you design and offer the KinderFlute Teacher Training Class? 18:38 – Kathy’s Answer 20:40 – Dalcroze 21:27 – Question: When did you attend the class, Molly? 21:30 – Molly’s Answer 22:54 – Question: What are the differences between the Blocki Method and the Suzuki Method? 23:08 – Kathy’s Answer 23:13 – Suzuki Flute Method 24:37 – Pneumo Pro 24:50 – Winnie the Pooh! 28:17 – Kathy comments on why she brought Molly back to the class a second time. 29:02 – Molly Comments 30:37 – Kathy encourages teachers to learn from their students! 31:21 – Today’s discussion is continued in Episode 119, Part 2, which will air 06/27/20! 31:46 – Bronze Sponsor: J&K Productions Episode 118 – Resources Mentioned: Registration Link for the KinderFlute Teacher Training Class! Molly’s Bio Kathy’s Bio Blocki Flute’s Website Book: “Spark” by Dr. Ratey Flute 360 Podcast Episode 43: “Kathy Blocki, Inventor of the Pneumo Pro!” Flute 360 Podcast Episode 90: “An Interview with Kathy Blocki, Creator of KinderFlute!” Flute 360 Podcast Episode 91: “Flute & Movement – A Group Discussion!” Dr. Heidi Kay Begay’s Website Episode 118 – Sponsors: Gold Level: Blocki Flute Method Bronze Level: J&K Productions

La producción del largometraje documental 'Los acordes de la memoria' sigue su curso tras una exitosa campaña de micromecenazgo en la plataforma Verkami. Fue rodado en tiempo real, recogiendo el proceso de investigación, preparación y ejecución del proyecto "La música de tu historia. Música y cerebro en comunidad”; una iniciativa innovadora e ilusionante que se desarrolló en la clínica Josefina Arregui de Alsasua y que tuvo como colofón un espectáculo de vocación socializadora y reintegradora de todos los participantes. El documental -cuyo estreno se espera para septiembre u octubre de este año- nace como herramienta para la reflexión sobre la memoria, los recuerdos y la forma en la que personas con demencias encuentran su conexión con la realidad a través de la música y otras manifestaciones artísticas. 'Los acordes de la memoria' retrata la utilización de metodologías musicales, tales como: Orff, Willens, Kodally, Dalcroze o el Soundpainting, técnicas utilizadas por primera vez en Navarra en pacientes afectados por demencia. Hablamos con Raúl Madinabeitia. creador y productor.

La producción del largometraje documental 'Los acordes de la memoria' sigue su curso tras una exitosa campaña de micromecenazgo en la plataforma Verkami. Fue rodado en tiempo real, recogiendo el proceso de investigación, preparación y ejecución del proyecto "La música de tu historia. Música y cerebro en comunidad”; una iniciativa innovadora e ilusionante que se desarrolló en la clínica Josefina Arregui de Alsasua y que tuvo como colofón un espectáculo de vocación socializadora y reintegradora de todos los participantes. El documental -cuyo estreno se espera para septiembre u octubre de este año- nace como herramienta para la reflexión sobre la memoria, los recuerdos y la forma en la que personas con demencias encuentran su conexión con la realidad a través de la música y otras manifestaciones artísticas. 'Los acordes de la memoria' retrata la utilización de metodologías musicales, tales como: Orff, Willens, Kodally, Dalcroze o el Soundpainting, técnicas utilizadas por primera vez en Navarra en pacientes afectados por demencia. Hablamos con Raúl Madinabeitia. creador y productor.

Today's podcast episode with Jessica Grant is about two topics that she is both knowledgeable and passionate about... combining the Orff and Kodaly approaches and teaching music to upper elementary and middle school students. Jessica Grant is the middle school music specialist at Good Shepherd Episcopal School in Dallas, Texas. She taught fourteen years as an elementary public school music specialist prior to teaching middle school students for the past four years. She has taken Dalcroze classes, is certified in Orff Schulwerk, and completed Kodaly Level III this past summer. Jessica earned her Bachelor of Music in Music Education from Lee University in Cleveland, TN, and her Masters of Music in Music Education from Southern Methodist University in Dallas, TX. She is a member of AOSA, OAKE, ARS, and TMEA. Jessica is the host and creator of the Afternoon Ti Podcast on iTunes and Stitcher. You can find Jessica here: Instagram: @highafternoonti Facebook: Jessica Morrison Grant Afternoon Ti Blog Afternoon Ti Podcast Links shared in this episode include: Waltz No 2 by Shostakovich Percussion for Waltz in 2 (Group Example) Playlist I'd love for you to leave a rating and a review of the podcast on I-tunes, be sure to share the podcast with any music teacher friends who would find it helpful and be sure to tag me on Instagram or Facebook.

Today we’re joined by one of the leading Gordon-trained music educators and author of Music Moves for Piano, Marilyn White Lowe. Music Moves is an innovative approach to teaching piano, which from the very beginning incorporates all of the “inner skills” we focus on here at Musical U, such as improvising, playing by ear, composing your own music and collaborating with other musicians.   Music Moves uses Dr. Edwin Gordon’s Music Learning Theory, which codifies how the human brain learns music, as the basis for designing how musicianship can most effectively be taught. “Music Learning Theory” has previously been featured on Musicality Now, most notably in our interview with Professor Cynthia Crump-Taggart, President of the Gordon Institute for Music Learning. We’ve discussed several times on past episodes the idea of audiation, which is a word Edwin Gordon originally coined. Audiation has detail and depth that goes far beyond simply “imagining music in your head”. Marilyn brings a wonderful new perspective to audiation for us, as educators applying it directly in the context of teaching an instrument.   Drawing on ideas from Orff, Suzuki, Dalcroze, and Kodály, The Music Moves For Piano method incorporates listening, singing, movement, audiation, and notation, on top of the pure piano technique skills - and as you’ll hear in this conversation it develops the student into a fully-fledged and well-rounded musician - not just a piano player.   In this conversation we talk about:   • Why clapping, tapping or walking may not be the best ways to internalise the pulse and the rhythmic patterns of music. • The specific rhythm and pitch frameworks which give students the "vocabulary" they need to improvise and be creative in music. • Why the age of 9 is a turning point in music learning, and what that means for adult music learners.   A lot of the concepts we talk about here at Musical U are brought to life in this conversation. If you’ve ever wondered what it would look like to learn an instrument in a way that truly incorporates musicality training, rather than having it be off in its own separate area, this episode will inspire your music learning.   Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS | YouTube   Full Show Notes and Transcript: Episode 214   Links and Resources • Music Moves For Piano • Music Moves Books • Music Moves Videos • The Gordon Institute for Music Learning - Music Learning Theory • Edwin E. Gordon - Learning Sequences in Music • Edwin E. Gordon - How Children Learn When They Learn Music • Gerald Eskelin - Lies My Music Teacher Told Me • Eric Bluestine - The Ways Children Learn Music: An Introduction and Practical Guide to Music Learning Theory • Music Learning Academy • Musicality Now - Audiation and Thinking Music, with Cynthia Crump Taggart • Creative Piano Teachers Podcast - Forrest Kinney on The 4 Arts of Music     Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

Flute 360 | Episode 88: “Dalcroze Eurhythmics & Integrative Education with Weronika Balewski” (33:37) In today’s episode, Heidi talks with Weronika who is a flutist and an educator who incorporates the Dalcroze method into her teaching. By incorporating movement, within our bodies, we as musicians can help internalize the music. As a result, we can play with more freedom and show our musical intentions with ease! Check out today’s episode to hear all the details! Episode 88 – Main Points: 0:51 – Gold Sponsor: J&K Productions 1:44 – Welcome & Introduction! 2:22 – Heidi: Please share with the listeners who you are and your musical background! 2:28 – Weronika’s Answer 3:09 – Integral Steps – a non-profit music organization 3:34 – Emma Shubin, flutist (Flute 360’s Episode 87) 3:47 – “In the music world we thrive on relationships! It’s never a business transaction of creating a product.” – Weronika 4:09 – Today’s Topic: Dalcroze Eurhythmics and Integrative Studies 4:20 – Question: What is the Dalcroze method? 4:23 – Weronika’s Answer 5:30 – Heidi Comments 6:30 – Weronika Comments 7:52 – Heidi’s Follow-Up Question 8:21 – Weronika’s Answer 9:15 – Question: How do you integrate your Dalcroze knowledge into your private flute lessons with your students? 9:23 – Weronika’s Answer 11:23 – Weronika continues with a music story from a student’s flute lesson! 12:15 – Question: How have you seen the Dalcroze method impact the students’ musical growth? 12:32 – Weronika’s Answer 13:22 – Topic: Different Learning Styles 13:46 – Heidi’s observation on incorporating movement within her practice sessions! Listen here! 14:26 – Topic: Movement within the Body 16:43 – Topic: Shaping the Musical Phrase 19:49 – Topic: Adults Learning the Dalcroze Method 20:19 – “We all learn better when we use our bodies!” – Weronika 21:18 – Heidi comments on Sam Hood’s DMA Thesis (Episode 10) 21:39 – Texas Tech University, School of Music 22:07 – Weronika asks Heidi a question! Listen here! 26:30 – Question: You are involved with a non-profit organization, Integral Steps. What is your role within the organization? How has your time with the group impacted you and your career? 26:46 – Weronika’s Answer 31:17 – Weronika comments on the Flute 360 Podcast. Listen Here! 32:05 – Bronze Sponsor: KinderFlute with Kathy Blocki Episode 88 – Resources Mentioned: Flute 360 – Dr. Heidi Kay Begay’s Website Financially Support Flute 360! Weronika Balewski’s Website Weronika’s YouTube Channel – Subscribe Here! Weronika’s Instagram – Follow Here! Flute 360’s Episode 10 Flute 360’s Episode 87 Episode 88 – Sponsors: Gold & Silver: J&K Productions Bronze: KinderFlute with Kathy Blocki

Flute 360 | Episode 87: “Dalcroze Eurhythmics and Integrative Education with Emma Shubin” (54:11) In today’s episode, Heidi talks with Emma Shubin about the Dalcroze method and integrative studies. The ladies talk about how incorporating movement, within our performances, can help our musical intentions to be more free and expressive through the flute. Check out today’s episode for more details!  Episode 87 – Main Points: 1:02 – Gold Sponsor: J&K Productions 1:55 – Welcome! 2:53 – Heidi: Please share with the listeners who you are and your musical background! 3:02 – Emma’s Answer 5:45 – Heidi: Reference to Series 17 with Mr. Robert Dick (Episodes 79-82) 6:20 – Emma talks about how the body is our first instrument. 8:52 – Question: What drew you to the Dalcroze method? What led you to become a certified and licensed Dalcroze teacher? 9:12 – Emma’s Answer 12:37 – Heidi summarizes Emma’s gold nuggets, thus far. Listen here! 14:22 – Heidi Comments 15:08 – “Music happens in the present time!” – Emma 15:38 – Lisa Parker, educator 18:03 – Question: What is the Dalcroze methodology? 18:30 – Emma’s Answer 22:56 – Question: If someone was interested in pursuing a Dalcroze certification and, or licensure what are the differences between the two? 23:08 – Emma’s Answer 28:54 – Heidi Comments 33:11 – Topic: Education 35:58 – Question: Do you integrate the Dalcroze method in every private flute lesson with your students? 36:10 – Emma’s Answer 41:36 – Heidi: Reference to Episode 74 (Interview with Ai Goldsmith at 13:53)! 42:25 – Emma Comments 44:07 – “We are a really small community (as it were), yet, we are apart of a large community of music-makers. To me, every person is a musician whether they are an instrumentalist or not. Music is something that we carry with us whether it’s for celebration or mourning or apart of our day. I couldn’t imagine my day without music.” – Emma 46:16 – Question: As a flute community, what can we do to help your non-profit organization, Integral Steps? 46:25 – Emma’s Answer 47:25 – Play It Forward – Scholarship Program, Dr. Jessica Sherer 50:15 – Contact Emma Shubin! 52:36 – Bronze Sponsor: KinderFlute with Kathy Blocki Episode 87 – Resources Mentioned: Flute 360 – Dr. Heidi Kay Begay’s Website Financially Support Flute 360! Emma’s Website Emma’s YouTube Channel Integral Steps’ Website Integral Steps’ Facebook Page Dalcroze’s Website Play It Forward – Scholarship Program, Dr. Jessica Sherer Lisa Parker, educator Flute 360’s Episode 74 Flute 360’s Episodes 79-82 Episode 87 – Sponsors: Gold & Silver: J&K Productions Bronze: KinderFlute with Kathy Blocki

Music teachers thrive most when they network with other music teacher and share their challenges, experiences, tips and stories. One teacher who knows this better than most is Debbie O’Shea, a self-professed ‘Networking Queen’.Debbie is a Brisbane-based music teacher and the founder of Crescendo Music Education. After almost 40 years in the profession, Debbie says you can never stop learning. She doesn’t pretend to have all the answers and loves being a resource to help others find out what they need to know on their music teaching journey.Debbie shared why networking among music teachers is a great way to share, support and inspire each other. She also shared some of her favourite networking tips and ideas. Debbie had five reasons for becoming the Networking Queen but has since developed two more…Reason # 1 - Meeting the need to be sociable and to connect. This reduces feelings of isolation and creates opportunities to: find work (professional and voluntary); advance your career; find performance opportunities for yourself and/or your students; make contact with composers and/or conductors. You never know where connections might lead.Reason #2 - Create a sense of belonging or ‘tribe’. This creates and builds relationships, both professional and personal.Reason #3 - Support. Networking allows you to find mentors and peers to help find solutions to specific problems.Reason #4 - Teaching ideas can be found and learned through networking with others.Reason #5 - Being in the company of others leads to increased motivation and inspirationThen she added a couple of extra reasons …Reason #6 - Personal development benefits arising from being with others include: Improved communications skills; discovery of relevant research; discovery of new areas to study; tolerance and patience; and vulnerability.Reason #7 - Networking provides opportunities to give through sharing and ‘paying forward’ which in turn can lead to collaboration opportunities.Debbie also shared her top ten tips for networking.Which you can listen to on the podcast. Useful LinksCrescendo Music - https://crescendo.com.auCrescendo on YouTube - https://www.youtube.com/user/CrescendoMusicEdDebbie O’Shea on LinkedIn - https://www.linkedin.com/in/debbie-o-shea-62a3741b/Crescendo Facebook Page https://www.facebook.com/CrescendoMusicEd/Crescendo on Twitter - https://twitter.com/crescendomusic Professional AssociationsKMEIA http://www.kodaly.org.au/membership/ ASME http://www.asme.edu.au/ ORFF http://www.ancos.org.au/ Dalcroze https://www.dalcroze.org.au/ ANCA https://anca.org.au/Facebook Groups and PagesCrescendo Community: https://www.facebook.com/groups/crescendocommunity/ KMEIA QLD Page https://kodaly.org.auKMEIA QLD Discussion Group https://www.facebook.com/groups/32111233720/ Music Teachers Group (over 30,000 members) https://www.facebook.com/groups/musicpln/

Anne Mileski is a leading elementary music educator, podcaster, lover of all things purposeful, sequential, and joyful. Her story will make you consider what your elementary music experience was like as a child and how teaching or learning in the elementary music classroom can be so different today. Anne didn't intend to be a music educator, she was pursuing her master's in trumpet performance. But during this experience her passion for teaching young musicians was unlocked and the rest "is history."  One of the things I love about Anne is how versed she is in different music learning pedagogies and how she gleans what works for her from them. Anne briefly breaks down what it means to be "Kodaly-inspired" and gives us a refresher on Dalcroze, Orff, and Music Learning Theory.  Be sure to follow Anne on IG and FB - @anacrusic and Anacrusic or on her website www.anacrusic.com Choir Baton Host: Beth Philemon @bethphilemon | www.bethphilemon.com Visit Choir Baton Online: @choirbaton | www.choirbaton.com Choir Baton Theme Song by Scott Holmes

Taking a Kodály, Orff, and Dalcroze level this summer? Tanya and Carrie give tips for preparing for summer learning. Show notes can be found here:https://tanyaelementarymusic.blogspot.com/2019/05/mtct-40-preparing-for-summer-learning.html

On Part 2 of our discussion about singing and the Solfa, we continue our chat with RaeAnna Goss, singing teacher, homeschool graduate, homeschooling mother, and Charlotte Mason follower, who has created Solfa Sofa, an early years approach for introducing singing in a CM-friendly way. (Part 1 can be found here.) We were also joined by Crystal Hosea of The Legends of the Staff of Musique, but we invited Crystal back for another episode about her own CM approach to combining story and music, which will air in a couple of weeks. Recorded April 15, 2019 Show Notes: Heidi Buschbach0:26 Free Resource IdeasChildren of the Open AirSing SolfaSolfa Sofa 3:00 Paid Resouce IdeasJohn M. Feierabend and Conversational SolfegeThe Kodály Center at Holy Names UniversityOrganization of American Kodály Educators5:02 Should you use a certain set of songs to teach?6:35 Canadian ResourcesKodály Society of CanadaMusic Play with Denise Gagné7:15 Crystal Hosea of The Legends of the Staff of Musique 8:14 Dalcroze and Movement9:01 Miriam's experience with Children of the Open Air10:13 An overview of Solfa as learned up to Form 310:45 What to do in the upper forms11:24 Skills to learn in the lower forms15:34 Ear Training (PNEU article: A Few Remarks on Teaching Music by W.H. Leslie) 17:36 Starting with an older studentArticle referenced by Heidi Buschbach for older beginnersOutschool19:42 Solfedge, Solfa and Solfedgio20:46 Find the joy and protect your children's voices27:07 Fun resources Music K-8 MagazineSmithsonian Folkways Recordings The Kodály Center at Holy Names University Workshops with chapters of the American Orff-Schulwerk Association29:46 Nature minutesCoyote's Guide To Connecting with Nature Book DiscussionFletcher and the Springtime Blossoms

In this episode, you'll hear all about Dalcroze Eurythmics with Terry Boyarsky.  Terry has a wealth of experience using the Dalcroze Approach with teachers and students.  In Part I, she shares about her experience learning the approach, information about Jacques Dalcroze and takes us through the process of using the approach in a lesson. www.terryboyarsky.blog www.afternoonti.blogspot.com   Intro/Outro Music Our Big Adventure by Scott Holmes www.scottholmesmusic.com  

In this episode, I will continue talking with Terry Boyarsky about Dalcroze Eurythmics.  Terry shares about notation, song material, working with older students, and more.   Terry's website:  www.terryboyarsky.com Afternoon Ti website: www.afternoonti.blogspot.com   Intro/Outro Music: Our Big Adventure by Scott Holmes Website: www.scottholmesmusic.com 

In this three-part episode, you'll hear about the 'triple threat': Dalcroze, Kodaly and Orff Approaches.  I'll be sharing how the approaches began, who the men/women are that began them and elements within each.  This episode is Part I and focuses on the Dalcroze approach. My hope is that you'll gain more insight into the purposes behind the approaches, their commonalities and how a teacher who is inspired by each approach would facilitate their classes so their students become life-long musicians. www.afternoonti.blogspot.com Intro/Outro Music: Our Big Adventure by Scott Holmes www.scottholmesmusic.com  

In this three-part episode, you'll hear about the 'triple threat': Dalcroze, Kodaly and Orff Approaches. This is Part II and focuses on the Kodaly approach. I'll be sharing how the approaches began, who the men/women are that began them and elements within each, as well as much more. Holy Names University Folk Song Collection: http://kodaly.hnu.edu/collection.cfm www.afternoonti.blogspot.com  Intro/Outro Music: Our Big Adventure by Scott Holmes www.scottholmesmusic.com 

In this three-part episode, you'll hear about the 'triple threat': Dalcroze, Kodaly and Orff Approaches. This is Part III and focuses on the Orff approach. I'll be sharing how the approaches began, who the men/women are that began them and elements within each, as well as much more. www.afternoonti.blogspot.com  Intro/Outro Music: Our Big Adventure by Scott Holmes www.scottholmesmusic.com 

In this episode, I'll share how we can integrate three well-known approaches to teach our students a musical piece.  You'll hear how we can pull out the concept of sixteenth notes from a Music for Children Volume I piece and teach it using the Dalcroze, Kodaly and Orff approaches.  Check out the blog to see more information: www.afternoonti.blogspot.com Intro/Outro: Our Big Adventure by Scott Holmes www.scottholmesmusic.com

Today I'll talk with Vicky Suarez about Songworks, ideas for how to teach song material using ideographs and song dotting, and maintaining vitality as an educator. www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

In Episode Five, I'll talk about ways to keep motivation going in our personal and professional lives during the drab days of winter - or the semi-cold heat if you live down south. www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

In Episode 3, I shared my favorite resources for Pre-K through Lower Elementary classes. Today I share the resources that are my go-to's for Upper Elementary thru Middle School classes. www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

Today I'll be sharing my favorite resources that I love to use with Pre-K thru Third Grade students. I'll give information about how I use the materials, why they are the ones I repeatedly use and hopefully find some new things to try in your classroom. www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

Learn strategies for how to use space in your classroom as a tool for movement, instrument set-up and storage. Hear ideas for organization of materials as well! www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

In this bonus episode, I'll share nine tips for returning to school rested and rejuvenated after the holiday break. Merry Christmas and Happy New Year! www.afternoonti.blogspot.com Intro/Outro Music: "Our Big Adventure" by Scott Holmes www.scottholmesmusic.com

In this episode of TAP, we're continuing our conversations about active music making approaches. Today I talk with Dr. Marla Butke, current president of the American Eurhythmics Society, about using Dalcroze in the general music classroom. Marla Butke, Ph.D., directs the Women's Chorale at Otterbein University and teaches Choral Methods at Capital University. She has previously taught at Ashland University, Xavier University, The Ohio State University, and Ohio Wesleyan University. She holds degrees from Miami University, Wright State University and The Ohio State University. She is a Master Teaching Artist with the American Eurhythmics Society, serves as the president of the board of AES, and is on the board of the Ohio Choral Directors Association. Dr. Butke regularly presents workshops throughout the United States on Dalcroze Eurhythmics. Dr. Butke has been published in General Music Today, TRIAD, Update, The Orff Echo, and Enrollment Management. Her book, co-authored by Dr. David Frego, Meaningful Movement: A Music Teacher's Guide to Dalcroze Eurhythmics, was recently released. Links mentioned in this episode: American Eurhythmics Society | Dalcroze Society of America | Meaningful Movement: A Music Teacher's Guide to Dalcroze Eurhythmics by Marla Butke and David Frego The Anacrusic Podcast is a proud member of the Music Teacher Development Podcast Network. The MuTed network provides support in the form of audio on demand programming designed by and for music educators. You can find more information about our network at mutedpodcasts.com  Click here to become a member of the TAP Insiders FB Group | Click here to subscribe to the Anacrusic Newsletter

Today we’re joined by Professor Cynthia Crump Taggart, the President-Elect of the Gordon Institute for Music Learning. You might have heard that name “Gordon” in the world of music education as associated particularly with audiation, and in fact Edwin Gordon developed a whole approach to music learning which is called, simply enough, Music Learning Theory.   We had been keen to invite a Music Learning Theory expert onto the show for a while because we’ve covered some of the other “biggies” in terms of music education methodologies that really cultivate musicality, like Kodály, Dalcroze, and Orff, and we also talk a lot about audiation at Musical U, a word that Gordon himself invented.   So we were delighted when Professor Crump Taggart agreed to come on the show and this conversation was really fruitful and fascinating.   We talk about: • Her own musical upbringing and her first experiences learning from Edwin Gordon himself • The slightly imprecise way we tend to use the word “audiation” at Musical U and what it should really be used to mean • And the two simple activities Professor Taggart recommends if you want to incorporate Music Learning Theory into your own life as an adult musician.   This was a super cool glimpse into both the history and roots of Music Learning Theory, as well as the practicalities of what it does and how.     Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 120   Links and Resources • Jump Right In: The Music Curriculum Grades K-6 • Music Play: The Early Childhood Music Curriculum • The Gordon Institute for Music Learning • Color In My Piano   Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

Today we’re joined by Anne Mileski of Anacrusic.com and The Anacrusic Podcast. Anne is trained in several of the musicianship approaches we’ve covered here on the show before, including Kodály, Orff, Dalcroze and Music Learning Theory, and her mission is to make music teaching as purposeful, sequential, and joyful as possible for music teachers everywhere. Anne really stands out as someone who draws on each of those approaches to musicianship training to develop her own very well thought-out material. And she shares this with other music teachers through in-person workshops as well as her popular website and podcast.   We really enjoyed getting the chance to talk to Anne about her experience and observations of the various approaches to musicianship training, and we’ll throw in our normal disclaimer that although some of the specifics we’ll be talking about are geared towards music teachers and early childhood music education, if you are an adult and/or a student yourself, keep listening! There are plenty of insights and valuable nuggets for you in here.   We talk about: • Anne’s own musical upbringing and a few key experiences, both positive and negative, that influenced her own musicality and how she approaches her teaching • The relative strengths of Kodály, Orff, Dalcroze, and Music Learning Theory • The importance of sequencing in teaching and learning - and the two timescales you need to be thinking about for designing effective music learning sequences.   Anne is a great story-teller and we know her stories will resonate with you, as well as her insights on singing, sequencing, improvising and more.   Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 116   Links and Resources • Anacrusic • The Anacrusic Podcast • Book: Teaching General Music: Approaches, Issues, and Viewpoints   Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

Today's episode is all about Dalcroze Eurhythmics, with Dr. David Frego. David is a Dalcroze practitioner and teacher trainer, and has developed materials for children and teachers to implement meaningful movement in the various settings. He is an incredibly joyful and intentional pedagog, and in this interview we discuss some of the main tenants of Dalcroze inspired teaching. You can find out more about how to contact Dr. Frego here | Learn More about the American Eurhythmics Society Here | Click here for Creating Artistry Through Movement: Dalcroze Eurhythmics in the Choral Setting DVD |  Click here for Meaningful Movement: A Music Teacher's Guide to Dalcroze Eurhythmics co-authored with Dr. Marla Butke The Anacrusic Podcast is a proud member of the Music Teacher Development Podcast Network. The MuTed network provides support in the form of audio on demand programming designed by and for music educators. You can find more information about our network at mutedpodcasts.com  Click here for my blog post on implementing movement into your music classroom | Click here to become a member of the TAP Insiders FB Group | Click here to subscribe to the Anacrusic Newsletter

This question was sent by Danielle. She writes: Dear Vidas and Ausra, I was an organ major as an undergraduate but had no background in harmony or scales. So even though I could learn organ literature, play for church services, and accompany choirs on organ, I could never improvise. Because I had no mental shortcuts (ie knowing what key the piece had modulated to, etc) the learning process was extremely arduous, and I stopped playing as soon as I could and switched to choral conducting. The stress of preparing for weekly church services was just too great. Fast forward 25 years, and now I am subbing on organ for Catholic masses, and sometimes cantoring simultaneously! Thanks to some Dalcroze training, I can now entertain the possibility of improvising. But I'm finding it to be more challenging to improvise on organ vs improvising on piano for children's music classes. So my dreams are to be able to improvise postludes and to be able to re-harmonize the final verse of congregational hymns to add a few juicy twists. I see these goals as interrelated. The three things most holding me back are a lack of understanding of harmony, a lack of handy chord progressions to lean upon, and a lack of an organized approach to tackle these tasks. Thank you so much for your daily emails! They are very encouraging. Danielle in New York

Flute 360 | Episode 10: “An Interview with Dr. Sam Hood” (1:16:12) Today, Heidi talks with Dr. Sam Hood about his thesis research, “The Flutist’s MAPP (Movement Applications for Practice and Performance): A Dalcrozian Approach to Flute Pedagogy.” Sam talks about Dalcroze’s method and how it led him to his thesis topic. In addition, he discusses three exercises (tap the balloon, arm flute walking music, and “hoopbrato”) that flutists can incorporate within their own practice session! Episode 10 – Main Points: Background of “The Flutist’s MAPP” (2:40) Sam’s Teachers: Bonnie Jacobi, Fritz Anders, & Dr. Lisa Garner Santa Who is Jaques-Dalcroze? (5:41) Dalcroze’s Violin Concerto (6:04) Alexander Technique (8:11) Eurhythmics (8:47) Sam’s takeaway – it’s a personal experience Teaching Music In The Twenty-First Century by Robert Abramson, et al (11:19) A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances by Eloise Ristad (12:50) Resources for Listeners – please see below (14:00) Rhythm and Life: The Work of Emile Jaques-Dalcroze by Irwin Spector (15:40) Dalcroze Videos – please see below (16:30) William Westney at Texas Tech University (18:08) Dalcroze foundation to “The Flutist’s MAPP” (20:26) Three Aspects (22:18) 1.) Improvisation 2.) Time, Space, & Energy 3.) Rhythmic Layers Rhythm and Movement: Applications of Dalcroze Eurhythmics by Elsa Findlay (23:40) 2ndAspect – Time, Space, and Energy (30:18) 3rdAspect – Rhythmic Layers (35:04) 1.) The pulse of the piece (36:00) 2.) The breath (37:03) 3.) The fingers (39:38) Bringing Music to Life by Barry Green (40:02) 4.) The tongue (43:35) Try learning the music without your flute. (45:34) “The Flutist’s Mapp” Exercises – please see videos below 1.) Tap the Balloon (47:27) 2.) Arm Flute Walking Music (52:01) 3.) “Hoopbrato” (1:00:23) Episode 10 – Resources Mentioned: Books: Teaching Music In The Twenty-First Century by Robert Abramson, et al A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances by Eloise Ristad Rhythm and Life: The Work of Emile Jaques-Dalcroze by Irwin Spector Rhythm and Movement: Applications of Dalcroze Eurhythmics by Elsa Findlay Bringing Music to Life by Barry Green Rhythm, Music and Education by Jaques-Dalcroze Emile YouTube Videos: Fritz Anders Dalcroze Eurhythmics with Lisa Parker Dalcroze Eurhythmics Skipping Game with Greg Ristow Dalcroze Eurhythmics Stopping-Starting Quick Reaction with Greg Ristow Dalcroze Eurhythmics Jumping Game with Greg Ristow Sam Hood’s Videos: Video 1 – Time, Space, & Energy Video 2 – Tap the Balloon Video 3 – Arm Flute Walking Music Video 4 – “Hoopbrato” Contact Information: Sam Hood’s Website: https://samuelhood.com Sam Hood’s E-mail: hood.samuelj@gmail.com Heidi Kay Begay’s Website: https://heidikaybegay.com Heidi Kay Begay’s E-mail: heidikaybegay@gmail.com Flute 360's Sponsor: J&K Productions: https://jaykayproductions.media

Have you ever heard of Dalcroze? It’s a remarkable and effective approach to music-learning that’s often discussed alongside Kodály or Orff. Today we're speaking with Dr. Jeremy Dittus, the founder and director of the Dalcroze School of the Rockies in Denver, one of the most prominent Dalcroze schools in the US, about his own experiences learning this approach and how (and why) he teaches it now. In this conversation we talk about:   - How “reading between the lines” of sheet music, Schenkerian analysis, and Dalcroze training all helped transform Jeremy into the musician and educator he is today - What exactly "Dalcroze" is and how each of its five components can benefit a musician - How and why Dalcroze uses both the fixed and movable do systems of solfege - How Dalcroze can enrich a musician who's learning in the traditional way, and why walking past a Dalcroze classroom typically means seeing a room full of adults smiling, moving and having fun.     Subscribe For Future Episodes! Apple Podcasts | Android | Stitcher | RSS   Full Show Notes and Transcript: Episode 046   Links and Resources • The Dalcroze School of the Rockies • Videos of Plastique Animée • Video of Eurythmics class • Website: Dalcroze USA • Book: “The Perfect wrong note” by William Westney     Enjoying the show? Please consider rating and reviewing it! Click here to rate and review

Ingrid Tobiasson, mezzosopran: Rösten är som ett bra vin som varit lovande länge, men nu börjar det bli riktigt gott! Ingemar Andersson, tenorsolist och Kaya Åhlander, jazz- och vissångerska. Ingrid Tobiasson, 62 år, är dramatisk mezzosopran och hovsångerska. Efter nypremiären på Stockholmsoperan 2003 skrev Tony Lundman: Och Tobiasson är helt enkelt knäckande bra. Hon är kvällens stora vokala behållning. Ingrid Tobiasson började sjunga opera sent i livet. Innan arbetade hon i tio år som Dalcroze-pedagog och undervisade i dans, rörelser och avslappning. 30 år gammal tog hon sin första sånglektion. Efter utbildningen vid Operahögskolan i Stockholm debuterade Ingrid Tobiasson 1985 på Folkoperan som Amneris i Verdis Aida. 1988, 37 år gammal, anställdes hon på Kungliga operan. Andra viktiga roller blev Kundry, Ortrud, Fricka, Klytämnestra, Eboli, Suzuki, den äldre Christina i Gefors opera, Adalgisa, Elisabetta, Carmen, Omega i Börtz Backanterna och Portvakterskan i Ett drömspel av Lidholm. Samma månad hon fyllde 55 år blev Ingrid Tobiasson pensionerad från Stockholmsoperan. Året var 2006. Ingrid Tobiasson längtar efter att sjunga riktigt svåra roller. Men den tiden är passé, säger hon. Numera gästspelar Ingrid Tobiasson vid andra operahus och ger även konserter. Hon njuter av att kunna beröra människor med sin röst. - Man vill gärna vara på Kungliga operan. Trots att jag varje år kommer tillbaka dit känner jag en viss sorg, erkänner Ingrid Tobiasson. Vad som är bra är att jag lärt känna min röst på ett annat sätt. Jag har blivit duktigare på att förvalta, inte bara använda, det jag har. Rösten är som ett bra vin som varit lovande länge, men nu börjar det bli riktigt gott! Ingrid Tobiasson känner att hennes självbild har blivit annorlunda sedan hon blev pensionär. Hon har en tydligare yrkesroll nu. - Som anställd vid operan var det mitt yrke att vara operasångerska, men nu ÄR jag operasångerska, kanske. Förr hade jag en hel stab till att hjälpa mig med att fördjupa mig i nytt material. Nu måste jag aktivt söka detta och märker att jag faktiskt kan själv. Det är ingen dålig känsla, berättar Ingrid Tobiasson. Tenoren Ingemar Anderson är äldst i ensemblen vid GöteborgsOperan, där han är solist sedan 1996 och har sjungit roller i ett flertal av operans uppsättningar. Ingemar Anderson har även gästat NorrlandsOperan och Malmö Opera. Nu är Ingemar Anderson 62 år och enligt EUs regler skall han pensioneras senast vid 67 år. Vägen till operan var krokig. Som 13-åring sjöng Ingemar Anderson rock och spelade elgitarr med ett garageband. Han började sjunga i kör som 17-åring och arbetade under tio år på ett dagcenter för förståndshandikappade. Han fick tjänstledigt för studier på Musikfolkhögskola och sporrades där som 30-åring att söka till Musikhögskolan i Malmö. 35 år gammal kom Ingemar Anderson till kören vid Stora Teatern i Göteborg efter att ha sjungit i Norrlandsoperans kör. Ingemar Anderson tycker att han nu sjunger bättre än någonsin även om han, vid en instudering av rollen som den Stekta Svanen i Carmina Burana, märkte att han hade tappat sitt höga D. - Min röst har mognat, men jag får jobba mer med stämbanden för att hålla igång dem. Som karaktärstenor behöver jag inte gå så högt som försteälskarna i operorna. Belmonte i Mozarts Enleveringen ur seraljen är den största roll jag gjort. Jag trivs med att sjunga småroller. Ingemar Anderson har inte hunnit fundera så mycket på vad han skall göra efter pensioneringen, men han vill gärna sjunga i Göteborgsoperans kör och starta en gambaorkester som skall spela tonsättaren John Jenkins 1600-talsmusik. Mest oroar han sig för ekonomin, då han har två tonårsbarn. - Men det löser sig nog, säger Ingemar Anderson och skrattar sitt bullrande skratt. Kaya Ålander, 67 år, är sedan trettio år professionell jazz- och vissångerska med rötter i proggen och musikgruppen Röda Bönor i Lund. Hon ger 110-150 konserter om året, rör sig hemtamt i flera genrer och musikstilar och uppträder ensam och med ensembler. Spelplatserna är festivaler, konserthus, långvård och kyrkor. Sagt om Kaya:Kaya Ålander är en artist med stor utstrålning och en fantastisk röst. Kaya har aldrig ett dåligt gig. Med sin glimrande personlighet lyfter hon vardagen till en ny dimension. - Hela branschen är till för dem som är unga. Det finns en åldersfixering som är tydlig inom musikbranschen. En sångerska skall helst inte vara över 25-30 år. Hon skall vara ung, söt och smal, förklarar Kaya Ålander. Att ständigt turnera och konsertera tar på kroppen. Sjukdom och förkylningar tar längre tid att kurera och Kaya Ålander släpar inte längre själv runt på sin sånganläggning såsom hon gjorde tidigare. I Gruppen Röda Bönor lärde hon sig att spela kontrabas, nu blir det mest komp på gitarr till sången. - Jag tycker jag sjunger mycket bättre nu, jag är mer sann, och har bättre tillgång till djupet, till känslor, inom mig, berättar Kaya Ålander. Som ung tänker en inte på att de äldre bär alla sina åldrar, alltså har access till alla åldrar. Jag kan känna mig som en 5-åring likaväl som en 67-åring. Kaya Ålanders röst är inte lika stryktålig som när hon var ung, och sjöng på gator och torg tills rösten försvann. Men hon sjunger idag lika starkt och med lägre, mer avspänd röst i ett brett register, eftersom hon har korta, breda stämband. - Det är spännande att sjunga i ett lägre register. I jazz och med mikrofon blir det mer intimt. Jag är ingen kändis men publiken dyker ständigt upp ändå! Det är meningen att jag skall sjunga och jag kommer att göra det tills jag vinklar upp tofflorna och dör, säger Kaya Ålander, som i programmet sjunger egen musik till texter av Moa Martinsson, Karin Boye och Röda Bönor. Dessutom en jazzstandard.  Musiklista: Röstens dotter Tommie Haglund Markus Leoson slagverk. Joachim Gustafsson, dirigent Hymns to the Night Phono Suecia PSCD CD 18 Resan till Reims Gioachino Rossini Ingemar Anderson, tenor. GöteborgsOperan Inspelning: 1999-01-31 SR P2 1999-06-05 Kärleksvisa Kaya Ålander. Moa Martinsson Kaya Ålander, m fl Varför vi sjunger (Kaya LP YTF) 2003SOLICD 21 Parsifal Richard Wagner Ingrid Tobiasson, dramatisk mezzosopran. Winbergh, Gösta, tenor Parsifal. Kungl Operans kör, Kungl Hovkapellet. Segerstam, Leif. Live Kungliga Operan Parsifal Richard Wagner Ingrid Tobiasson, dramatisk mezzosopran. Winbergh, Gösta, tenor Parsifal. Kungl Operans kör, Kungl Hovkapellet. Segerstam, Leif. Live Kungliga Operan Mässa bwv 232 h-moll_ nr 24 (26), agnus dei Ingrid Tobiasson, mezzosopran. Drottningholms Barockensembla. Stockholms Kammarkör, Anders-Per Jonsson, dir O Don Fatale, Don Carlos Verdi Ingrid Tobiasson, dramatisk mezzosopran Gävlesymfonikerna, 1987 Karins Sånger, Cantata for Mezzo-soprano & stråkkvartett Nattens djupa violoncell Jan Wallgren Ingrid Tobiasson, mezzosopran. Stockholmskvartetten Rucklarens väg Stravinskij Ingemar Anderson, tenor. Göteborgsoperans Orkester och Kör. Live SR P2 Askungen Gioacchino Rossini Ingemar Anderson, tenor. Kjell Ingebretsen, dir. Göteborgsoperans Orkester Göteborgsoperans Kör Inspelat 2006-03-11 Stycke for viola da gamba solo a-dur John Jenkins Simone Eckert Arabella, akt 1 Richard Strauss Ingemar Anderson, tenor. Nina Stemme, dramatiska sopranen. Olaf Henzold, dir. Göteborgsoperans Orkester Inspelat 2006-11-25 Johanna Kaya Ålander Röda Bönor Önskan Ingalill Dunsö, musik. Karin Boye, text. Kaya Ålander, m fl Varför vi sjunger (Kaya LP YTF) 2003SOLICD 21 Med nätternas hjälp Lluis Llach, musik. Kaya Ålander, svensk text Varför vi sjunger (Kaya LP YTF) 2003SOLICD 21 What Are You Doing the Rest of Your Life Kaya Ålander, sång. Stefan Forssén, piano. Lars B Almkvist, trumpet. Live

Thanks for reading TTTV028: Dalcroze Eurythmics with Paula Melville-Clark from Top Music Co. What do you think of when you think of Dalcroze? My first thought is of students marching to a beat, and while that is part of it, there’s so much more to learn from this method! Dalcroze is all about experience and feeling before intellectualising. Moving from big, whole body movements right down to the fine […] The post TTTV028: Dalcroze Eurythmics with Paula Melville-Clark appeared first on Top Music Co - Supporting Creative Music Teaching.

Programa dedicado al compositor suizo ÉMILE JAQUES-DALCROZE en el que se ofrecen las siguientes obras: Janie: Prélude et Danse Villageoise (12'20''). Poème alpestre (10'12''). Sancho: Suite de Ballet (13'52''). Orq. Sinf. de Moscú. Dir.: Adriano. 1914, Impressions tragiques (17'00''). Cappella de Moscú y Orq. Sinf. de Moscú. Dir.: Adriano.  Escuchar audio

Join Tom Hayes as he features the music of Joanie Calem and the writing and illustration talen of Rhonda Paglia and Ratna Kusuma Halim. When she was 15, Joanie moved to Israel, and completed my high school degree at the Rubin Academy of Music in Jerusalem. I then continued my musical training in piano pedagogy, both in the conventional and the Suzuki systems, and early-childhood music and movement.  I studied for many years with Anne Barlin, who is considered one of the “mothers” of the dance therapy field and an experienced teacher of the Dalcroze system.  I maintained a private piano studio in my home for 15 years, as well as teaching pre-school and early elementary music and movement classes in a number of local schools in the area I lived in. Three Little Gnomes and a Boy Name Orion is Rhonda Paglia's fourth children's book.  What began as an impromptu story project in 2009 for her grandson, Orion, has blossomed into a captivating 68 page story with over 40 beautiful illustrations and charming characters that kids will love.   Rhonda's illustrator for this book is Ratna Kusuma Halim from Indonesia.  "She has brought the gnomes to life and turned this little garden story into something magical," said Rhonda.   Rhonda is a retired elementary teacher and very busy grandmother from Hermitage, Pennsylvania.  She loves writing stories for her five grandchildren and now she's happy to share them with other kids.  Rhonda also loves spending time in her garden, but she's always looking over her shoulder because she knows there are secret things going on out there when she's not looking!

Det andra programmet som fokuserar på dilemmat Att åldras som musiker. Är det en smärtsam eller kanske rent av befriande process att bli äldre som fri musiker eller att pensioneras från t ex ett operahus? Här möter vi Ingrid Tobiasson, dramatisk mezzosopran, Ingemar Andersson, tenorsolist, och Kaya Åhlander, jazz- och vissångerska. Manus och produktion, Birgitta Tollan. Ingrid Tobiasson, 62 år, är dramatisk mezzosopran och hovsångerska, vars favoritroll är Kundry i Wagners sista opera Parsifal. Efter nypremiären på Stockholmsoperan 2003 skrev Tony Lundman: ”Och Tobiasson är helt enkelt knäckande bra. Hon är kvällens stora vokala behållning.” Ingrid Tobiasson började sjunga opera sent i livet. Innan arbetade hon i tio år som Dalcroze-pedagog och undervisade i dans, rörelser och avslappning. 30 år gammal tog hon sin första sånglektion. Efter utbildningen vid Operahögskolan i Stockholm debuterade Ingrid Tobiasson 1985 på Folkoperan som Amneris i Verdis Aida. 1988, 37 år gammal, anställdes hon på Kungliga operan. Andra viktiga roller blev Kundry, Ortrud, Fricka, Klytämnestra, Eboli, Suzuki, den äldre Christina i Gefors opera, Adalgisa, Elisabetta, Carmen, Omega i Börtz Backanterna och Portvakterskan i Ett drömspel av Lidholm. Ur Recensioner: ”Ingrid Tobiasson är makalös som Amneris i Aida. -– Rösten sviktar aldrig! Samt: ”Subtil och sublim är också kvällens grand old lady, Spader dam själv, Ingrid Tobiasson.” Vidare: ”Kvällens höjdpunkt blev emellertid Ingrid Tobiassons utförande av Mahlers Kindertotenlieder. Tobiasson sjöng med sorgfylld inlevelse, och med öppenhet och klarhet i diktionen. Dessutom var hennes röstklang skön över hela registret, oavsett styrkegrad. En mogen tolkning som gjorde intryck.” Samma månad hon fyllde 55 år blev Ingrid Tobiasson pensionerad från Stockholmsoperan. Året var 2006. Ingrid Tobiasson längtar efter att sjunga riktigt svåra roller. Men den tiden är passé, säger hon. Numera gästspelar Ingrid Tobiasson vid andra operahus och ger även konserter. Hon njuter av att kunna beröra människor med sin röst. - Man vill gärna vara på Kungliga operan. Trots att jag varje år kommer tillbaka dit känner jag en viss sorg, erkänner Ingrid Tobiasson. Vad som är bra är att jag lärt känna min röst på ett annat sätt. Jag har blivit duktigare på att förvalta, inte bara använda, det jag har. Rösten är som ett bra vin som varit lovande länge, men nu börjar det bli riktigt gott! Ingrid Tobiasson känner att hennes självbild har blivit annorlunda sedan hon blev pensionär. Hon har en tydligare yrkesroll nu. - Som anställd vid operan var det mitt yrke att vara operasångerska, men nu ÄR jag operasångerska, kanske. Förr hade jag en hel stab till att hjälpa mig med att fördjupa mig i nytt material. Nu måste jag aktivt söka detta och märker att jag faktiskt kan själv. Det är ingen dålig känsla, berättar Ingrid Tobiasson. Ingrid Tobiasson, Eliasson Artists Stockholm: http://www.eliassonartists.com/index.php?option=com_content&view=article&id=212&Itemid=377 Ingrid Tobiasson, Stiftelsen Kungliga Teaters Solister: http://www.operasolisterna.se/medlemmar/ingridtobiasson/cv.html Tenoren Ingemar Anderson, 62 år, är äldst i ensemblen vid GöteborgsOperan, där han är solist sedan 1996 och har sjungit roller i ett flertal av operans uppsättningar. Ingemar Anderson har även gästat NorrlandsOperan och Malmö Opera. Senast gjorde han rollen som den gamle Kejsaren, prinsessan Turandots far, på Göteborgsoperan. Nu är Ingemar Anderson 62 år och enligt EU’s regler skall han pensioneras senast vid 67 år. Vägen till operan var krokig. Som 13-åring sjöng Ingemar Anderson rock och spelade elgitarr med ett garageband. Han började sjunga i kör som 17-åring och arbetade under tio år på ett dagcenter för förståndshandikappade. Han fick tjänstledigt för studier på Musikfolkhögskola och sporrades där som 30-åring att söka till Musikhögskolan i Malmö. 35 år gammal kom Ingemar Anderson till kören vid Stora Teatern i Göteborg efter att ha sjungit i Norrlandsoperans kör. - På Göteborgsoperan sjöng jag även Askungens elaka syster Tisbe och det var mycket intressant! Det var ingen dragshow. Jag gjorde det med allvar, en två meter lång Tisbe som vägde 107 kg, förklarar Ingemar Anderson. Jag lärde mig BH-greppet, hur jag skulle ta av mig yrkes-BH’n genom att korsa händerna och dra den över huvudet. Ingemar Anderson tycker att han nu sjunger bättre än någonsin även om han, vid en instudering av rollen som den Stekta Svanen i Carmina Burana, märkte att han hade tappat sitt höga D. - Min röst har mognat, men jag får jobba mer med stämbanden för att hålla igång dem. Som karaktärstenor behöver jag inte gå så högt som försteälskarna i operorna. Belmonte i Mozarts Enleveringen ur seraljen är den största roll jag gjort. Jag trivs med att sjunga småroller. Ingemar Anderson har inte hunnit fundera så mycket på vad han skall göra efter pensioneringen, men han vill gärna sjunga i Göteborgsoperans kör och starta en gambaorkester som skall spela tonsättaren John Jenkins 1600-talsmusik. Mest oroar han sig för ekonomin, då han har två tonårsbarn. - Men det löser sig nog, säger Ingemar Anderson och skrattar sitt bullrande skratt. Ingemar Anderson, GöteborgsOperan: http://sv.opera.se/om-oss/personal/portratt/ingemar-anderson/ Kaya Ålander, 67 år, är sedan trettio år professionell jazz- och vissångerska med rötter i proggen och musikgruppen Röda Bönor i Lund. Hon ger 110 - 150 konserter om året och har, förutom i Norden, framträtt i Spanien, Holland, Argentina, Finland och England. Hon rör sig hemtamt i flera genrer och musikstilar och uppträder ensam och med ensembler. Spelplatserna är festivaler, konserthus, långvård och kyrkor. Sagt om Kaya:”Kaya Ålander är en artist med stor utstrålning och en fantastisk röst. Kaya har aldrig ett dåligt gig. Med sin glimrande personlighet lyfter hon vardagen till en ny dimension.” - Hela branschen är till för dem som är unga. Det finns en åldersfixering som är tydlig inom musikbranschen. En sångerska skall helst inte vara över 25-30 år. Hon skall vara ung, söt och smal, förklarar Kaya Ålander. Att ständigt turnera och konsertera tar på kroppen. Sjukdom och förkylningar tar längre tid att kurera och Kaya Ålander släpar inte längre själv runt på sin sånganläggning såsom hon gjorde tidigare. I Gruppen Röda Bönor lärde hon sig att spela kontrabas, nu blir det mest komp på gitarr till sången. - Jag tycker jag sjunger mycket bättre nu, jag är mer sann, och har bättre tillgång till djupet, till känslor, inom mig, berättar Kaya Ålander. Som ung tänker en inte på att de äldre bär alla sina åldrar, alltså har access till alla åldrar. Jag kan känna mig som en 5-åring likaväl som en 67-åring. Kaya Ålanders röst är inte lika stryktålig som när hon var ung, och sjöng på gator och torg tills rösten försvann. Men hon sjunger idag lika starkt och med lägre, mer avspänd röst i ett brett register, eftersom hon har korta, breda stämband. - Det är spännande att sjunga i ett lägre register. I jazz och med mikrofon blir det mer intimt. Jag är ingen kändis men publiken dyker ständigt upp ändå! Det är meningen att jag skall sjunga och jag kommer att göra det tills jag vinklar upp tofflorna och dör, säger Kaya Ålander, som i programmet sjunger egen musik till texter av Moa Martinsson, Karin Boye och Röda Bönor. Dessutom en jazzstandard. Kaya Ålanders hemsida: http://www.kayaalander.se Kaya Ålander Blogspot: http://kayaalander.blogspot.dk