Flow in Performance: Theories/Practices

The Dalcroze Society of America 2016 National Conference and Pre-Conference Symposium

Pre-Conference Symposium dates: June 20 & 21 (Conference: June 22-24)
Westminster Choir College of Rider University, Princeton NJ

Deadline for submission: February 29, midnight (EST)

The Dalcroze Society of America welcomes research papers that consider the topic Flow in Performance. We are eager to explore flow from the multiple vantage points afforded by any scholarly disciplines involved in an exploration of human performance. Help us bring the hidden assumptions and unspoken working principles operating behind flow to light, so as to advance the teaching and learning of music, dance, mime, acting, storytelling, and other performing arts, as well as other areas, such as sports and martial arts, where flow is critical to human performance.

A limited number of thirty-minute time slots is now available for the presentation of research papers at the Pre-Conference Symposium. To submit a proposal, send an e mail with a 250-word abstract as an attached MS Word document absent any references to authorship. In the body of the e mail, include the title of the paper, the author’s name(s), and current contact information, a separate biography of no more than one hundred words, and a list of equipment needs and specifications. Include a statement of research conclusions, a clear description of methodology, and list of relevant sources.

Papers accepted for the Pre-Conference Symposium will also be given prime consideration for publication in American Dalcroze Journal. The DSA will publish a double issue of this periodical as a peer-reviewed and refereed journal in January 2017.

All submissions will be eligible for the Dalcroze Studies Research Award, a $1,000 prize given to the paper that sheds critical light on, and enriches our understanding of the scientific basis for the premises, principles, and precepts on which Dalcroze teaching, learning, and performance stand.

Direct all inquiries to William R. Bauer, Ph.D., President, Dalcroze Society of America, at president -at- dalcrozeUSA.org (or at Bill.Bauer @ csi.cuny.edu).

Notification of selection: April 1


For more information: http://www.dalcrozeusa.org/2016-national-conference/pre-conference-symposium

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About William Bauer

William R. Bauer An experienced and compelling Dalcroze clinician, William R. Bauer, Ph.D. leads workshops in Dalcroze euRhythmics—the cultivation of dynamic rhythm through coordinated actions and interactions, and body awareness through responsive listening. Dr. Bauer also teaches Dalcroze solfege, which leads to improved vocal expression via the study of melody, harmony, and timbre, as well as keyboard improvisation in a range of styles and idioms, and Dalcroze Methods of Teaching and Learning. Owing to his extensive research into spontaneous expression in jazz, blues, and popular idioms, Dr. Bauer is well equipped to make improvisation accessible to students at all levels of musical ability. Current president of the Dalcroze Society of America, Dr. Bauer teaches music full-time at the College of Staten Island/CUNY, where he also directs the Dalcroze Atelier at CSI. Dr. Bauer earned his Ph.D. and MA in Composition from the CUNY Graduate Center and Columbia University, respectively, and his Dalcroze License and Certificate at the Manhattan Dalcroze Institute in studies with Robert Abramson and Ruth Alperson. He has led classes at International Dalcroze Conferences in Vienna, Geneva, Tokyo, Coventry, and Pittsburgh, and in Dalcroze Teacher Training Institutes at Carnegie-Mellon University and The Longy School, at numerous DSA national conferences and chapter workshops, and in other settings including Music for People’s Adventures in Improvisation, Star Island’s Star Arts and LitFest conferences, the International Society for Improvised Music conference, and various private and community schools, church choirs, and hand bell and vocal ensembles in the Northeast corridor. Dr. Bauer’s internationally recognized research into jazz performance practice has advanced our understanding of vocal and instrumental improvisation in their historical and cultural contexts. Most recently he contributed the chapter “Expressiveness in Jazz Performance: Prosody and Rhythm” to the book Expressiveness in music performance: Empirical approaches across styles and cultures, co-edited by Dorottya Fabian, Renee Timmers, and Emery Schubert and published by Oxford University Press in 2014. The University of Michigan Press published his book Open the Door: The Life and Music of Betty Carter to critical acclaim; and his essays on jazz singing have appeared in the following refereed journals: Jazz Perspectives, Current Musicology, and Annual Review of Jazz Studies. Description Dalcroze euRhythmics is a playful hands-on approach to teaching and learning that features active listening exercises, interactive movement games, vocal and instrumental improvisation, and creative expression, as vehicles for improved performance in music and other performing arts, as well as for improved body awareness. What people are saying about Dalcroze euRhythmics: “What I saw and heard was delightful! The movement and the improvisation were so closely linked. It was, for me, watching a class that made logical, as well as musical, sense. I have sometimes longed for this kind of relevance, but I had decided that perhaps the approach had really changed. In Nashville, I was encouraged to believe that the fundamental principles are still sound.” Dr. Natalie Ozeas Professor of Music Education, Director of Graduate Studies, Carnegie Mellon University “Under [Dr. Bauer’s] guidance, I was able to begin hearing music, playing music and rhythmically connecting to music in ways I’d never been previously shown in my standard Music Conservatory Training. Dalcroze is an innovative, mind/body approach to learning music. It forces students to move and experience rhythm on a visceral level. “As a childhood music instructor, I’ve found the skills I learned from Dalcroze to be incredibly helpful in my own teaching. It has made teaching music and playing music a much more enjoyable experience for both my students and me. They have more fun playing these games with me and ultimately receive a greater understanding of vital music concepts.” Kathy Ann Borges, BFA, Music Special Needs and Early Childhood Educator “I enjoyed yesterday’s workshop. In particular, what made a mark on me is your joy when making music, even primitive music, joyful enough to dance. (I fear I’m too reserved for that.) You moved us very smoothly from a kind of primitive music making to a much more complex composition. Having us embody music with voices made me think about the connection of what I can do naturally, and often do naturally, to what I might do that is outside my natural ability/realm. “What made the greatest impact on me, though, was your coming alongside the students, inviting them into your music space, allowing them to make music with you. There the roles of teacher and student were not so distinct, especially if I listened with my eyes closed, which I did at one point.” Joanne Cresci English Professor, College of Staten Island “It works! I really can’t believe how simple yet effective these techniques are! I’m inclined to say that I only wish I had been introduced to it years ago. But I am truly grateful that I have been now. As Buddhists have said, "When the student is ready, the teacher will appear." “It’s such an obvious solution to many of the problems that I’ve lived with, musically, for years—problems that have also caused much unnecessary insecurity. It’s pinpointing and methodically treating my musical deficiencies. Just this week, the effects of marching, conducting, solfege, piano practice etc. have begun to “kick in”: the benefits have already found their way into my performing and my composition. I feel more in tune, more one with the music than ever before.” Bryan Nebel Composer, Songwriter

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