This educational path guided the students of a third-year primary school class to use their body and movement as the main tools of improvisation, interpretation, listening, and musical analysis: exploring and developing expressive potentialities, considering the nuances of movement in relation to music in order to introject a wide expressive vocabulary that could be drawn on in subsequent artistic experiences (for example studying an instrument). The body, the voice, and instruments were used to investigate certain specific musical elements (measure, pulse, note lengths, phrasing). All of which led to a composite performance involving choreographed movements, the spoken voice and singing, sound gestures, and the use of instruments to provide a rhythmic accompaniment.
Classroom-laboratory without obstacles
Movement through space
Percussion instruments (timpani, cymbals, maracas, triangles, frame drums, claves)
Sound reproduction system
Music: The Aristocats soundtrack; other music to investigate and communicate specific musical aspects.
The skills, goals and training objectives selected by the teacher for this experience are shown below.
-Exploring the expressive, interpretative and representative potentialities of movement by improvising in relation to a sound event.
-Using a motor vocabulary rich in nuances, moving individual parts of the body, carrying out uncommon movements.
-Being able to perform in front of others, also in creative/exploratory moments.
-Identifying elements relating to dynamics (piano, forte, crescendo/diminuendo), to character and articulation, and to represent these by modulating body energy and the quality of staccato/legato movements.
-Knowing how to synchronize body movements and the voice with rhythmic/sounded pulses and rhythmic cells.
-Identifying the pulse, accents, measures, strings of phrases and moving or playing in relation to these.
-Knowing how to move and manage space in relation to others’ movements.
-Managing the relationship between space-time and energy in body movement and the use of instruments, in relation to different durations and intensity.
-Being able to concentrate simultaneously on the gesture of the director, one’s own performance, and listening to the overall sound picture.
-Improvising rhythmic sequences respecting the pulse and duration of a phrase.
-Being able to identify and interpret the elements learned in relation to different pieces of music.
-Re-elaborating the concepts learned and musical ideas to create a musical or instrumental sequence/form, in relation to the pieces of music presented.
-Reproducing this established sequence/form, with attention to precision and interpretation.
| Presentazione della buona pratica | Download |
| Concertino a 4 zampe trascrizione da audio | Download |
| Arrangiamento - Secondo brano del medley - Tutti quanti voglion fare il jazz | Download |
| [Audio] Concertino a quattro zampe - Aristogatti | Download |
| [Audio] Gam Gam Morricone | Download |
| [Audio] Sacred Earth Drums - Return Journey | Download |
| Testo Concertino a 4 zampe | Download |
| Arrangiamento - Terzo brano del medley - Quando fanno il jazz a Hong Kong | Download |
| Arrangiamento - Quarto brano del medley - Se ammaliare tu mi vuoi | Download |
| Testi Brani medley | Download |
| Il giornale dei gatti di Gianni Rodari | Download |
| [Audio] Aristogatti - Medley brani | Download |
| Griglia valutativa | Download |
| Riferimenti bibliografici | Download |
Commenti inseriti