Hearing – Feeling – Playing
Music and dance for hard-of-hearing and deaf children is not yet offered as a matter of course or as an extra-curricular activity in European schools and has not been widely documented in German speaking countries. This volume focuses on presenting diverse approaches as well as the foundations for the use of music and movement. On the one hand, the importance of music and movement as developmental support or therapy is outlined and, on the other hand, the right to music and movement or dance for everyone is upheld. Within this context, approaches and principles from Germany and Austria as well as from Italy, England, Denmark and Canada are presented.
“Hearing - Feeling - Playing” refers to acoustic, vibratory, tactile, emotional and social stimuli as well as to their perception and their active realization. The importance and the possibilities of music-making and listening for all is described in the forward by the world famous percussionist Evelyn Glennie, who, after developing a hearing disorder in her childhood, learned to use her whole body as a source of resonance. The book examines the fundamentals of each approach as well as the diverse educational and therapeutic goals and methods. At the same time vital issues in the education of people with hearing loss, in music and movement education, music therapy and inclusive education are addressed.
The first chapters “Viva la Musica!” (Bartlmä, Wilberg, Whittaker) describe individual development and experience of music with deafness and hearing impairment and personal approaches to music, music-making and its importance. Theoretical Principles (Feuser, Köck-Hatzmann, Neira Zugasti) present important developmental topics, relevant to all children but especially so for those with hearing loss, as well as insights into music perception (Stelzhammer).
Diverse European approaches from educational and therapeutic fields relevant to different age-groups ranging from pre-school to teenagers, are introduced. Educational approaches (Salmon, Benari, Friedrich, Kiffmann-Duller) are complemented by chapters on Music Therapy and Musical Speech Therapy (Bang), Music Therapy (Cremaschi Trovesi), Orff Music Therapy (Neuhäusel / Sutter/ Tjarks), Music and Auditory-Verbal Therapy (Birkenshaw-Fleming), Improvisation (Jensen) and Nordoff-Robbins Music Therapy (Rocca) and reports on a European project ‘Sign Language and Song’ (Friedrich / Honka), family projects (Stelzhammer / Ferner) the use of play-songs in inclusive teaching (Salmon) and inclusive dance theatre (Stange).
This book aims to address, inform and inspire specialists from educational and therapeutic fields as well as parents and those with hearing loss. The central question in practical settings remains: which approach involving music and/or movement, which methods and which form of participation - be it in education, remedial help and support or therapy - can be of benefit to the children in question?