Embodying music theory: A performative approach

Background in embodied cognitive sciences and somatics applied to music education/music theory: Western classical music theory is often taught in a way that is disembodied from the performance of musical practices. This research aims to address this mind-body disconnect by utilising embodied cognition (Dewey, 1916, 1934, 1997, 2011; Schusterman, 2008; Bresler, 2013; Cox, 2016; Vass, E., & Deszpot, 2017) and somatic practice (Adler, 2002; Davis, 2007; Hartley, 1989; Hanlon-Johnson, 1995) to investigate and develop a unified and bodily approach to teaching and learning that is called a performative music theory approach. The experience of this performative approach towards teaching and learning Western classical music theory uses arts practice methods to capture the embodied understanding and perspective from the perspective of teacher and students during a performance based assignment. Reflective and reflexive practice (Schön, 1984; Howard, 2003; Westerlund, 2012; McLeod, 2017; Kolb, 1984; Smith, 2001) used by both the teacher and students provides insight into the embodied experiences and implications for teaching and learning during this performative music theory approach. This paper includes of one performance that was part of this arts practice PhD research project that demonstrates the performative music theory approach. This paper includes of one performance that was part of this arts practice PhD research project that demonstrates the performative music theory approach. Background in arts practice methods and documenting embodied experiences: Arts practice is an emerging approach to research that places embodiment at the forefront of the research endeavour for new avenues and perspectives to be explored. This paper begins a dialogue between arts practice methods and music education literature to document the lived engagement with a performative approach to teaching and learning music theory in an Irish higher education setting. Arts practice literature and methods used in this research include performance studies, performance practice, narrative inquiry, autoethnography and ethnography (Schechner, 1988, 1989; Melrose, 2002, 2007; Gallagher and Zahavi, 2012; Wall, 2006; Barleet, 2009; Clandinin and Connelly, 1990, 2000; Emerson et al., 1995; Barton, 2014). Through these methods, the practices of both teacher and students develop a creative, experiential, partnership, practice-based model of teaching and learning. Aims: This article aims to explore the implications for using arts practice methods in collaboration with embodied cognitive sciences and somatic practices to capture the embodied experiences of teacher and students with particular reference to the performative music theory approach.