title: Embodying music theory: A performative approach
Creators: name: Burns, Shannon
Publisher: name: Universität Graz
Year: 2020

description: 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.
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 endeavor 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.
Main contribution. Western classical music theory is understood as a tradition of analyzing
and teaching music that incorporates elements of melody, harmony, rhythm, genre, texture, and
form. This project uses literature from embodied cognitive sciences and somatic practice to
connect the mind and body through a process of performative engagement with music theory
that is explored using arts practice methods as an embodying process of conducting,
documenting and experiencing research. The approach developed in this research, namely
performative music theory, uses Schechner’s (1988, 1989, 1998) broad-spectrum interpretation
of performance in the development of an embodied understanding and application of music
theory concepts. In the context of the Irish World Academy of Music and Dance at the
University of Limerick, Ireland, students attending undergraduate music theory classes come
from a multitude of backgrounds including but not limited to traditional Irish music, popular
music, Traditional Irish dance, contemporary dance and other informal musical or dance
backgrounds; however, many of these students come to university with little prior experience of
100 Burns
Western classical music theory. In order to make connections with Western classical theoretical
concepts, a performative music theory approach to teaching and learning was used to build upon
their previously embodied understanding of music to embed the new Western classical theory
concepts through their own specific performance practice. This research is influenced by
Swanwick’s (1999, 2003) ideas of musical development and previously embodied musical
knowledge, but aims to offer additional insights into teaching and learning through an arts
practice approach. The use of arts practice methods allows for the performance practices of both
teacher and students to engage in the development of a creative, experiential, partnership,
practice-based model of teaching, learning and research. The first performance depicted in this
article provides reflective and reflexive insights from the different perspectives of the
participants that form the data used to determine the effectiveness and challenges of this
performative music theory approach.
Implications. The findings of this research posit that an approach rooted in creative,
collaborative and embodied teaching and learning experiences aids in student understanding and
application of abstract theoretical concepts. In addition, the performative music theory approach
explores and negotiates hierarchical relationships in the higher education classroom. This
research highlights future implications for the use of arts practice research methods, for music
education research in a wide range of contexts.
Keywords: Embodiment, Music Education, Arts Practice Research, Music Theory,
Performative Music Theory