The thirteen units in his curriculum each contain three types of exercises. The exercises in the first part introduce new durational values in short formulaic patterns. In the early units, the gestures are marked with arrows indicating the flow of intensity to and from points of emphasis. In later units, students must infer these gestural shapes from rhythmic context. When intoning these rhythmic patterns, the students project gestural shape by changing the pitch and volume of their voice. The exercises also incorporate arm gestures, clapping, stepping, and other bodily movements. The second section in each unit employs the rhythmic gestures within longer durational exercises. The melodies in the third section of each unit illustrate how rhythm, meter, and pitch interact to create dynamic shape. Students perform these melodies in conjunction with bodily movements. In doing so, they can discover that phenomenal accents often do not coincide with metrical accents. Through the combination of vocalization and bodily movements, then, Graybill's approach aims to integrate the processes of thinking and feeling in rhythmic training.
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Rhythm and Meter |
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