This master’s thesis explores the role of bodily movement as an integral part of music education. It is grounded in the recognition that musical learning does not occur solely at the cognitive level but also encompasses perceptual, emotional, and physical dimensions, all of which contribute to a holistic musical experience. The central premise is that movement is not merely an auxiliary activity or motivational tool, but a fundamental mode of experiencing, understanding, and expressing musical elements. Historically, the connection between movement and music was self-evident. In ancient cultures, musical activities were inseparably linked with ritualistic movement, communal dance, and physical expression—essential means for perceiving rhythm, melody, and spiritual meaning. However, with the establishment of formal education systems in the 18th and 19th centuries, particularly with the rise of conservatories, the intellectual treatment of music began to diverge from its embodied experience. Educational focus shifted toward the comprehension of abstract musical theory and notation, while movement became a marginal or even absent component of the learning process (Findlay, 1971; Mead, 1996). The theoretical section of this thesis first summarizes current findings from the field of embodied cognition, which confirm that bodily mechanisms are inherently connected to the perception and processing of musical information. This is followed by a review of key pedagogical approaches—Émile Jaques-Dalcroze’s eurhythmics, Carl Orff’s approach, the Kodály method, and the Willems pedagogy—which, at the turn of the 20th century, developed concrete didactic strategies for integrating movement into music education. An analysis of the national curriculum for the subject Nauk o glasbi (Music Theory) reveals that many operational objectives in the first three years include content that can meaningfully be achieved through the integration of bodily movement. Nevertheless, movement is not explicitly listed as a didactic strategy, nor is it systematically incorporated into curriculum. The practical section of this thesis presents a collection of original movement-based exercises designed in alignment with learning objectives in solfeggio, musical performance and interpretation, music listening, creativity, and theoretical and structural knowledge. These activities are specifically tailored for the first three years of music theory instruction in Slovenian music schools. The aim of the thesis is to contribute to the enhancement of current teaching practices within the Slovenian educational system by promoting the integration of movement-enriched methods that strengthen the perception and embodied experience of core musical concepts.
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