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Originally, music choreography works of rhythm are closely tied to music and seek the most comprehensive possible transfer of all musical parameters into spatio-temporal as well as dynamic correspondences. Following the boundary-expanding developments in music and dance from the 1960s onwards, other intermedial forms of reference have become conceivable. Dorothea Weise breaks these down exemplarily and presents a system (to be questioned critically and thought through further).
Jumping over one's own shadow and expanding boundaries are frequent demands in the field of music and movement through the special methodological possibilities of eurhythmics. This is true for the learners as well as for the teachers. With a view to the concept of perception of constructivism, it is first clarified why perceptions are always individual and bound to subjective experiences. Then the ‘Gegen-Stand’ comes into play as a surface of friction and a basis for an active and reflective engagement that is capable of producing new results.
Marianne Steffen-Wittek initially concentrates on theoretical concepts of rhythm with special reference to texts by the founder of eurhythmics Émile Jaques-Dalcroze, and corresponding writings by Henrietta Rosenstrauch. As music educators, their writings provide a deep insight into the analysis of difficulties in the realisation of rhythms and ways to overcome them. The following selection of current theoretical concepts of eurhythmics in Germany shows in particular an intensified view of the connection between perception and movement and its (still to be further researched) effects on pedagogical and artistic activity. Rhythm theory and research in rock, pop, jazz and groove-based music is a relatively young field. In her remarks on groove and swing in jazz music, Steffen-Wittek refers to Mark Russell Doffman, whose embodied concepts can be important material for jazz-oriented rhythm teaching. She develops practical examples and connects them with the complex theoretical concept of eurhythmics by Holmrike Oesterhelt-Leiser.