Müzik Alanında Somatik Yaklaşım: Body Mapping Örneği

Barrett, C.E. (2006). What every musician needs to know about the body: Plan for incorporating Body Mapping in music instruction. American String Teacher, 56(4): 34-37.

Bindel, J. (2013). The collaborative pianist and Body Mapping: A guide to healthy body use for pianists and their musical partners. Unpublished DMA thesis. Tempe: Arizona State University.

Bremmer M., Nijs L. (2024). Embodient in Music Education. Journal of Research in Arts Education, 2, 15-26.

Buchanan, H.J. (2005). on the Voice: An Introduction to Body Mapping: Enhancing Musical Performance Through Somatic Pedagogy. The Choral Journal 45(7), 95-101.

Buchanan, H.J. (2011). Body Mapping: Self-reflective views of student musicians. Unpublished PhD thesis. Armidale: University of New England, Australia.

Buchanan, H.J. (2014). Body Mapping: Enhancing voice performance through somatic pedagogy. In: Harrison, S.D. & O’Bryan, J. (eds.). Teaching Singing in the 21st Century. Dordrecht: Springer.

Carpinteyro-Lara, G. (2014). The application of the kinesthetic sense: An introduction of body awareness in cello pedagogy and performance. Unpublished Doctoral Dissertation. Cincinnati: University of Cincinnati.

Chan, C; Driscoll, T & Ackermann, B. (2013). Can experienced observers detect postural changes in professional musicians after interventions?. International Symposium on Performance Science.

Conable, B. & Conable W. (1995). How to learn the Alexander Technique. Chicago, IL: GIA Publications.

Conable, B. (1998). What every musician needs to know about the body: The practical application of Body Mapping to making music. 2nd ed. Portland: Andover Press.

Conable, B. (2000). The structures and movement of breathing: A primer for choirs and choruses. Chicago, IL: GIA Publications.

Conable, W. (2002) Somatic Studies in the University Music Curriculum. 78th Annual Meeting Proceedings, National Associations of Schools of Music.58-62.

Conable, B. (2020). Musicians Move! Top Ten Ways to Train their Moving. GIA Quarterly. 31(3), 10-16.

Copeland, S.L. (2007). Applied anatomy in the studio: Body Mapping and clarinet pedagogy. Unpublished DMA thesis. Greensboro: The University of North Carolina at Greensboro.

Descartes, Renȇ (1997). Felsefenin İlkeleri. Mesut Akın (Çev.). İstanbul: Say Yayınları.

Eddy, M. (2009). A Brief History Of Somatic Practices And Dance: Historical Development Of The Field of Somatic Education And its Relationship To Dance. Journal Of Dance And Somatic Practices, Vol. 1.

Gilmore, R. 2005. What every dancer needs to know about the body: A workbook of Body Mapping and the Alexander Technique. Portland: Andover Press.

Göksülük, B.S. (2020). Tiyatro ve Performans Sanatlarında Bilişsel Kırılma: Yeni Beden Fenomeni “Soma” ve Enaktif Oyunculuk Teorilerine Doğru Hareket Odaklı Bir Eğitim Önerisi Olarak Somatik Yaklaşım. Yayımlanmamış Doktora Tezi, Ankara Üniversitesi.

Green, J. (2011). Somatic Knowledge: The Body as Content and Methodology in Dance Education. Journal of Dance Education. 2(4), 114-118.

Grossman, D.T. (2005). The effects of Body Mapping lessons on the musical performance of elementary students. Unpublished MMus thesis. Portland: University of Portland.

Hanna, T. (1988). Somatics: Reawakening the Mind’s Control of Movement. Cambridge: Da Capo Press.

Holt, M. (2016). Applied anatomy in music: Body Mapping for trumpeters. Unpublished DMA thesis. Las Vegas: University of Nevada.

Jankowski, B. (2016). Body Mapping for music ministers. Chicago: GIA Publications.

Johnson, J. (2009). What every violinist needs to know about the body. Chicago: GIA Publications.

Johnson, J. (2017). Teaching Body Mapping to children: Overcoming and preventing injury in the music studio and classroom. Chicago: GIA Publications.

Kaderli, Z. (2017). Tarihsel ve Sosyo-Kültürel Bağlamı içinde Beden ve Bedenleşme Deneyiminin Teorik Çerçevesi. Ankara: Grafiker.

Knaub, M. J. H. (1999). Body Mapping: An instructional strategy for teaching the Alexander Technique to music students. Unpublished EdD thesis. Pittsburgh: University of Pittsburgh.

Likar, A. (2005). Musicians as movers: Body Mapping and the Alexander Technique for musicians and music educators. Performing Arts Medicine Association Annual International Symposium. Snowmass, Colorado.

Malde, M., Allen, M. & Zeller, K.-A. (2009). What every singer needs to know about the body. San Diego: Plural Publishing.

Mark, T. (2003). What every pianist needs to know about the body. Chicago: GIA Publications

Moreno, A. M. (2022). An Examination of The Effects of Body Mapping Instructıon on Static Standing Posture And Posture While Singing. Unpublished Doctoral thesis. University of North Dakota.

Nesmith, D. (1999). What every musician needs to know about the body. The Horn Call, 29 (4),71–74.

Nesmith, D. (2001). How Body Mapping and the Alexander Technique will improve your playing. International Musician, 99 (6), 11–12.

Palac, J. (2008). Promoting Musical Health, Enhancing, Musical Performance: Wellness for Music Students. Music Educators Journal , 94(3), pp. 18-22.

Paparo, S.A. (2015). Embodying singing in the choral classroom: A somatic approach to teaching and learning. International Journal of Music Education, 34(4):488-498.

Pearson, E.M. (2000). What every flute teacher needs to know about the body: A handbook applying the principles of Body Mapping to flute pedagogy. Unpublished DMA thesis. Columbus: The Ohio State University.

Pearson, L. (2006). Body Mapping for flutists: What every flute teacher needs to know about the body. Chicago: GIA Publications.

Reyneke, A. (2024). Cellists' experiences of learning and teaching Body Mapping for musicians: An Interpretive Phenomenological Analysis. Unpublished Master’s Thesis, South Africa: Stellenbosch University.

Salonen, B.L. (2018). Tertiary music students' experiences of an occupational health course incorporating the Body Mapping approach. Unpublished Doctoral Dissertation, Free State University, South Africa.

Slade, T. (2018). Measurable changes in piano performance following a Body Mapping workshop. Unpublished Master’s Thesis: University of Ottawa, Canada.

Smith, J ve Nizza, I. E. (2022). Essentials of Interpretative Phenomenological Analysis. American Psychological Association.

Vining, D. (2008). What every trombonist needs to know about the body. Denton: Kagarice Brass Editions.

Williamson, M. (2016). Handbook For Musicians Learning The Alexander Technique. Manchester: RCNM.

Wong, G. (2015). The immediate effects of somatic approach workshops on the body usage and musical quality of pianists. Unpublished Doctoral Dissertation. Ottawa: University of Ottawa.

Woodard, K. (2009). Recovering disembodied spirits: Teaching movement to musicians. British Journal of Music Education, 26(02):153.

Yusufoğlu, C.C. (2017). Stanislavski Sistemine Göre Psikoteknikte Eylemi Somatik İşaretleyici Hipoteziyle Ele Almak. Kadir Has Üniversitesi, Yayımlanmamış Yüksek Lisans Tezi.

ABME Mission Statement. (t.y.) https://www.bodymap.org/about (Erişim Tarihi: 25.06.2024).

Batson, G. (2009). “Somatic Studies and Dance” https://www.iadms.org/page/248. (Erişim Tarihi: 20.07.2024)

Research. (t.y.) https://www.bodymap.org/research (Erişim Tarihi: 25.06.2024).

Weir, K. (2023). “What is interoception, and how does it affect mental health? 5 questions for April Smith” Monitor on Psychology. 54 (3). https://www.apa.org/monitor/2023/04/sensations-eating-disorders-suicidal-behavior. (Erişim tarihi: 23.07.2024)

Johnson, D.H. (t.y.) “Somatics”.https://donhanlonjohnson.com/somatics/ (Erişim Tarihi: 25.06.2024).

Section One: Introduction to Body Mapping (2023) Teaching Manuals: A Resource for Body Mapping Educators, © Association for Body Mapping Education. (https://www.bodymap.org) Erişim Tarihi: 07.07.2024)

Nichols, T. R. (2004). The scientific basis of Body Mapping. [Online]. Available: https://www.bodymap.org/articles-the-basis-of-body-mapping/scientific-basis-of-body-mapping. (Erişim tarihi. 04.07.2023.)

Malde, M. (ABME Başkanı), 14 Haziran 2024.

Jankowski, B. (ABME Yetkili Müdürü), 18 Eylül 2024.

Barrett, C.E. (2006). What every musician needs to know about the body: Plan for incorporating Body Mapping in music instruction. American String Teacher, 56(4): 34-37.

Bindel, J. (2013). The collaborative pianist and Body Mapping: A guide to healthy body use for pianists and their musical partners. Unpublished DMA thesis. Tempe: Arizona State University.

Bremmer M., Nijs L. (2024). Embodient in Music Education. Journal of Research in Arts Education, 2, 15-26.

Buchanan, H.J. (2005). on the Voice: An Introduction to Body Mapping: Enhancing Musical Performance Through Somatic Pedagogy. The Choral Journal 45(7), 95-101.

Buchanan, H.J. (2011). Body Mapping: Self-reflective views of student musicians. Unpublished PhD thesis. Armidale: University of New England, Australia.

Buchanan, H.J. (2014). Body Mapping: Enhancing voice performance through somatic pedagogy. In: Harrison, S.D. & O’Bryan, J. (eds.). Teaching Singing in the 21st Century. Dordrecht: Springer.

Carpinteyro-Lara, G. (2014). The application of the kinesthetic sense: An introduction of body awareness in cello pedagogy and performance. Unpublished Doctoral Dissertation. Cincinnati: University of Cincinnati.

Chan, C; Driscoll, T & Ackermann, B. (2013). Can experienced observers detect postural changes in professional musicians after interventions?. International Symposium on Performance Science.

Conable, B. & Conable W. (1995). How to learn the Alexander Technique. Chicago, IL: GIA Publications.

Conable, B. (1998). What every musician needs to know about the body: The practical application of Body Mapping to making music. 2nd ed. Portland: Andover Press.

Conable, B. (2000). The structures and movement of breathing: A primer for choirs and choruses. Chicago, IL: GIA Publications.

Conable, W. (2002) Somatic Studies in the University Music Curriculum. 78th Annual Meeting Proceedings, National Associations of Schools of Music.58-62.

Conable, B. (2020). Musicians Move! Top Ten Ways to Train their Moving. GIA Quarterly. 31(3), 10-16.

Copeland, S.L. (2007). Applied anatomy in the studio: Body Mapping and clarinet pedagogy. Unpublished DMA thesis. Greensboro: The University of North Carolina at Greensboro.

Descartes, Renȇ (1997). Felsefenin İlkeleri. Mesut Akın (Çev.). İstanbul: Say Yayınları.

Eddy, M. (2009). A Brief History Of Somatic Practices And Dance: Historical Development Of The Field of Somatic Education And its Relationship To Dance. Journal Of Dance And Somatic Practices, Vol. 1.

Gilmore, R. 2005. What every dancer needs to know about the body: A workbook of Body Mapping and the Alexander Technique. Portland: Andover Press.

Göksülük, B.S. (2020). Tiyatro ve Performans Sanatlarında Bilişsel Kırılma: Yeni Beden Fenomeni “Soma” ve Enaktif Oyunculuk Teorilerine Doğru Hareket Odaklı Bir Eğitim Önerisi Olarak Somatik Yaklaşım. Yayımlanmamış Doktora Tezi, Ankara Üniversitesi.

Green, J. (2011). Somatic Knowledge: The Body as Content and Methodology in Dance Education. Journal of Dance Education. 2(4), 114-118.

Grossman, D.T. (2005). The effects of Body Mapping lessons on the musical performance of elementary students. Unpublished MMus thesis. Portland: University of Portland.

Hanna, T. (1988). Somatics: Reawakening the Mind’s Control of Movement. Cambridge: Da Capo Press.

Holt, M. (2016). Applied anatomy in music: Body Mapping for trumpeters. Unpublished DMA thesis. Las Vegas: University of Nevada.

Jankowski, B. (2016). Body Mapping for music ministers. Chicago: GIA Publications.

Johnson, J. (2009). What every violinist needs to know about the body. Chicago: GIA Publications.

Johnson, J. (2017). Teaching Body Mapping to children: Overcoming and preventing injury in the music studio and classroom. Chicago: GIA Publications.

Kaderli, Z. (2017). Tarihsel ve Sosyo-Kültürel Bağlamı içinde Beden ve Bedenleşme Deneyiminin Teorik Çerçevesi. Ankara: Grafiker.

Knaub, M. J. H. (1999). Body Mapping: An instructional strategy for teaching the Alexander Technique to music students. Unpublished EdD thesis. Pittsburgh: University of Pittsburgh.

Likar, A. (2005). Musicians as movers: Body Mapping and the Alexander Technique for musicians and music educators. Performing Arts Medicine Association Annual International Symposium. Snowmass, Colorado.

Malde, M., Allen, M. & Zeller, K.-A. (2009). What every singer needs to know about the body. San Diego: Plural Publishing.

Mark, T. (2003). What every pianist needs to know about the body. Chicago: GIA Publications

Moreno, A. M. (2022). An Examination of The Effects of Body Mapping Instructıon on Static Standing Posture And Posture While Singing. Unpublished Doctoral thesis. University of North Dakota.

Nesmith, D. (1999). What every musician needs to know about the body. The Horn Call, 29 (4),71–74.

Nesmith, D. (2001). How Body Mapping and the Alexander Technique will improve your playing. International Musician, 99 (6), 11–12.

Palac, J. (2008). Promoting Musical Health, Enhancing, Musical Performance: Wellness for Music Students. Music Educators Journal , 94(3), pp. 18-22.

Paparo, S.A. (2015). Embodying singing in the choral classroom: A somatic approach to teaching and learning. International Journal of Music Education, 34(4):488-498.

Pearson, E.M. (2000). What every flute teacher needs to know about the body: A handbook applying the principles of Body Mapping to flute pedagogy. Unpublished DMA thesis. Columbus: The Ohio State University.

Pearson, L. (2006). Body Mapping for flutists: What every flute teacher needs to know about the body. Chicago: GIA Publications.

Reyneke, A. (2024). Cellists' experiences of learning and teaching Body Mapping for musicians: An Interpretive Phenomenological Analysis. Unpublished Master’s Thesis, South Africa: Stellenbosch University.

Salonen, B.L. (2018). Tertiary music students' experiences of an occupational health course incorporating the Body Mapping approach. Unpublished Doctoral Dissertation, Free State University, South Africa.

Slade, T. (2018). Measurable changes in piano performance following a Body Mapping workshop. Unpublished Master’s Thesis: University of Ottawa, Canada.

Smith, J ve Nizza, I. E. (2022). Essentials of Interpretative Phenomenological Analysis. American Psychological Association.

Vining, D. (2008). What every trombonist needs to know about the body. Denton: Kagarice Brass Editions.

Williamson, M. (2016). Handbook For Musicians Learning The Alexander Technique. Manchester: RCNM.

Wong, G. (2015). The immediate effects of somatic approach workshops on the body usage and musical quality of pianists. Unpublished Doctoral Dissertation. Ottawa: University of Ottawa.

Woodard, K. (2009). Recovering disembodied spirits: Teaching movement to musicians. British Journal of Music Education, 26(02):153.

Yusufoğlu, C.C. (2017). Stanislavski Sistemine Göre Psikoteknikte Eylemi Somatik İşaretleyici Hipoteziyle Ele Almak. Kadir Has Üniversitesi, Yayımlanmamış Yüksek Lisans Tezi.

ABME Mission Statement. (t.y.) https://www.bodymap.org/about (Erişim Tarihi: 25.06.2024).

Batson, G. (2009). “Somatic Studies and Dance” https://www.iadms.org/page/248. (Erişim Tarihi: 20.07.2024)

Research. (t.y.) https://www.bodymap.org/research (Erişim Tarihi: 25.06.2024).

Weir, K. (2023). “What is interoception, and how does it affect mental health? 5 questions for April Smith” Monitor on Psychology. 54 (3). https://www.apa.org/monitor/2023/04/sensations-eating-disorders-suicidal-behavior. (Erişim tarihi: 23.07.2024)

Johnson, D.H. (t.y.) “Somatics”.https://donhanlonjohnson.com/somatics/ (Erişim Tarihi: 25.06.2024).

Section One: Introduction to Body Mapping (2023) Teaching Manuals: A Resource for Body Mapping Educators, © Association for Body Mapping Education. (https://www.bodymap.org) Erişim Tarihi: 07.07.2024)

Nichols, T. R. (2004). The scientific basis of Body Mapping. [Online]. Available: https://www.bodymap.org/articles-the-basis-of-body-mapping/scientific-basis-of-body-mapping. (Erişim tarihi. 04.07.2023.)

Malde, M. (ABME Başkanı), 14 Haziran 2024.

Jankowski, B. (ABME Yetkili Müdürü), 18 Eylül 2024.