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MASTERING THE TECHNIQUE OF MACH MOTION

Explanations and instructions to the subsection A/3

S.Rudneva. 1976

From the author:

Exercises in the fly movements were created by Heptahor during all years of his work, mostly purely intuitively in response to the immediate need for training. Back then, there was no classification or systematization of these movements, no names (terms) for them, etc. New exercise was given a conditional name (or rather a working “nickname”), which squatt for many years, often in spite of the wrongness, fuzziness of his and it was confusing and unclear.

For the first time, an attempt to clarify and organize species we made the movement in 1929-30 while developing the “motor gymnastics” largely influenced by the German author’s book Kechela (student R. Bode, founder of Expressive Gymnastics), who, as far as I know, for the first time I have clearly and deeply analyzed the flymotion movement () his differences

(S.S. shape and propulsion process. However, our attempt was unsuccessful and remained stillborn because we were mainly based on formal traits, not from the features of the dynamic process of these movements. Confusion and confusion in the names and definitions in the descriptions exercise prevented educators from understanding them and caused mistakes.

Over the past decades, Emma Fish’s work and in my the basis for a more or less accurate classification of the

movements and consistent tasks in mastering the some clarity in this important section of the musical movement.

Features of fly-by movements that must always be

folded into a fist” hand is snitudated.

  • In the musical-motor pedagogical work on learning how to learn the technique of the fly-by movement and the development of a variety of exemplary images of mahas and swings occupies a special place.

Let me remind you” that for the proper course of the musical-motor activities need to be organized by a special organization of the motor process, ensuring the integrity of any movement. Educating such an organization is dedicated to all the preparatory work without music (development of muscle feeling, to assimilate the state of motor equilibrium” the ability to use gravity and moving the center of gravity of the body). However, the development and use of all technical components of holistic motion does not yet lead to its genuine Integrity.

In a holistic musical movement it is fleshed out aesthetic experience of the musical image. Its educational and the artistic significance of each musical movement acquires only as the phenomenon is psycho-physical, not just movement.

In the work of forming The psycho-physical integrity of the movement plays a special role in educating understanding the importance of moving the center of gravity of the body and the ability to use it.

Expressiveness of movement (or posture) the person is largely determined by the location of the center of gravity of his Body. No conclude about a hurried aspiration of a man if he goes strongly carrying forward the body and waving his arms; on the contrary” we observe fatigue in another man who hardly carries the weight of his rejected back Case… In both cases, the whole human body is subordinated to the basic position of its body (the location of the center of gravity of the body) and moves in the according to his

mental and physical condition.