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* [http://taketina.net/ TaKeTiNa teachers worldwide network]
* [http://taketina.net/ TaKeTiNa teachers worldwide network]
* [http://www.youtube.com/watch?v=dn1tEGmabuQ TaKeTiNa video]
* [http://www.youtube.com/watch?v=dn1tEGmabuQ TaKeTiNa video]
* [http://www.hawaiipublicradio.org/hpr/index.php?option=com_content&task=view&id=1220&Itemid=70 Hawaii Public Radio interview]
* [http://de.wikipedia.org/wiki/Taketina German Wikipedia TaKeTiNa article]
* [http://translate.google.com/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Taketina&sa=X&oi=translate&resnum=6&ct=result&prev=/search%3Fq%3Dtaketina%26hl%3Den%26rlz%3D1B3GGGL_en___US233 German Wikipedia TaKeTiNa article [translated via translate.google.com]]


[[Category:Music]]
[[Category:Music]]

Revision as of 22:00, 9 December 2007

The TaKeTiNa Rhythm Process, developed by Austrian persussionist Reinhard Flatischler, is a musical, meditative group process for people who want to develop their awareness of rhythm. In a TaKeTiNa process, there are three different rhythmic layers -- represented by the voice, claps, and steps -- that continue simultaneously. Vocalization and clap rhythms, accompanied by the berimbau, constantly change while the steps, supported by a surdo drum, remain the same. The surdo stabilizes the basic rhythm of the steps, while call-and-response singing serves to destabilize and re-stabilze the rhythmic movements. In this process, the simultaneity of stabilization and destabilization creates a disturbance that allows participants to repeatedly fall out, and then fall back into rhythm.[1] Participants are guided into the experience of rhythm archetypes, rhythmic images anchored deep in human consciousness.[2][3] According to Flatischler, the support of the group allows the individual participant to go into his or her own process, building deep musical and personal trust.[4]

TaKeTiNa is used in academic and clinical settings worldwide.[5]

References

  1. ^ Flatischler (1996), Flatischler, Reinhard (1996). The effects of musical rhythm on body and mind: The interaction field of the ta ke ti na rhythm process. MusicMedicine (in German). Vol. 2. Michigan, USA: MMB Music Inc. pp. 344–351. {{cite book}}: Check |authorlink= value (help); External link in |authorlink= (help); Unknown parameter |editors= ignored (|editor= suggested) (help)
  2. ^ Stroh (1997), Stroh, Wolfgang Martin (1997). Zur psychoanalytischen Theorie der Weltmusik [The psychoanalytic theory of world music]. "Step across the border": Neue musikalische Trends--Neue massenmediale Kontexte (in German). Hamburg, Germany: Arbeitskreis Studium Populärer Musik. {{cite book}}: Unknown parameter |abstract= ignored (help)
  3. ^ Stroh (1997), Stroh, Wolfgang Martin (1997). "Das "rhythmische Urwissen" und die Archetypen [Primordial rhythmic knowledge and archetypes]". Musiktherapeutische Umschau: Forschung und Praxis der Musiktherapie (in German). 18 (4): 308–317. ISSN 0172-5505.
  4. ^ Haddad (2004), Haddad, J. (2004). "Ta ke ti na: an interview with Reinhard Flatischler". PERCUSSIVE NOTES. 42: 36–41. ISSN 0553-6502. {{cite journal}}: Unknown parameter |month= ignored (help)
  5. ^ Hafke (1996), Hafke, Christel (1996). "Body-Percussion: Elementare Rhythmuserfahrung mit TaKeTiNa [Body-Percussion: Elementary Rhythm Experience with TaKeTiNa]". Musiktherapeutische Umschau: Forschung und Praxis der Musiktherapie (in German). 28 (3): 14–17. ISSN 0027-4747. {{cite journal}}: Unknown parameter |month= ignored (help)

Further Reading

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