Body percussion

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Body percussion[¹] may be performed on its own or as an
accompaniment to music and/or dance. Examples of countries' folk
traditions that incorporate body percussion
include Indonesiansaman, Ethiopian armpit music, palmas
in flamenco, and the hambone from the United States.[²][³] Body
percussion is a subset of "body music".[⁴]
Body percussion is the art of striking the body to produce various
types of sounds for didactic[⁵], therapeutic[⁶],
anthropological[⁷] and social purposes. In both the world of musical
traditions[⁸] and the world of the performance, body percussion has
had various roles, which can be classified into its uses, meanings
and functions which are specific to each individual culture. It is
important to point out that nowadays the media and social networks
play an important role in promoting body percussion due to their
high levels of visual and aesthetic[⁹] content. That said, however, its
applications are highly varied, which is why we can classify the
publications up until now into thematic blocks.[¹⁰]
Warner & Babatunde (1965) is a fundamental publication for an
understanding of body percussion as a discipline. As a specific
source, it was one of the first to explain the importance of the body
in relation to musical culture from an ethnographic perspective. The
first chapter of their book, “Musical Instruments of Africa”,
published in the 1960s, is titled “Body Percussion”, and explains, at
an ethnomusicological level, the importance of body percussion in
tribal forms of learning. In the same way, Curtis (1920) can be
mentioned, who dedicated specific paragraphs to the types of
sounds which can be made with hands at a tribal level in Africa[¹¹]:
“they are tinted with many tonal effects produced simply by hitting
one hand with the other in different ways. Sometimes a hand is
cupped in order to hit the other, emitting a low, thick sound; on
other occasions, handclaps are given with open palms, with a dry,
sharp sound. Such sonic contrasts and the gradations in tone and
volume are launched into the air with such a unique sense of their
dynamic values that the white listener is astounded by these forms
of artistic expression (...). Surely, it seems as if all the possible
combinations of rhythms, stress and tones, formed by such simple
means, are turned into art this percussive orchestra formed of
human hands”.
Other authors have dealt with body percussion in a more tangential
fashion in their ethnomusicological works, as is the case in Sachs
(1937), Blacking (1967), Jones & Lomax (1972), Kubik (1978), Tani
(1983), Arom (1985), Schütz (1992) and Aguadé (1999).
Contents
● 1 Body percussion sounds 2
Music education 3 Performers 4
See also 5 References 6
Print sources 7 External links
Body percussion sounds[edit]
Percussion instruments produce their sound when a player hits,
scrapes, rubs or shakes them to produce vibrations. These
techniques can also be applied to the human body. The body also
presents several unique possibilities including the use of inhaled or
exhaled air and vocal sounds.
Traditionally the four main body percussion sounds (in order from
lowest pitch to highest in pitch) are:
2. Stomp: Striking left, right, or both feet against the floor or other resonant
surface
4. Patsch: Patting either the left, right, or both thighs with hands; or patting
cheeks
5. Clapping hands together
6. Snapping fingers
However, there are numerous other possibilities including: hitting
the chest, whistling, slapping or flicking the cheeks with an open
mouth, clicking with the tongue against the roof of the mouth,
grunting, and hitting the buttocks.[¹²]
Variations of sound are possible through changing the playing
technique. For example, clapping the hands in various positions will
affect factors such as pitch and resonance.

HISTORICAL PUBLICATIONS RELATED TO DANCE

In times past, the link between music and movement in a tribal
context was inseparable. This is why, even today, in Ghana it is
common to hear the phrase “if you can talk you can sing, if you can
walk you can dance”. In Europe, during the Middle Ages, the
Renaissance and especially in the Baroque period, music and dance
were also inseparable because they were both synonyms of high
culture and refined tastes. It is for this reason that during the
Renaissance and Baroque periods, monarchs were always masters
in the skills of dance. Furthermore, for the nobility, dance was an
essential discipline in education, going by the famous rule mens
sana in corpore sano, that stemmed from the trívium and
quadrivium in Medieval times which during the Renaissance and
Baroque periods was adopted into noble education, along with
many other principles of the Classical era. The nobles wished to
emulate the monarchs, and therefore copied their ways and
customs. This is the reason why they took such pains to learn the
necessary skills to participate actively in the theatrical festivities in
the palace (in masked balls and parties), in which dance had
another aim, that of emulating royalty and thus get ahead socially
and economically.[¹³]

BODY PERCUSSION IN CHIMPANZEES AND GORILLAS

The use of slaps and the beating of the chest by chimpanzees and
gorillas has been much studied from the point of view of animal
behaviour. Some authors show that in certain cases they use it to
assert their territorial boundaries, which can be seen in the
publications of Lyle et al. (2009), Fay (1989), Koops (2006),
Fletcher (2006) and Kalan (2009) amongst others.

Music education[edit]
Body percussion is used extensively in music education[¹⁴], because
of its accessibility—the human body is the original musical
instrument and the only instrument that every student possesses.
Using the body in this manner gives students a direct experience of
musical elements, such as beat, rhythm, and metre and helps a
student internalise rhythmic skills. Certain approaches to music
education, including Orff, Kodály and Bapne[¹⁵] make particular use
of body percussion.
The first musical pedagogue who incorporated this musical pairing
into the basic training of all musicians was J. Dalcroze (1865-1950).
He spent several years in the north of Africa, specifically in Algeria,
which gave him an ethnographic perspective with which to focus on
rhythm and movement in the education of other countries. Dalcroze
himself then began to use body percussion in a very basic way
(through handclaps, slaps on the thighs and stamps) within his
musical training. Nevertheless, it is important to stress that this
was not his main interest.[¹⁶]
His method is based on carrying out exercises which, by means of
the muscular sensations created, allow for the interior perception
of the sound, rhythm and form, to be created and made stronger. In
this way, it is possible to correct and improve the hearing and
playing of young musicians (Jaques-Dalcroze, 1965). Followers of
Dalcrozeʼs theory have brought in other movements, and thus
broadened his methods (Brice, 2003).[¹⁷]

BODY PERCUSSION & HANDCLAPPING SONGS

The clear link between body percussion and so-called
‘handclapping songsʼ is of upmost importance, and thus a
discussion cannot be omitted (Romero, 2012e). Many authorsʼ
concerns have focused on investigation into them, and offered up
information in various different fields.[¹⁸] Thus we classify the lines
of investigation into handclapping games into five main blocks:
● Ethnomusicological studies. These are studies carried out by
ethnomusicologists in order to analyse their musical structure, their origins
and transmission from one generation to the next, and from rural to urban
environments (Nettl, 2004; Kartomi, 1980; Blacking, 1967).
● Compilation studies. These are aimed towards compiling and transcribing all
the handclapping games and other childrenʼs handclap games which are used
in childhood coordination games (Hemsy de Gainza, 1996; Martín & Carbajo
(2002, 2010).
● Didactic studies. These are focused on studying the application of handclaps
from an educational perspective, both within and outside the classroom
(Harwood, 1992, 1993, 1998; Riddel, 1990; Marsh, 1995, 2008; Obuo, 1996;
Martín, 1997).
● Scientific neurological studies. These studies look at the stimulation of
physical, cognitive and mental abilities of children, focusing on how they
influence their psychomotor, psychological, social and cognitive development
(Sheehan, 1998; Thaut, 2008; Kesserling et al. 2006; Brodsky & Sulkin, 2003,
 ●

2005, 2007, 2011).

● Therapeutic studies. These are works that were carried out in order to
stimulate, through sound and movement by means of body percussion, the
development of communication skills, of body language and inclusive work
skills in various illnesses, such as Parkinsonʼs, Alzheimerʼs, Downʼs Syndrome,
dyscalculia, and autism, amongst others. (Thaut, 2008; Romero, 2012a,
2012e).[¹⁹]
Performers[edit]
Body percussion may be performed solo or several performers may
combine to create a musical ensemble. One of the most
accomplished body percussion soloists is Keith Terry. Terry resides
in San Francisco, California and in the 1980s he established Cross
Pulse, a non-profit organization dedicated to the creation,
performance and recording of rhythm-based, intercultural music
and dance. Perhaps the most famous body percussion ensemble is
the United Kingdom percussion group Stomp. Stomp perform in a
musical genre known as trash percussion, which involves the use of
non-traditional instruments combined with body percussion. In
Brazil, the most well-known body percussion group is Barbatuques.
See also[edit]
● Beatboxing
● Konnakol
● Vocal Percussion
References[edit]
2. ^ Naranjo, Francisco Javier Romero (2018). BodyPercussion basic, Bapne.
Body music Body percussion. ISBN 9788409009831.
4. ^ Terry, Keith. "Body Music". World Arts West. Retrieved 2008-02-13.
5. ^ Alonso-Sanz, Amparo; Naranjo, Francisco Javier Romero (2014).
"Percursión corporal y "Stepping" en la cultura visual norteamericana". Una
perspectiva caleidoscópica. Letra de Palo. pp. 185–
196. ISBN 9788415794066.
6. ^ Percussive Notes -1984 Volume 23 - Page 50 "Body music was probably
the first music - before people began slapping rocks and hollowing logs for
drums, they were probably stomping, clapping and grunting to express their
musical ideas. There are many body musics still thriving today: in the United
States hambone was popular at the turn of the century and is still in practice;
some South Pacific island people create music by clapping and slapping the
chest and thighs; in Morocco there is a version that involves beating the
chest... These are only a few examples of a varied and vital body music
scene...."
b. ^ Naranjo, Francisco Javier Romero (2012). "Percusión corporal y lateralidad.
Método BAPNE". Música y educación: Revista trimestral de pedagogía
 b.

musical. 25 (91): 30–51. ISSN 0214-4786.
r. ^ Naranjo, Francisco Javier Romero (2013). "Percusión corporal como
recurso terapéutico. Cuestiones metodológicas". La producción científica y la
actividad de innovación docente en proyectos de redes. Instituto de Ciencias
de la Educación. pp. 2940–2954. ISBN 9788469593363.
s. ^ Naranjo, Alejandro A. Romero; Naranjo, Francisco Javier Romero
(2013). "Handclapping Songs and Gender: an approach using the BAPNE
method". Feminismo/s (21): 205–223. ISSN 1696-8166.
t. ^ Naranjo, Francisco Javier Romero (2017). Bapne and african songs 3:
Multiple intelligences, cognitive, socio-emotional and psychomotor
stimulation: body percussion. Body music Body
percussion. ISBN 9788469737682.
u. ^ Naranjo, Francisco Javier Romero; Alonso-Sanz, Amparo (2015). "El círculo
en la relación espacio y cuerpo. Foto-ensayo a partir de Isidro Blasco y el
método BAPNE". Arte, individuo y sociedad. 27 (3): 359–
374. ISSN 1131-5598.
2v. ^ Naranjo, Francisco Javier Romero (2013). "Science & art of body
percussion: a review". Journal of Human Sport and Exercise. 8 (2): 442–
457. ISSN 1988-5202.
22. ^ Naranjo, Francisco Javier Romero (2008). "Percusión corporal en diferentes
culturas". Música y educación: Revista trimestral de pedagogía
musical. 21 (76): 46–97. ISSN 0214-4786.
24. ^ Locklear, Scott (May 2006). "Body Percussion" (PDF). Drum!: 69–72.
Retrieved 2008-02-13.
25. ^ Naranjo, Francisco Javier Romero (2013). "Percusión corporal en Indonesia
y Sudáfrica: recursos para el aula". Música y educación: Revista trimestral de
pedagogía musical. 26 (93): 38–47. ISSN 0214-4786.
26. ^ Naranjo, Francisco Javier Romero (2018). Bodypercussion: Programación
didáctica. Ramón Torres Gosálvez. ISBN 9788409065639.
2b. ^ Bapne
2r. ^ Naranjo, Francisco Javier Romero (2004). ""Body Music-Body Percussion"
Propuestas didácticas sobre psicomotricidad rítmica". Música y educación:
Revista trimestral de pedagogía musical. 17 (60): 53–80. ISSN 0214-4786.
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Andreina Liendo; Colomino, Natalia Crespo; Naranjo, Alejandro A. Romero;
Terrés, Jessica M. Pons; Naranjo, Francisco Javier Romero (2014). "Los
métodos didáctico musicales y la atención en relación al movimiento". XII
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