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Dispokinesis (neologism from: “disponese” = lat. “to have at one’s disposal” and “kinesis” = gr. “movement”) is a form of training and therapy specially developed for musicians and stage artists by Gerrit Onne van de Klashorst (Netherlands). First scientific evidence for the effect of Dispokinesis on musicians, both professional and musicians-in-training, has been published.〔Klashorst GO van de (1991): „"Einführung in die Dispokinese“. In: Fellsches J. (Ed.) Körperbewusstsein. Blaue Eule, Essen 1991: 30-46〕〔H. Hildebrandt, M. Nübling(2004): Providing Further Training in Musico-Physiology to Instrumental Teachers: Do Their Professional and Pre-Professional Students Derive Any Benefit? In: Medical Problems of Performing Artists 19, 62–69.〕〔M. Nübling, H. Hildebrandt: Evaluation der Effekte musikphysiologischer Fortbildung auf Instrumentallehrkräfte und deren Schüler. In: Ergo Med 31, 2007, 62-67.〕 Dispokinesis can be employed in a pedagogy and preventive medicine setting as well as in therapy and rehabilitation. By means of the Original Shapes of Movement and Posture, the human being’s sensori- and psychomotor development is being worked through from lying down to crawling to the upright standing position. By doing so, possibly existing developmental gaps can be closed and especially the postural reflexes (postural motor system) are being fostered. Specific exercises focussing on instrumental and vocal technique as well as ergonomic aids developed in connection with Dispokinesis also play an important role. Among them can be found sitting aids for instruments played in orchestra and for the keyboard family, chin rests and shoulder pads for the upper strings or belts, thumb or knee-supports for wind and plucked instruments. The competence in instrumental and vocal technique as well as body awareness and expressivity are consistently developed in view of the requirements to be met on stage. ==The Development of Dispokinesis== Dispokinesis was developed more than 45 years ago in the environment of the Sweelinck-Conservatory, Amsterdam. Its founder, Gerrit Onne van de Klashorst (Netherlands), was a pianist and physiotherapist. He developed Dispokinesis as an independent technique in collaboration with music pedagogues and the department of neurophysiology of the Amsterdam University.〔Klashorst GO van de (1989): „Die Disposition des Musikers“. In: Oboe & Klarinette & Fagott 4 (2/1989): 84-96, (3/1989): 144-154, (4/1989): 177-186〕〔Klashorst GO van de (1991): 30-46〕〔Klashorst GO van de (1994): Einleitung in die Dispokinesiotherapie und –pädie. Eigenverlag, Oberhausen 1994 (holl. Original 1977)〕〔Klashorst GO van de (2002): The disposition of the musician. Broekmans & van Poppel, Amsterdam〕 The term Disposition, which Dispokinesis was derived of, was additionally coined by the pedagogue and musicologist S. Eberhard.〔Eberhard S (1931): Hemmung und Herrschaft auf dem Griffbrett. Max Hesse, Berlin 1931〕 Further influences stem from the Buytendijk's〔Buytendijk FJ (1956): Allgemeine Theorie der menschlichen Haltung und Bewegung. Springer, Berlin 1956〕 systematic view of posture and movement, as well as the reflex-oriented work in physiotherapy according to Bobath〔Bobath B (1986): Abnorme Haltungsreflexe bei Gehirnschäden. Thieme, Stuttgart 1986〕 in physiotherapy. In the first instance, Dispokinesis is a holistic educational and therapeutic training based on neurophysiology developed by musicians for musicians. It’s fundaments are laid by functional anatomy, neurophysiology and developmental psychology. It also incorporates findings from the fields of sensorimotor and psychomotor learning processes and motor-skill developmental stages. Furthermore, knowledge and experience relating to posture, playing position, breathing and instrumental technique of all instruments and singing is included, the notion of auditory-motor skills (i.e. the connection between movement and sound) as well as the various options regarding ergonomic solutions. In addition to the practice and teaching of posture, breathing and movement, Dispokinesis encompasses processes such as becoming aware of and reflecting on the ability of singing, playing and expressivity as a professional musician. Disposition (or: “the certainty of having a good disposition”) is understood as having the liberty of musical expression in a physical, mental and emotional sense, especially in a performance setting. By transmitting its knowledge and exercises, Dispokinesis aims to have an impact on health prevention〔Hildebrandt H (1996): „Was ist Dispokinesis? Kurze Einführung in ein aktuelles Fachgebiet für Musiker“. In: Presto 83 (12/1996): 5-7 und Üben & Musizieren 15 (1/1998): 30-31〕〔Hildebrandt H (2000): „Prävention von Spiel- und Gesundheitsproblemen bei Musikern von Anfang an“. In: Klein-Vogelbach S / Lahme A / Spirgi-Gantert I (Hg.) Musikinstrument und Körperhaltung. Springer, Berlin 2000: 108-140〕〔Hildebrandt H (2002): Musikstudium und Gesundheit. Aufbau und Wirksamkeit eines präventiven Lehrangebotes. Peter Lang, Bern 2002〕〔Hildebrandt H / Müller A (2004): „Dispokinesis – Freies Verfügen über Haltung, Atmung, Bewegung und Ausdruck“. In: Musikphysiologie und Musikermedizin 11 (1&2 / 2004): 55-59〕 and to provide musicians and music pedagogues with a repertory of self-help options when resolving problems. In case of pre-existing difficulties, Dispokinesis can increase independency of therapists and doctors due to its exercises developed with the aim of autonomy and can eliminate functional deficits on various levels. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dispokinesis」の詳細全文を読む スポンサード リンク
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