Again, gestures and movement can provide a solution as they can be used during music making to scaffold both technical, expressive and musical matters for learners ( Van den Dool, 2018). Also, verbal instructions and feedback can break the flow of musical learning ( Bremmer, 2015 Van den Dool, 2018). This type of multimodal encoding can lead to a deeper understanding (e.g., Sweller, 1994 Lakoff and Johnson, 1999). A viable way to address this shortcoming is to add gestures to music teachers' verbalizations, as these can convey important complementary information and promote effective learning by offering learners a second message ( Singer and Goldin-Meadow, 2005 Bremmer, 2015). For example, teachers' explanations, often in the form of imagery or metaphor, are prone to ambiguous interpretation ( Howard et al., 2004 Hoppe et al., 2006), and language cannot visualize musical concepts, nor visualize different layers of music simultaneously ( Bremmer, 2015). However, up till now, studies on teachers in instrumental and vocal education tend to focus on their verbal communication ( Simones et al., 2015), demonstrating that language can play a constructive role in music teaching (e.g., Meissner and Timmers, 2019), but also has its drawbacks. This is remarkable, as teacher–students relationships have been found to play key roles in how students develop musically ( Creech and Hallam, 2010 Burwell, 2012), and not only the verbal but also the non-verbal communication between teachers and students forms the heart of the music teaching and learning process ( Mills and Smith, 2003 Lennon and Reed, 2012). Even fewer studies specifically investigate the role of the music teacher's body in instrumental and vocal education ( Nafisi, 2013a Simones et al., 2015).
![i need speed instrumental i need speed instrumental](https://i.ytimg.com/vi/bqgkBEBviSU/hqdefault.jpg)
Within the scope of music educational research, few studies focus on embodiment and instrumental and vocal music education from the perspective of the learner ( Nijs, 2017 Schiavio and Van der Schyff, 2018). In recent years, insights gained from theoretical and empirical work on the embodied nature of human interaction with music are gradually finding their way into the domain of music education (e.g., Bresler, 2004 Bremmer, 2015 Van der Schyff et al., 2016 Nijs, 2019 Nijs and Bremmer, 2019). In summary, based on existing theoretical and empirical research, the article will present a first conceptualization of the role of the music teacher in instrumental and vocal education viewed from a dynamical systems approach. To demonstrate this, we describe four types of bodily involvement: physical modeling, action demonstration, pedagogical gestures and touch. In this article, we argue that different types of teacher's bodily engagement can act as constraints in instrumental and vocal music learning, thereby facilitating the learning process in non-verbal ways. Teachers play a significant role in that environment, due to the different types of constraints (e.g., environmental and task constraints) they can introduce to aid learners in finding a solution for a musical task. From this perspective, learning processes are viewed as emerging from the learner's goal-oriented, situated, adaptive actions in the learning environment. In this article, we will adopt a dynamical systems theory perspective to set first steps in conceptualizing the role of the instrumental and vocal teacher's body in teaching and learning music. In our view, this scarcity is related to the lack of a framework about the role of the music teacher's body in instrumental and vocal education. Yet, teacher's bodily engagement in instrumental and vocal education is scarcely addressed in music educational research studies.
![i need speed instrumental i need speed instrumental](https://tindair.eu/wp-content/uploads/2021/05/TINDAIR-Banner-Website-1920x640-1.jpg)
Instrumental and vocal teachers often employ their body in teaching to facilitate sensorimotor engagement with the voice or an instrument. 3CORPoREAL, Department of Music, Royal Conservatory Antwerp, Antwerp, Belgium.2IPEM, Department of Musicology, Ghent University, Ghent, Belgium.1Research Group Arts Education, Amsterdam University of the Arts, Amsterdam, Netherlands.
![i need speed instrumental i need speed instrumental](https://imag.malavida.com/mvimgbig/download-fs/need-for-speed-most-wanted-624-7.jpg)
Some tracks also appear in instrumental versions that are used during pursuits, thus not allowing vocals to blend with police radio chatter. There are no special menu themes like known from older titles.
I need speed instrumental series#
It is the first game in the series to use EA Trax. This is the soundtrack used for Need for Speed: Hot Pursuit 2.